It’s a story as outdated as, effectively, Dilwale Dulhania Le Jayenge. On October 20, 1995, DDLJ premiered in theaters and…by no means left. Directed and written by then-24-year-old first-time filmmaker Aditya Chopra—underneath his father Yash Chopra’s mega-successful manufacturing banner Yash Raj Movies—the Bollywood rom-com went on to grow to be the longest-running Hindi movie of all time. (Within the midst of an historic 1,274-week run at Mumbai’s Maratha Mandir theater, it was pressured to briefly shut in March on account of COVID-19.)
The flick, about Non-Resident Indians (NRIs) Raj and Simran and their star-crossed love that started and ended on a prepare, captured lightning in a bottle: It catapulted stars Shah Rukh Khan and Kajol to meteoric ranges of fame, cemented the careers of music composers Jatin-Lalit and designer Manish Malhotra, and have become a launching pad for future Bollywood mainstays like Karan Johar, who reduce his tooth on DDLJ as one of many movie’s assistant administrators and supporting forged members. What began as a ardour challenge for Chopra and a bunch of up-and-comers with a contemporary perspective on what it meant to fall in love, went on to grow to be a revered traditional, a box-office heavyweight, the winner of a record-breaking (on the time) 10 Filmfare Awards—India’s Academy Award equal—and the movie that modified the face of an business.
And it began when a boy met a woman.…
From its plot to its premiere, DDLJ broke new floor in Bollywood.
Kajol (lead actress, Simran Singh): We noticed the entire movie, collectively, on the premiere. All of us dressed up in our Bombay finery, and it was fabulous. It was a tremendous feeling to know you made this. And all of us liked the movie universally. That’s one thing that’s fairly uncommon, really.
Anupama Chopra (movie critic and writer of the 2002 ebook Dilwale Dulhania Le Jayenge: A Fashionable Traditional): It was a blockbuster out of the gate. This was not about phrase of mouth. I bear in mind so clearly on the premiere at New Excelsior [in Mumbai]—it’s a 1,000-seat corridor. And it was simply euphoric. And the crucial reception was precisely the identical. It was simply a type of films that sweep you away.
Sharmistha Roy (artwork director): This wasn’t any a part of our Indian style, when it comes to visuals. It was one of many earliest highway [trip] movies.
Manish Malhotra (costume designer): There was plenty of glamour. That’s a tricky one to get since you are [also] attempting to make the characters a bit actual, which was a brand new factor, which Aditya Chopra began.
Anupama Chopra: Historically, the West had been portrayed as a type of decadent hotbed of sin in Hindi films. In movies like Purab Aur Paschim or Des Pardes, it was the particular person from India who confirmed the Indian within the West what Indian values had been. And right here was this movie that utterly turned this on its head, as a result of right here’s a man [Raj] who’s shopping for beer within the first couple of minutes of the movie. Right here’s a man who’s clearly flirtatious. Right here’s a man who’s born and bred within the U.Ok., and but he seems to be extra Hindustani than the man who was raised in Punjab. That was a really new concept at the moment.
Shah Rukh Khan (lead actor, Raj Malhotra): This movie got here at a time when the audiences had been getting extra receptive to a narrative like DDLJ and a pairing like mine and Kajol’s. Plenty of exterior components labored for the movie: the novelty of a contemporary rom-com, for instance, and liberalization.
Anupama Chopra: It’s such a seductive fantasy. It appealed to individuals within the West as a result of all of the NRIs felt like “Simply because we reside right here doesn’t imply we misplaced our Indian-ness. It doesn’t imply we’re not desi anymore; it doesn’t imply that our roots have been severed.” And, in fact, it really works for the people who find themselves nonetheless dwelling in India as a result of it reconfirms that is the unique land of worth and wonder and music and dance and all the remainder of it.
The script: Aditya Chopra fairly actually rewrote the Hindi rom-com with a singular screenplay that challenged Bollywood stereotypes and the that means of happily-ever-after.
