Changes between Initial Version and Version 1 of Hum Aapke Hain Koun

Jul 3, 2012, 4:33:47 PM (10 years ago)



  • Hum Aapke Hain Koun

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     1'''Hum Aapke Hain Koun...!''''''''' 
     41994 206’ col/scope Hindi 
     5d/sc/dial Sooraj Barjatya pc Rajshri Prod. 
     6p Kamal Kumar Barjatya st Keshav Prasad 
     7Mishra, S.H. Athavale lyr Ravinder Rawal, Dev 
     8Kohli c Rajan Kinagi m Raamlaxman 
     9lp Madhuri Dixit, Salman Khan, Anupam 
     10Kher, Renuka Shahane, Reema Lagoo, Alok 
     11Nath, Satish Shah, Bindu, Mohnish Bahl, 
     12Laxmikant Berde, Ajit Vachani 
     15Promoted as the most successful Indian film 
     16ever, the plot concerns the arranged marriage 
     17between Rajesh (Bahl), nephew and heir to the 
     18industrial empire of Kailashnath (Nath), and 
     19Pooja (Shahane), daughter of the equally rich 
     20Professor Choudhury (Kher). Most of the 3- 
     21hour film is devoted to a series of festivities 
     22with parties in the Ram temple and at the 
     23homes of the two families, one chronicling the 
     24marriage itself and another when Pooja is 
     25pregnant. Prem (Khan), Rajesh’s younger 
     26brother, falls in love with Pooja’s sister Nisha 
     27(Dixit). The elaborate entertainment of an 
     28ostentatious North Indian wedding with its 
     29enormous consumption of food is also the 
     30scene of the mandatory pranks played upon 
     31each other by the ‘younger generation’ led by 
     32Prem and Nisha, their sexual and voyeuristic 
     33overtones sanctioned, even at times replicated 
     34(e.g. in the song Saamne samdhan hai) by the 
     35older generation. Both families, including 
     36Kailashnath’s cook (Berde), are free of any 
     37traces of class or gender conflict in the film’s 
     38celebration of a fantasy in which unbridled 
     39consumerism and religiosity combine without 
     40problems. The especially dominant food motif 
     41is stressed by the song ‘Ice Cream Chocolate’, 
     42sung by Lata Mangeshkar, and illustrated by 
     43large advertising posters in Nisha’s room. The 
     44only exception to the general religioconsumerist 
     45bliss is a fussy and generally 
     46disliked aunt (Bindu), who insists on 
     47mentioning issues such as the dowry and class 
     48differences, for which she gets slapped by her 
     49husband (Vachani). Pooja’s moving into 
     50Kailashnath’s home leads to utopia itself, 
     51blessed by her religiosity (she prays to the gods 
     52Krishna and Rama, both of whom actively 
     53intervene into the story). However, all this is 
     54interrupted when Pooja falls down a flight of 
     55stairs and dies. To restore the situation, the 
     56families decide that Nisha will marry the 
     57widowed Rajesh, but the happy ending, and a 
     58second marriage, arrives only when the dog 
     59Tuffy, an incarnation of Krishna, becomes the 
     60instrument for revealing that Nisha loves the 
     61younger brother, Prem. This remake of Rajshri’s 
     62far from successful earlier Nadiya Ke Paar 
     63(1982) proved to be an astonishing success as 
     64has the effectiveness of its marketing as a 
     65‘clean’ family film. It is arguable that the fantasy 
     66of a feudal elite that has successfully negotiated 
     67its transition to capitalism while retaining its 
     68allegedly ‘traditional’ religiosity underpins an 
     69appeal to the audience’s voyeurism as well as 
     70to a devotional fervour hitherto reserved for 
     71explicitly religiously themes.