Bade Bade Deshon Mein, Aisi Choti Choti Baatein Hote Rahtein Hain : Encounters with Dilwale Dulhaniya Le Jayenge
It was a normal Sunday afternoon and a lazy indoor leisure session at home. But, in between the usual television surfing ritual I was once again caught by the charm of a film which I had watched for the first time in a local theatre hall almost fourteen years back. I still can’t control my amazement and never do I fail to appreciate the entire experience of watching this film. But, after every watch I sit back to contemplate what amazes me the most about the film. The answer I get back is the film in itself!
The year was 1995 and the day was 20th October, a Friday, to be remembered all through the history of Indian Cinema and even worth a date within the world Cinema paradigm. Yes, it is the release date of Dilwale Dulhania Le Jayenge, which is most fondly named as DDLJ all across the globe. Even today, it is not really hard for us to identify with this phenomenon which was born, much earlier in 1995. A debut film for Aditya Chopra, fetched him a lifetime of success. The simple Diaspora love story of a NRI boy and a NRI girl had every essence within it to not only break every record and reach the top of the charts during the time it was released but also had the potential to make history and seal its position within the Cinema paradigm for generations to come.
Raj Malhotra played by Sharukh Khan portrays that ideal man who is part of every woman’s dream. He is that rule breaker, born and brought up within immense luxuries of the west. While, on the other hand it is Simran played by Kajol who bears signs of being that ideal woman whom any boy would love fall in love with. She is justly portrayed as the tender, Indian girl born and brought up within strict rules and restrictions even in the western soil. Parampara plays a very important role in both the families and even the rule breaker Junior Malhotra refuses to run with the girl of her dreams when it comes to the real test of traditions.
Even though most of us have watched this film uncountable time, still the film never fades away and its essence never fails to amuse, awaken, satisfy or enliven us. The film captures the spirit of life and tries to portray fragments of the same and nurtures the best of the same within the narrative of a love story. Though mostly it is the Sarson ka khet that everyone relates to when it comes to identifying with the film. However, there is so much to look forward to and almost every scene and sequence exhibits its own aura.
One of the most amazing things that I have never failed to notice about the film is the use of the number 13 nameplate. The house of our lady Kajol has this number plate on its front door. One can clearly notice this bit of detail at the end of the song Na Jaane mere. To go by the unlucky aspect of the number, one can clearly understand that the myth associated with these numerals falls flat when it comes to the grand success of the film. While, on the other hand this number or this house never proved lucky for our much in love couple. It is only when Simran was taken back to India that their love bloomed within adverse conditions and few lucky circumstances. What amazes me further is how did our man actually understand that his lady love is waiting for him in India and that too how does he actually find her address. Reasoning the facts would lead us nowhere and would drive us crazy, but even with such questions in mind we still wait for him much like Simran. The simple effect of cowbell is enough for him to step out of pardes and run for his lady love. Even in an age of I pods and robotic surgeries we feel flattered by the simple essence and innocence of love.
The very first sequence of “real love” at dawn within the yellow of the khet, ends with Sharukh and Kajol lost in each other within a satisfying embrace. The moment is really a small frame of caesura and the couple adorned in contrasting colors of black and white in the midst of the yellow, presents us with a relief as we realize now Raj- the braveheart is here to steal away his bride. Even moments like this of complete silence after the song Tujhe Dekha Toh , presents the audience with complete satisfaction and happiness.
In terms of the basic aspects of Cinema, the film has nothing remarkable as its attribute and that one can really talk about. However, as a whole the film has the perfect ingredients for success. ‘complete entertainment’ is probably not the right word we can use to describe this film, as somewhere we know we won’t be doing justice to the film and the appeal it has made within the Cinema paradigm.
Kajol from the beginning of the film has never boisterously accepted the facts of love and have also never tried to satisfy her own passions when it came to men. She surrendered and sought resort to her personal diary and her mother when it came to understanding the issues of love and a life partner. However, the mere presence of our own personal favorite Raj changed every equation for Kajol. Sometimes I wonder what if, Chopra would have cast Tom Cruise in The role of Raj and what if Simran would have never gone for the Euro trip? The film itself has the answers- the ethereal chemistry between Raj and Simran have answered all these questions through these 16 years and will do so, for many more years to come. Indeed their Choti Choti Baaton wali love story had a bari effect on our desh and throughout the globe, inspiring millions to ‘come fall in love’. Even though Cinema today is all about Entertainment , entertainment and entertainment but, it is quite obvious that DDLJ today has etched that perfect position for itself in the history of Indian Cinema and would thus, be counted among the best for many more 100 years to come.