Anupam Kher (supporting actor, Dharamvir Malhotra): The script was very, very contemporary. [In Hindi films before], it was a typical Romeo and Juliet idea: The dad and mom aren’t pleased with who you might be; the world needed [the couple] to be united, and the so-called “forces towards you” had been the dad and mom. However right here, the boy was a really idealistic particular person. [The boy] revered the woman and her dad and mom, particularly her father. [Aditya] very intelligently represented NRIs and Londoners and the everyday Punjabi [person].
Kajol: I liked the script, from starting to finish. There was no half that I heard that I didn’t really feel utterly there, and current, and utterly a part of the movie….There may be one music the place I wasn’t certain about how it will be taken on display screen: “Zara Sa Jhoom Loon Predominant.” I didn’t suppose I regarded drunk in any respect, and I used to be like, “This isn’t gonna work. I don’t imagine this myself.” As a result of I’m an entire teetotaler. I don’t know what it’s prefer to get drunk. However fortuitously for me, [that scene] turned out okay. It’s not as dangerous as I believed it was.
Shah Rukh Khan: There have been a number of improv moments. They enhanced the script, for certain. There was this scene with Amrish Puri [who played Simran’s father, Chaudhry Baldev Singh] the place he was feeding the pigeons. And we had this actually humorous scene the place we’re each awkwardly going “aao, aao” to the pigeons. It’s a name for pigeons I had heard in Delhi, so I added it. Even the flower that sprays water on Kajol’s face, we hadn’t instructed her what would occur.
Anupam Kher: That’s one factor that’s incredible about Shah Rukh: He’s a really affectionate, simple particular person [to act with]. After we type of clap fingers and do gibberish phrases with one another, I invented these phrases on the set. And when Raj is saying, “I simply failed,” and I introduce him to our “ancestors” in work on the wall, that was much like my circle of relatives….My very own uncle had failed in seventh/eighth grade. So I requested Mr. Chopra, “Can I take advantage of their actual names within the film?”
Shah Rukh Khan: It was a set of pals simply having enjoyable…with the fabric. Adi had a a lot clearer imaginative and prescient [of] the place he was going with it and what he needed to say in it. So the voices belong to us, however the phrases and emotions are all his, to be sincere.
Kajol: I feel when Adi wrote the movie, he meant it to point out that households are the best way they’re all over the place. That’s what the movie was about: embracing what the world has forward of you, however don’t overlook your roots.
Anupam Kher: The identify of the movie is given by my spouse [actress Kirron Kher]. There was plenty of debate: “What needs to be the title of the movie?” There’s a very well-known music referred to as “Le Jayenge Le Jayenge” from an outdated Hindi movie [1974’s Chor Machaye Shor]. So my spouse mentioned, “On the finish of [this] film, the boy lastly says, ‘I’ll take away the bride.’ Why don’t we name it Dilwale Dulhania Le Jayenge [The Brave-Hearted Will Take the Bride]?” All people liked it. [She] will get a separate [credit] within the [film]. It says, “Title given by Kirron Kher.”
Simran and Raj and Kajol and Shah Rukh: The making of a famous person pair, on display screen and off.
Kajol: My first impression of Simran was that she was nothing like me. I didn’t agree with all this being too dutiful. I used to be like, “Can’t she suppose for herself?” [Laughs.] I performed her dutifully, however I made enjoyable of her on set.
Shah Rukh Khan: Her vitality was palpable.…No person might’ve performed Simran higher than Kajol.
Kajol: I believed, There needs to be one thing of Simran inside me. So possibly 90 p.c of her wasn’t [me], however that 10 p.c was.
Shah Rukh Khan: Raj was in contrast to something I had completed. Earlier than DDLJ, there was Darr, Baazigar, Anjaam—films through which I had portrayed destructive characters.
Kajol: I believed Raj was a cool hero. I believed that he had plenty of surprising depth to him. You get the sensation he’s this actually carefree man who doesn’t actually have a lot to him; he’s simply into how his hair seems to be and the way he kicks the soccer. However someplace towards the tip of the movie, you begin believing in him as a personality.
