Story is one thing; story telling is another thing. Script is one thing; movie-making is another thing. If both are strong, the result is a block-buster. If shortcoming in one can be made up through the other, one would still sit through it. Veer-zaara belongs roughly to this category.

Rani, a lawyer, wants to fight to regain the identity and respect of Veer (SRK) who has been jailed for past 22 years. In the flashback we come to know that – Veer, a rescue operations Hindustani soldier, falls in the love with Zaara (Priety), a Pakistani, who has come to India on a mission. But she is already engaged and is to be wed. In the backdrop of political compulsions and other stuff that are not very easy to digest , story continues. After unreasonable twists and turns, the train finally manages to stop and audience head towards home.

For most part of the movie it looked like a DDLJ remake (intro song of heroine/one last tour of heroine/meeting hero in that tour/ heroine already engaged / ready to get married after returning from tour/ Punjabi songs and dialogues / heroine’s late realization of love/ hero entering the heroine’s marriage preparations).But later in a very compulsive need to create a different story, the movie wanders.
A conscious effort to woo audience is visible in “deliberate linking & liberal usage of Hindustani-Pakistaniâ€?, glorifying love, hyperbole dialogues, punjabi touch.

Performance by Srk is controlled and is ok. Preity, Rani do justice. Supporting cast of Anupam Kher, Amitabh, Hemamalini, Manoj Bajpai, Boman Irani add weight with their screen presence.

Yash Chopra movies used to create some unknown magic and everlasting dreamy feeling.