Changes between Initial Version and Version 1 of Dilwale Dulhania Le Jayenge

Jul 3, 2012, 6:39:23 PM (9 years ago)



  • Dilwale Dulhania Le Jayenge

    v1 v1  
     1'''Dilwale Dulhania Le Jayenge''' 
     41995 192’ col/scope Hindi 
     5d/s Aditya Chopra p Yash Chopra dial Javed 
     6Siddiqui lyr Anand Bakshi c Manmohan Singh 
     7m Jatin-Lalit 
     8lp Kajol, Shah Rukh Khan, Farida Jalal, 
     9Amrish Puri, Anupam Kher, Satish Shah 
     121995’s top-grossing Hindi film following on from 
     13the successful Hum Aapke Hain Koun ... ! 
     14(1994). Choudhury Baldev Singh (Puri) is a 
     15London-based newsagent pining for his native 
     16Punjab. He wants to return to his roots by 
     17forcing his daughter Simran (Kajol) to marry 
     18the son of his old friend (Shah), whom neither 
     19has met for 20 years. Simran goes on a 
     20European tour before going to India, but there 
     21she meets and falls for Raj (Khan). This causes 
     22her tyrannical father to uproot his family 
     23overnight and return to Punjab, where he is 
     24received by dancing peasants in waving paddy 
     25fields. However, Raj turns up there and 
     26promises to rescue Simran from her intended 
     27marriage, but only with the approval of their 
     28respective parents. To achieve this, he inveigles 
     29himself into the household under a range of 
     30masquerades and false promises, until, having 
     31made the scheduled marriage impossible, he 
     32wins the girl from her reluctant father. As with 
     33HAHK, this film also allows for a limited space 
     34within the terms of a feudal patriarchy where 
     35young people may aspire to a kind of watereddown 
     36version of modern subjectivity, 
     37represented in consumerist terms, before 
     38‘returning to the fold’. An alternative reading of 
     39the film could see it as chronicling the hero’s 
     40passage from British-Asian diaspora into 
     41traditional Indian patriarchy, with the love story 
     42(despite the film’s slogan, ‘Come, fall in love!’) 
     43simply sugar-coating the prescription. A 
     44remarkable feature of the film is the elimination 
     45of e.g. the staple Bachchan formula of the 
     46State as a contested site, being replaced here by 
     47an unproblematic subsumption of feudal 
     48patriarchy into ‘postmodern’ globalisation and 
     49the selling of ‘authentic’ identity as something 
     50that can only be achieved via consumerism.