Anupama Chopra: It actually spoke to a rustic in an important type of cultural churning. Within the ’90s, we received satellite tv for pc tv, the financial system had opened up, and there was all these things coming in from the West: the programming, the garments, the manufacturers. There was an precise dilemma about what constitutes “an Indian.” Who constitutes an Indian? And Shah Rukh Khan as Raj was the reply.
Shah Rukh Khan: I used to be instructed by many individuals that I regarded unconventional…very completely different from what the notion of a number one man was. I did really feel possibly not being good-looking sufficient—or as they referred to as it then “chocolaty”—would make me unsuitable for romantic roles. Additionally, I’m very shy and awkward with women, and I didn’t know the way I’d say all of the loving, romantic bits. I used to be excited to work with [Adi], however I had no concept find out how to go about it and likewise if I’d have the ability to do it effectively. I at all times felt Adi’s love for me made him forged me.
Anupam Kher: In [Adi’s] thoughts, he was Raj. [Adi] needed Shah Rukh to be the best way he needed to be in life: principled however naughty.
Anupama Chopra: This was the movie that established SRK as a man who can romance in a means that we had by no means seen earlier than. As a result of he’s not “macho” within the conventional sense. Right here’s a man who’s within the kitchen with the ladies. Right here’s a man who retains Karva Chauth together with his girlfriend. He’s telling the aunt which sari to purchase. And none of which means that he’s any much less manly. It’s simply that he’s safe sufficient to be all of these issues and to be in locations which are historically feminine. You may’t think about that very macho motion hero of the ’80s doing that.
Shah Rukh Khan: I discovered the character endearing and candy in the proper means. The over-the-topness was my contribution.
Kajol: Shah Rukh performed Raj actually convincingly. With each movie he works on, he’s there 300 p.c of the time. He memorized everyone’s [lines], after which [laughs] throughout rehearsals he’d be saying my dialogues in addition to his dialogues.
Shah Rukh Khan: What labored for Raj and Simran on display screen was principally the pure friendship that Kajol and I shared off display screen. It was all so natural that there have been moments in entrance of the digicam that we didn’t really feel like we had been appearing in any respect. We didn’t actually plan scenes. We simply allow them to circulate, and if we didn’t like one thing, we might simply blurt it out to one another with none formality.
Kajol: We might simply crack jokes. All people on set was so mischievous. It’s simply nice enjoyable to work with individuals that you simply really benefit from the firm of. If you work on movie, there’s plenty of time that you simply’re simply ready for everyone to get arrange for one shot after the opposite. That really makes individuals pals and makes individuals be utterly snug with one another. We will sit and look ahead to the solar to rise, actually, [together].
Shah Rukh Khan: I’ve to confess, for somebody who doesn’t like mushy, romantic movies, the scenes with Kajol and I did make me really feel all fuzzy and heat. There, I mentioned it!
The music: New-on-the-scene composing duo and brothers Jatin-Lalit teamed up with icons like singer Lata Mangeshkar and lyricist Anand Bakshi to develop what would grow to be the best-selling Bollywood soundtrack of 1995.
Lalit Pandit (music composer): We had a grand session [audition] with Yash Chopra, Aditya…We didn’t know what movie was being deliberate. We simply needed to work with Yash Chopra. We had been singing our new songs—I nonetheless bear in mind I had sung two songs. One was “Mehndi Laga Ke Rakhna.” And I sang the tune for “Mere Khwabon Mein Jo Aaye.” I didn’t have the phrases, so I simply sang the tune.
Nothing occurred for a couple of month. However then we received a name from Aditya Chopra: “I’m planning a movie. How busy are you guys?” And he requested, “That ‘Mehndi’ music, do you continue to have that music?”
Jatin Pandit: As soon as we heard the script, we made up our thoughts that we now have a jackpot on our fingers. We each labored very arduous. For all of the [scenes], we made not less than 20 songs. And out of 20, we ourselves rejected 5 or 6 songs. After which we [presented them] to Aditya Chopra. “Chal Pyar Karegi” we had completed [for] DDLJ as effectively. It was in [the 1998 film] Jab Pyaar Kisise Hota Hai.
