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

Timestamp:

Jul 3, 2012, 6:39:23 PM (12 years ago)

Author:

Trupti

Comment:

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Dilwale Dulhania Le Jayenge

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+'''Dilwale Dulhania Le Jayenge'''
+
+
+1995 192’ col/scope Hindi
+d/s Aditya Chopra p Yash Chopra dial Javed
+Siddiqui lyr Anand Bakshi c Manmohan Singh
+m Jatin-Lalit
+lp Kajol, Shah Rukh Khan, Farida Jalal,
+Amrish Puri, Anupam Kher, Satish Shah
+
+
+1995’s top-grossing Hindi film following on from
+the successful Hum Aapke Hain Koun ... !
+(1994). Choudhury Baldev Singh (Puri) is a
+London-based newsagent pining for his native
+Punjab. He wants to return to his roots by
+forcing his daughter Simran (Kajol) to marry
+the son of his old friend (Shah), whom neither
+has met for 20 years. Simran goes on a
+European tour before going to India, but there
+she meets and falls for Raj (Khan). This causes
+her tyrannical father to uproot his family
+overnight and return to Punjab, where he is
+received by dancing peasants in waving paddy
+fields. However, Raj turns up there and
+promises to rescue Simran from her intended
+marriage, but only with the approval of their
+respective parents. To achieve this, he inveigles
+himself into the household under a range of
+masquerades and false promises, until, having
+made the scheduled marriage impossible, he
+wins the girl from her reluctant father. As with
+HAHK, this film also allows for a limited space
+within the terms of a feudal patriarchy where
+young people may aspire to a kind of watereddown
+version of modern subjectivity,
+represented in consumerist terms, before
+‘returning to the fold’. An alternative reading of
+the film could see it as chronicling the hero’s
+passage from British-Asian diaspora into
+traditional Indian patriarchy, with the love story
+(despite the film’s slogan, ‘Come, fall in love!’)
+simply sugar-coating the prescription. A
+remarkable feature of the film is the elimination
+of e.g. the staple Bachchan formula of the
+State as a contested site, being replaced here by
+an unproblematic subsumption of feudal
+patriarchy into ‘postmodern’ globalisation and
+the selling of ‘authentic’ identity as something
+that can only be achieved via consumerism.
+
+[[Film]]