The unlikely object of Radhe’s undying adoration is Nirjala, a sweet petite demure priest’s daughter, played with disarming naivete by newcomer Bhoomika Chawla, whose presence alone reduces Radhe to a gelatinous mass of quivering ecstacy.

Radhe’s redhot anguish at being rejected by the docile girl nextdoor is perfectly mirrored in Salman ‘s fits of ferocious hysteria and whining whimpering dejection. Kaushik uses the the Agra backdrop effectively to convey a crusty rugged cow-belt ambience. But the sequences after Radhe moves to an ayurvedic mental assylum are oppressively dark. The horrified awareness of a mentally recuperated man that he many never come out of the hellish healing-place, turns the romance of the first-half into a quasi-horror drama that audiences would find unsettling and revolting.
In the end when Radhe turns his back on a ‘sane’ society to go back to the assylum you wonder if such abject defeatism is palatable to today’s joy-starved audience.
Like many South Indian adaptations including Saathiya and Yeh Dil, the courtship scenes are located on a bustling railway platform.