Lalit Pandit: We sat for days and days and days and days, attempting to crack every of the songs. It was a once-in-a-lifetime sort of a chance. Anand Bakshi was on board, and Lataji [Lata Mangeshkar] was going to sing all of the songs, which was very uncommon throughout these days.
Kajol: My daughter not too long ago downloaded the whole album. She was like, “Oh my God, Mum, you had nice music.” It’s the sort of music that’s timeless. I liked “Na Jaane Mere Dil Ko Kya Ho Gaya.” That’s considered one of my favourite songs.
Jatin Pandit: There was one music I used to be very certain about: “Zara Sa Jhoom Loon Predominant.” They had been considering it was too quick and energetic to have a drunk woman singing these strains. However Anand Bakshi mentioned, “If you’re younger and also you drink, you get all of the extra vitality.”
Lalit Pandit: One in every of my most favourite songs on the movie is “Na Jaane Mere Dil Ko Kya Ho Gaya.” I used to be singing out the intro at [Adi’s] place. After I sang these strains, he mentioned, “You know the way I’m going to [shoot it]? I’m going to fade in and fade out, they’re going to be on the bus, and Shah Rukh will come, after which he’ll fade out, after which Kajol will come, after which once more Shah Rukh will come, after which once more he’ll fade out.” I had by no means heard such sort of element. Adi was utterly—there’s no different phrase—sensible. He was like a 3rd companion in music, he contributed a lot. He was very instinctive about what he needed in his songs.
Jatin Pandit: The piano piece in “Ruk Ja O Dil Deewane,” so many individuals tried to play it, however Aditya Chopra performed that. And “Ghar Aaja Pardesi”—it additionally grew to become one of many movie’s largest hits, and Pamji [Pamela Chopra, Aditya’s mother] sang in that music.
Shah Rukh Khan: I don’t change the radio channel when a DDLJ music comes on. I can by no means get sick of them. They bring about again recollections of a movie that formed my path ahead in an unforgettable means.
Bollywood goes designer: The movie’s costume creator, Manish Malhotra, elevated Hindi movie fashion by combining ready-made seems to be with Western sophistication.
Manish Malhotra: Within the ’90s, all of the tailors had been making attire with frills, all these fitted attire. That was the norm. However [in Yash Chopra films], it was all concerning the luxurious, the life-style, the richness. There’s one sort of richness that’s all about embroidery, however Yash Chopra movies had been completely different. The richness was concerning the setup: the gorgeous dwelling, the woman in a pure chiffon sari with pearls. It was an elite chicness. An upmarket understanding. I used to be attempting to take away all of the frills and make it extra monochromatic and make it extra Western wanting. My very first thing was colour. Previous-world colours—carry all of them again in. Plenty of outdated rose; plenty of powder blue. There’s plenty of peachy coral.
Kajol: It’s a quite simple, lovely aesthetic. It’s traditional—possibly not the beret on my head. [Laughs.]
Manish Malhotra: Simran is a woman who’s actual. She’s very identifiable. There’s one thing that makes her look stand out when she’s in a crowd. That was key. They didn’t desire a sensuous or a really attractive Simran. I did a really actual Simran—with a touch of glamour.
And Kajol, being Kajol, she didn’t care an excessive amount of concerning the drape [of the sari]. She was by no means the actress who can be like utterly pinned and utterly stitched and all of that. And Kajol would by no means wish to do an excessive amount of make-up. She’d be like, “I’m simply operating to the set. I’m pleased with my look.”
Kajol: I can nonetheless think about sporting the shaded chiffon sari, or I can nonetheless think about myself sporting a plain, easy salwar kameez with a shaded dupatta.
Manish Malhotra: [The thinking was] there could be a magnificence in a white kurta and a white salwar. The standard and the category can also come from the best way it’s tailor-made.
