25 years of Dilwale Dulhania Le Jayenge

It has been more than 8 months since I visited a cinema hall because of the coronavirus situation and the movie that brought me back was DDLJ which completes 25 years since its initial release. The list of films showing right now at the cinemas is limited and quality wise nothing that draws my attention, so seeing DDLJ playing it was a relief. And I can’t believe I got to watch this classic, one of the first Indian movies I ever watched and one of my mom’s favorites, on the big screen!!

What surprised me most though was the crowd in the screening; this movie drew more people in than a new release, even compared to before the corona situation. And the diversity! Moms with their daughters, companies of friends and bros. Of course everyone had already seen the movie... I know because I asked. It was the nostalgia factor that drew them.

And this movie is really a classic. While watching it on the big screen it gave me a warm, fuzzy feeling. I became so nostalgic remembering the first few times I watched Indian movies, because for me it was like a cultural turn, a defining moment in my trajectory as a film goer and DDLJ is part of it. What drew me in to Indian film in the first place, was its unique emotional texture which t finds a fine expression in DDLJ.

The movie is not perfect in any way; revisiting it made me realize how the last quarter looses steam and is burdened with cliches, like the bloody fight for the girl at the end, the melodramatic speech of SRK and his total lack of agency while claiming his love. His total relinquishment of power to the traditionalist father is really nerve-wrecking. I can imagine now how the writing would be better since script writing has improved significantly in Bollywood. For example, contemporary writers would be mindful enough to give us a couple of scenes explaining how the father has come to appreciate Raj, apart from the pigeon-feeding, to finally reach the decision to hand over Simran to him instead of Kuljeet, and avoid that hurried and drama-ridden speech about values.

 During the trip to Europe their chemistry is so endearing; they are playful, funny and naughty all at the same time. But overall the second half does not match the vibrancy of the first half, although it is set in a much more vibrant setting, at least in terms of colors. I think the main reason for that it’s because Kajol is pushed to the background, almost relegated to a side character and that doesn’t do the movie any favors.

But all the above aside, it still holds up marvelously and I enjoyed every bit of it. Here are 3 reasons that in my opinion define it as a classic:

The aesthetics - and I don’t mean just the cinematography, but also the costumes, sets, and overall mise en scene and production value. All these combine and give a classical feel that at the same time seems fresh and familiar.

The songs and the use of music in general - I found myself humming the tunes after So.Many.Years! And music also plays a role in the storytelling; like when Simran shuts her ears to stop listening to Raj’s familiar tune, it shows us her struggle to accept her destiny.

The charisma of the actors - SRK and Kajol literally light up the screen, not only with their good acting but also with their chemistry and their good looks. Gosh, they look so Good in this movie.

So many fond memories came back to me during DDLJ’s anniversary screening, and I was reminded of the initial reason I started watching Indian cinema: for its unabashed emotionalism and pleasing aesthetics. I wish those early days of wonder could repeat somehow!