Rajshri was a production house, and also a distribution company. Rajshri was an old family film company, like many others, with one big difference. To understand why this standard story (young man and woman who are living in the same household slowly fall in love) became such a sensation, we have to start with understanding the company that made it, Rajshri. In the end, Bhagyashree’s father Alok Nath is won over by Salman’s persistence, just as Salman’s mother and father arrive from the city to give their own blessing, and Evil Mohnish Bahl arrives to beat up Salman and destroy him once and for all. Salman follows her to her rural village and gets a job at the local Rock Factory to prove himself. But then his rich father finds out and disapproves of the romance and sends Bhagyashree away. Salman is the son of the household, the two young people fall in love while they share the house, with the blessing of Salman’s mother Reema Lagoo. SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERSīhagyashree is a poor rural girl whose father takes her to stay in the household of his oldest friend, a rich city man, while he has to travel for work. But Sooraj believes in this world, so his actors believe in this world, so I the viewer believe in this world. Yes our heroine is so innocent it seems like she could hardly function in the world. Yes there is a Rock Factory where our hero works because it is noble and scenic. Yes part of the plot involves an animal having a flashback to explain it’s motivations. Yes this is a couple where they are so innocent, they embarrassed for him to even see her ankles. It’s not a silly plot to him, and that makes us believe it isn’t silly either. Sooraj doesn’t do that, ever, but especially in this movie. They have to be meta, they have to be cynical, they have to wink at the audience and say “ha-ha, I know this is a silly plot”. It’s not about the characters being less innocent, it’s about the filmmaker being less innocent. That’s what’s missing especially in recent movies.
It’s a silly silly movie, but it doesn’t feel silly, because the hand at the wheel believes in it fully and so does everyone else involved. I think that’s what we are seeing in its purest form in Maine Pyar Kiya. When Salman went back to work with Sooraj again for Prem Ratan Dhan Payo he talked about getting back into the Sooraj mindset, how Sooraj has a kind of lightness and peace inside of him that everyone around him feels and which changes how you behave, how you perform, how you think of your characters.
Maine pyar kiya indian movie movie#
Sooraj’s spirit is what fills this whole movie and the freedom he had with the untried cast and support of his producer is what makes it special.
It isn’t that they were new, but that they were raw and Sooraj Barjatya (the director/writer) could mold them as he wanted. But their later performances aren’t the same as the ones in this film. Mohnish Bahl was new, Salman Khan was new, Bhagyashree was new. Somehow the feel of it is something unique, there is no other film before or since that quite captures the same unapologetic innocent magic of first love. But at the same time it is the same as so many other movies, it is also different from so many other movies. And the moral is so old it’s almost regressive. The look of it is old-fashioned, boring camera work for the most part and only a few sets. This is a movie that shouldn’t be as special as it is.
Oops, this isn’t actually a rerun! I thought I had reviewed it, but I had just hosted a tweetalong viewing which isn’t the same thing.
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