Kajol: After we had been capturing for “Na Jaane Mere Dil Ko Kya Ho Gaya,” there was a shot the place we’re going spherical and spherical within the rain. We needed to get these fireplace engines to pour the rain for us. It was Switzerland, and that chilly was unimaginable. And by the tip of it, it was so chilly that if I didn’t stroll or run again to the resort, we’d have simply frozen on the spot.
I don’t suppose anyone ever thought of my consolation once I was sporting a chiffon sari in the course of the snow and the ice. The pink [mini] gown within the snow was even worse, belief me. [Laughs.]
Manish Malhotra: We didn’t even know there can be that a lot snow. In these days, the heroes had been in mufflers and coats, and the heroines wore these itsy-bitsy saris. I feel I used to be that wrongdoer who began that. It was about wanting glamorous.
Shah Rukh Khan: There was a sure appeal and playfulness that got here together with the hat [which was taken from the film’s production head], the guitar, the leather-based jacket, the sun shades. All of them added to the character and helped form how I finally portrayed him. At the moment, in case you see these three issues subsequent to one another, with none image of Raj, your thoughts will instantly take you to DDLJ.
Manish Malhotra: That was utterly from Aditya Chopra’s eye; he needed that jacket.
Shah Rukh Khan: The jacket, I liked it and nonetheless have it. It was a Harley-Davidson jacket. [But] the motorbike was rented and we needed to return it.
“Mere Khwabon Mein”: Within the movie’s first music sequence, Kajol cemented Simran’s standing because the quintessential ladki subsequent door.
Sharmistha Roy: [For Simran’s house] we had been eager it needs to be heat in its colour palette and now have a really sturdy Indian aspect. We used plenty of plaids. There are many artifacts that [the family] would have picked up from their visits to India. I hadn’t really ever been [to London] to see the homes. [At the time] I believed in case you’re in a overseas land, you imagine it’s going to be a giant, large house. However, in truth, a household like that will have lived in a slightly cramped house. Now once I look again and see [the big house set], I discover that bothersome.
Manish Malhotra: The primary music, “Mere Khwabon Mein,” we had been capturing in a studio in Mumbai. There was this complete factor that she’s dancing within the rain and she or he wears a towel and all of that.
Kajol: It was a extremely large towel, let me put it that means.
Manish Malhotra: With the white skirt, Adi noticed it and he says, “I feel it’s wanting too lengthy.” I mentioned, “So ought to we reduce it?” And instantly the skirt, which was a lot [holds fingers a foot aside], grew to become a lot [strikes fingers six inches aside]. I mentioned, “Now what can we do?” And Kajol mentioned, “Effectively, I’m okay in case you guys are okay.” Kajol was very “No matter you guys determine” sort of factor. However I instructed Aditya, “Will it look an excessive amount of that she’s sporting this attractive white skirt within the rain?” He mentioned, “ what? She’s along with her mom [played by Farida Jalal] on this music. It gained’t appear like that.”
Kajol: We simply needed to make it look sort of, like, innocent-sexy.
Sharmistha Roy: [Pamela Chopra] instructed me how they dried their garments over there [in London] for that scene: put out within the yard with a easy stand, a sort of garments hanger. And he or she really drew that out for me to point out me what it will appear like.
Kajol: It was nice enjoyable, really. All the pieces was choreographed, from the window opening to the music. The one half that I couldn’t do, I feel, was feeling shy. In order that took not less than 45 minutes for Adi to elucidate to me: “That is what you might be alleged to do if you find yourself feeling shy. How would you’re feeling shy?” I don’t have a single shy bone in my physique. Ultimately he gave up on me, and he was identical to, “Simply do that: Look straight at one level, after which finally simply slowly decrease your eyes down.” And that’s precisely what I did.
Lalit Pandit: The music that I first recorded was Lataji’s solo music, “Mere Khwabon Mein Jo Aaye”—the identical tune I had hummed out to Adi within the assembly session that we had. Having Lataji on this album gave it that edge that the music wanted.
