I was wondering about this yesterday! I remember it being used in the BBC miniseries North and South (2004) and in The Kissing Booth (2018) but I can't remember movies before that. It would be interesting to make a list.

is the first known usage of the "if they turn around that means they love you" trope known? I know it has been used in a few Disney shows but the earliest known usage I can think of is in DDLJ. So did it come about because of Dilwale Dulhania Le Jayenge?

If anyone has any info on this it would be appreciated!!

Watching Indian Matchmaking until someone mentions DDLJ

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What's the point of life if my bangles doesn't get stuck on his sleeves?

One day I'll have to do a video edit of every time SRK's character shuts someone up. I swear it happens in his every other movie.

Tag yourself I'm the kid extra in the background of Koi Ladka Hai at 1:55 who raised his arms in the wave after everyone else had finished and has had his moment of shame immortalized in an SRK movie since the 90s: https://www.youtube.com/watch?v=u6bk53x2Kno

They're coming a full circle on this one.

A narrative trope that really speaks to me is a character taking on an impossible challenge, an unbeatable enemy, knowing that success is almost unthinkable, and doing it anyway because there's something worth fighting for, that it's the right thing to do, that the smallest chance is still a chance and going down swinging is better than forfeiting your right to say no, this is wrong.

I think there's something very human and very hopeful in that tenacity, in taking stock of a shit situation (a shituation, if you will,) and saying "well, if nobody else is going to tell you to fuck off, it may as well be me," and doing your damnedest to punch an unstoppable force in the face.

Veteran actor Himani Shivpuri said that her husband had died while she was filming Dilwale Dulhania Le Jayenge (DDLJ) in 1995. In a new interview, she said that the climax scene was supposed to feature the culmination of her story with Anupam Kher in the film.

The storyline between Sinram's aunt and Raj's father was not random but was supposed to amount to something??? Alright, this is huge.

I’m not desi and I’ve just discovered Indian cinema. But.

What if Shah Rukh Khan’s character in English Babu Desi Mem (1996) hated India because when he was a child his older brother preferred running away there rather than staying with him and then he died while getting there. So he blames the whole country for taking his brother away.

And when he finds out that his brother had a child there, he must get him away from both India AND from the weird Indian aunt asap. And he gets there and it’s horrible, so uncomfortable, I’m thinking about the boat scene where his shoes get dirty.

But then, later on in the movie, he attends some kind of typical Hindustani celebration, a ritual for the nephew’s God or the celebration of the same festival that killed his brother. And realizes that even if India lacks most of the commodities he is used to in London, perhaps even because of it, it’s still a beautiful place and he finally gets why his brother was so desperate to be there and he lets go of his resentment.

I think it would have been better than whatever was going on in the movie.

has anyone thought about the diegesis of music in bollywood/south asian masala movies? there's no doubt that it functions differently than in western musicals... but HOW exactly? in most western musical theatre the music seems to non-diegetic (as in, the characters and those around them are unaware that they are singing) unless it is a performance, then it is diegetic/source music (they are singing in the story- everyone knows they're singing).

perhaps the difference comes from the fact that masala movies are movies first and (to my knowledge) are often not adapted from musical stage productions (though the movies CAN be adapted into musicals in the case of mughal-e-azam, hum aapke hain koun, and dilwale dulhania le jayenge). but in masala movies the line between "this is a performance in the story" and "i am singing to express my feelings" seems somewhat blurred. Señorita from ZNMD is a performance, they are singing, everyone knows it. Bum Bum Bole from Taare Zameen Par, they're singing, Aamir Khan is a funny little dude singing a funky clown song. But then what about Kashmiri Main Tu Kanyakumari from Chennai Express? Singing in a car... okay, that's a performance! But the choreographed dance number? Is that happening or is it symbolizing their journey across India? Mere Khwabon Mein from DDLJ is definitely (probably?) Simran expressing her dreams and such, and she's not singing in universe. But then what about Mehndi Laga Ke Rakhna? Raj singing at Simran would make sense as a performance at a mehndi, but what about Simran singing back?

OH and since the popularity of film/musical songs works differently in South Asia than it does in the States... how does continuity work in that? Such as the medley from Mujhse Dosti Karoge, in which Hrithik's character sings Kuch Kuch Hota Hai to Rani's character... does this mean that KKHH exists in this universe?? Does Rani Mukherjee the actress then exist in this universe and her character in this movie have a doppleganger?? What about all of Shahrukh Khan's movies... especially with the antakshari scenes in Chennai Express? Does Om Shanti Om exist in that universe? Does SRK the actor exist? If not then how did these songs come about? Is it similar to the NSU (Nickelodeon Sitcom Universe) in which there are gray parts of one's mind when it comes to crossover events? This FASCINATES me to no end you don't understand.

side note. i want to see someone that has directed a masala movie tackle one of these american musical to movie adaptations. no more tom hooper. i want farah khan or karan johar or ss rajamouli to direct cats and see how THAT looks. if tom hooper had directed k3g it would not have been as fantastical (such as the "my son is here" super sense) as it was.

let american movie musicals have as much fun as south asian masala films do.

there seem to be some (paywalled) academic papers on the matter but it'd be interesting to hear anyone's thoughts on it!

Kajol - Dilwale Dulhania Le Jayenge (1995)

The most iconic villain to charm their way into everyone's hearts is objectively SRK because he didn't just steal the show, the man smirked and slowly opened his arms then hijacked the entire industry

HAPPY 56TH BIRTHDAY TO SRK! 💜

Lmao exactly my reaction

rewatching dilwale (2015) rn and the writing is very much giving bts y/n youtube fanfic from 2017 with the most generic yet over the top plot. (but the soundtrack + kajol and srk>>>)

I'm suddenly really into Bollywood movies for some reason (Bollywood specifically for now, I'll get into Tollywood, Kollywood, etc another day).

The current plan is to watch (almost) all Bollywood movies available on my streaming platforms. Do you have any recommendations for what to watch next?

List of movies I've already watched in the Keep Reading.

Neerja

Mimi

Humpty Sharma Ki Dulhania

Dilwale

Bride and Prejudice (maaaany years ago)