10 May, 2021

The Defanged Love Story

It may be a many-splendoured thing, but in Hindi cinema love is marred by a regressive streak

The Defanged Love Story
There has been a regressive streak in Hindi commercial cinema. After all, it was made by men who worshipped their mothers, did not question the idea of patriotism, and were dreaming of a house out of Yash Chopra's Waqt. We forgave them because they were of their time and were surprised when they made films like Dhool ka Phool, a sympathetic look at illegitimacy; or Lamhe, which teetered on the edge of incest.

That was B.R. Chopra and Yash Chopra, elder and younger brother. The next generation, represented by Aditya Chopra, gave us Dilwale Dulhaniya Le Jaayenge. Now DDLJ, as it became popular in its phenomenally successful run, had all the makings of a Chopra film. It had a sumptuous visual feast as the leading lady, a likeable leading man, a mustard field and Switzerland. But here's what turns my stomach. In all mainstream cinema, we are expected to follow the hero's interests. We must empathise with him. He must stand for us, so that we can vicariously live out our fantasies—winning the pretty lady, beating up the goons, spritzing...

More from Jerry Pinto

Latest Magazine

May 17, 2021

other articles from the issue

articles from the previous issue

Other magazine section