Jatin Pandit: She’s an icon. There’s no phrases to precise what she is.
“Mehndi Laga Ke Rakhna”: The making of a showstopping shaadi scene.
Kajol: We had probably the most enjoyable throughout “Mehndi Laga Ke Rakhna” as a result of we had been all collectively.
Shah Rukh Khan: I bear in mind how tough it was to do “Mehndi Laga Ke Rakhna.” I’m not superb with dances like that, nevertheless it doesn’t present a lot on display screen.
Jatin Pandit: When the movie is within the U.Ok., we needed to have a distinct sort of texture to the melody and the remedy. However “Mehndi Laga Ke Rakhna” was completely Indian. Like a festive temper, and the devices, the tutti and the association of the violin—we had this association by which we will differentiate the 2 international locations. The music was very genuine in fashion.
Lalit Pandit: The music lyrics initially had been: “Mehndi laga ke chalna / Payal bacha ke chalna / Mehndi laga ke chalna / Payal baja ke chalna
Par aashiq se appna / Daman bacha kay chalna / Mehndi laga ke chalna / Payal bacha ke chalna”
After which, in fact, [our lyricist] Anand Bakshi took it to a different degree: “O mehndi laga rakhna / Doli saja ke rakhna / Mehndi laga rakhna / Doli saja ke rakhna
Lene tujhe o gori / Aayenge tere sajna / Mehndi laga rakhna /Doli saja ke rakhna”
He wrote 25 verse [options] for these two verses. That fantastic sort of effort, I by no means skilled once more.
Sharmistha Roy: The courtyard grew to become an vital facet of that home [set]. It was meant to be a typical [compound] in Punjab, the place joined households would keep. What determined the nice and cozy colour palette for these scenes was really the brick flooring. And since it was a home for the marriage—the place plenty of golds and jewel tones had been used—it fashioned an ideal backdrop for it.
Manish Malhotra: We went purchasing and noticed this satiny cloth, like a lime-green colour going into pistachio. And Adi mentioned, “This inexperienced is actually shiny.” However I mentioned, “It is going to look very nice. Let’s use it.”
Kajol: We didn’t suppose a lot about what the influence [of the color] finally can be. All of us agreed that the [green] colour was going to look very good on display screen. No person thought of whether or not it will be trendsetting or something like that. We simply needed it to look good and shoot comfortably in it—not less than, my thought was that we needs to be snug in it.
Manish Malhotra: That inexperienced received very, very well-known for Dilwale Dulhania Le Jayenge.
The prepare scene: How DDLJ’s ending ran away with audiences’ hearts.
Kajol: We shot for about three days in Apta railway station [in Mumbai]. It was so scorching at the moment, and with this ghagra—it was this extremely heavy outfit that I used to be sporting.
Manish Malhotra: I bear in mind with any heavy outfit, she would tease me. “You put on it first.”
For this outfit, I used to be very eager we shouldn’t do [a traditional] pink; we should always do gold. [Finally, we chose] one the place there’s gold kota work. All of them mentioned, “That’s very nice. It’ll look heavy, nevertheless it gained’t appear like an excessive amount of as a result of it’s a daytime sequence.”
Shah Rukh Khan: All I used to be to do was to carry Kajol’s hand, in order that was easy. And he or she does run awesomely in a lehenga.…
Kajol: The prepare wasn’t going as quick because it seems to be. [Laughs.] It wasn’t the operating a lot, simply the crying. Your eyes are swollen and pink by the tip of the day since you’re crying for 3 days straight.
Shah Rukh Khan: I used to be extra eager on the battle that occurs earlier than that as a result of I felt it should add some non-mushy stuff to this movie. I used to be means happier holding the gun than holding Simran’s hand. [Laughs.]
Lalit Pandit: When the motion half was taking place, I used to be singing out these items I had in thoughts, in sync with the actions taking place: Shah Rukh is being overwhelmed by this gang, and his father’s getting damage. And once I performed out that [song] to Adi, he utterly rejected it. He mentioned, “Play ‘Mehndi Laga Ke Rakhna’ right here.” I utterly disagreed.
He mentioned, “For those who play this in a distinct method, simply attempt to change the phrase a bit of bit however hold that melody. You’ll see, individuals will clap within the viewers.”
So I took plenty of the refrain part and I requested the dholis to play the rhythm. And as an alternative of constructing it melodic, I made an aggressive sort of singing. Then, for that emotional piece the place Kajol is operating, I mentioned, “Okay, why don’t I play the melody from Tujhe Dekha—one half we now have not used all through the movie: Lataji buzzing.”
Adi, Jatin, and I had been roaming across the theater on the primary day of the movie opening. When this half got here on, I used to be very alert to see how the viewers would react. And simply as Adi had mentioned, individuals had been clapping as quickly as this half got here on.
Shah Rukh Khan: There might have been no different ending, however I didn’t suppose it will be as iconic as it will definitely turned out to be.
Lalit Pandit: If you watch the movie, it’s so interesting as a result of by the point you might be listening to this piece once more, you bear in mind each little bit of it from [earlier]. The second the saxophone performs in that half, you get a goosebump.
Anupam Kher: [The premiere] was the who’s who of the movie business, of town, of the politicians. [They] had been there watching the movie as a result of it was Mr. Chopra’s son’s first movie. The movie completed and there was pin-drop silence. And Mr. Chopra checked out me like, “Oh my God, one thing has gone incorrect.” It [seemed to be] a endless silence, after which after a minute, there was a endless standing ovation. That was the magic of the movie.
With greater than 1,000 consecutive weeks in theaters, an all-time traditional is born.
Manish Malhotra: I feel Dilwale is a movie which confirmed, within the ’90s, that kids had a thoughts of their very own. It spoke a couple of time of the altering youth. And it additionally spoke concerning the altering time of the dad and mom.
Anupam Kher: I’ve met thousands and thousands and thousands and thousands of younger girls and boys who say, “We would like our dad and mom to be like Raj’s father.…”
Kajol: Each era goes by means of a degree of riot after which finally realizes that riot is absolutely not the best way to go. It’s essential to determine issues out. It’s essential to work by means of them slightly than rebelling towards one thing. It’s not solely Indian. All people looks like “I don’t wish to damage my household. I don’t wish to lose what I’ve in my household, and I don’t wish to damage anyone. I simply need everyone to like who I really like.” It made sense, then and now. I feel that’s why it’s everlasting.
Sharmistha Roy: The movie bridged two ideologies. We had the era earlier than who believed in standard relationships, and the movie honored that. On the similar time, it made an announcement about how the youth suppose and their want for house. I consider the movie poster: Here’s a man with a girl on his shoulders. On the similar time, she’s dressed historically.
Manish Malhotra: The movie had custom; it had household values; it celebrated tradition. And but there was a lot of youth and modernness to it. The visible was so contemporary. Each younger Indian dwelling overseas and Indian dwelling in India recognized with it.
Jatin Pandit: It’s a unprecedented love story. And the mixture of East and West, and with the music, pictures…There’s a lot of repeat [value in this film]. I personally have seen it not less than 20 instances in theaters with my household.
Kajol: A movie isn’t about just one particular person. It’s about everyone put collectively. All people put their little bits of vitality and love into it. It’s a reminiscence greater than a movie, actually. It’s like watching my very personal private picture album.
Shah Rukh Khan: I feel DDLJ helped me cement my place and introduced me fame in a means that I didn’t suppose it will. We had been all dwelling within the second, attempting to make one of the best movie we might. There are such a lot of causes attributed to its success, however I don’t suppose anybody particular factor can clarify the phenomenon it has grow to be. I feel all of the success is to be credited to the pure coronary heart with which the movie was made by Adi, Yashji, and the whole forged and crew—and my nonexistent “attractiveness.”
It’s been a wrestle to not be thought-about romantic and candy for the final 25 years—a wrestle, I suppose, I’m glad to lose.
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