Spoilers ahead…
Sharat Katariya likes to take familiar stories and set them in places you don’t expect. In his first feature, 10ml Love, he relocated A Midsummer Night’s Dream to modern-day Mumbai. In Dum Laga Ke Haisha, he transports the rom-com – a traditionally urbane genre – to Haridwar of the 1990s. The era is lovingly recreated. Mile sur mera tumhara wafts out of television sets, but Bhimsen Joshi has nothing on Kumar Sanu, who’s everywhere. The film’s heart, though, is from the 1970s. Within his rom-com template, Katariya resurrects the Piya Ka Ghar-type drama, filled with large, tradition-bound families whose members couldn’t take a step without everyone else voicing an opinion. The frames buzz with life – someone is always flitting in and out. This may be the only rom-com where the leads – Prem (an effectively subdued Ayushmann Khurrana) and Sandhya (Bhumi Pednekar) – meet in a temple, surrounded by their families. Boy Meets Girl… and the In-Laws. They’re soon married.
That’s the first of a series of surprises. Sandhya is a sweet-looking woman, a little on the heavier side – but she isn’t terribly conscious about it. She’s no Bridget Jones, determined to knock off the kilos in order to gain self-esteem. Sandhya’s self-esteem is fine, thank you very much. She knows her weight is a function of her body’s “metabolism” – her use of this word when mocked lightly about her size by Prem’s aunt (Sheeba Chaddha) is one of the film’s most delightful moments. In other words, the people around her (including her bratty younger brother) may be fat-shaming her, but she’s not fat-shaming herself, which is – to use the appropriate word here – huge. Plus, she’s no wallflower. We see her dancing with others at weddings, full-on jhatkas that find fruition in the adorably tacky ‘90s-style song over the closing credits.
It would have been easy to make Sandhya the (big) butt of jokes, like Guddi Maruti was in the films of the period. But Katariya treats her with respect. The “comedy” scenes are beautifully low-key, like the one in which she goes to a neighbourhood store to buy lingerie because Prem doesn’t seem terribly interested in discharging his husbandly duties. The result of this purchase made me laugh my head off. Prem yields to her overtures, and the next morning, he says to the head of the RSS-like organisation he’s a part of that he succumbed to his senses. Main indriyon se haar gaya. Every now and then, it’s nice to be reminded that there are filmmakers who don’t think in English and write in Hindi.
Sandhya is ambitious. She’s done her B.Ed. (Fittingly, the first fight between Prem and Sandhya occurs in a library; like a stern schoolteacher, she asks him to lower his voice.) She’s got guts too. When she gets a posting in Meerut, she doesn’t hesitate to accept the job, despite never having lived alone. Above all, she’s practical. When things don’t work out between her and Prem, she simply says that she doesn’t need him and he doesn’t need her. She weeps a little, but she bounces back. It’s a good thing that Kataria didn’t get an established actress to play this part, having her put on weight like Vidya Balan did in The Dirty Picture. We respond to Pednekar’s freshness and her lack of actressy tics. She just seems to belong to this place, to this period. She looks real.
Amazingly, it’s Prem who has the complex – and this is where the film becomes a little more than your empty-headed rom-com. Scratch the fun surface and there’s serious dysfunction. Prem has a complex about not having cleared Class X. He has a complex about not having stepped out of his domineering father’s (Sanjay Mishra) shadow. Kataria respects Prem too. We aren’t invited to hate him – not even when he insults Sandhya while with his friends. We know the man’s got serious issues, and we aren’t even sure if his problem with Sandhya is that he doesn’t like plus-size women in general or if Sandhya’s arrival in his life has caused another complex, that he’ll not just be known as the guy who couldn’t clear Class X, the guy who gets bossed around by his father, the guy who gets emotionally manipulated by his mother (Alka Amin) and aunt, but also as the guy who couldn’t get a svelte, conventionally pretty girl to marry him.
The minor miracle of Dum Laga Ke Haisha is that, unlike English Vinglish, we don’t follow the journey of the person with the perceived problem. By the end, Sandhya isn’t asked to transform the way the Sridevi character did in that film. She makes no effort to change. Prem learns to accept her the way she is – and the film is really about Prem’s journey. In an early scene, his father relegates him to the back seat of their car, and later, he says he’ll sit in front – that’s his character arc in a nutshell. At the end, he enters a competition – this film keeps reminding us of Rab Ne Bana Di Jodi – in which husbands carry wives on their backs and run a race on an obstacle course. This is, of course, a metaphor for marriage. Prem has starting trouble, then he picks up speed, negotiates ups and downs, and reaches the finish line. While watching the film, I felt this was a little sexist. The man has to do all the heavy lifting in marriage and the woman just hangs on. But because this is Prem’s journey, we accept the conceit. Besides, the awww-factor in these portions is off the charts. I couldn’t stop smiling.
The film could have used more romance. There’s a nice scene where Prem and Sandhya walk and talk, but I wished more had been done with the recording studio that Prem runs. (If you are of a certain vintage, his stacks of cassettes may remind you of your hostel room in college.) His passion for film music – and our passion for film music, which seeps into the fabric of our lives – is spoofed in a hilarious antakshari-type sequence, where Prem and Sandhya keep playing songs that reflect their moods. (She: Woh meri neend, mera chain mujhe lauta do. He: Samjhauta ghamon se kar lo.) When we are led into the plot point where Sandhya asks Prem to record songs for her, I thought this would lead up a big moment. But the payoff is disappointingly muted.
But in general, this film knows its music. A soothing Italian-sounding score fills the soundtrack – it’s as laidback as these environs – and the lovely Yeh moh moh ke dhaage is used to underline the physical nature of the central relationship in unexpected ways. The first time the song plays, Prem is driving his scooter and Sandhya is holding on to him from behind. The second time, he’s carrying her in that race.
A few small things didn’t work for me. I didn’t care for the aunt’s sudden transformation to the catalyst in the Prem-Sandhya marriage. I wasn’t too convinced about the way Sandhya allowed herself to be roped back into a life with Prem after walking away and initiating divorce proceedings. And the business about a rival recording studio doesn’t play well. But Kataria always has a trick or two to smoothen out these wrinkles. Prem’s argument with the man who threatens to open the recording studio – both men are surrounded by their families, naturally – ends with the distribution of cake. It’s someone’s birthday. And at the divorce court, Prem and Sandhya are practically sidelined – their wailing families occupy centre stage. Dum Laga Ke Haisha reminds us of a time when family was such an important part of India – and Indian cinema. It’s a rom-com about kith and make up.
KEY:
- jhatkas = see here
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Ananthakrishnan Suresh
March 2, 2015
Sir, off the topic; what’s your level of expectation about “OK KANMANI” after watching the trailer..??
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Hithesh Devasya
March 2, 2015
Though I was unhappy about the way the film changed into leading to the finish line after the families had their day in front of the judge, there was so much to love about this I didn’t feel too picky.
One dynamic which really worked for me was the relationship between the aunt and Prem. Both are what one would perceive as failures in the society especially in a small town in the 90s. She is a woman who has separated from her husband and he has failed to clear his SSLC. In all the interactions that the aunt has with Sandhya, it felt like she had the most to lose due to the marriage. Usually we’d find mothers having trouble adjusting with the daughter-in-law in our movies but here it happens to be the aunt. She has been the most maternal in his life and he has been her anchor. I could understand that she needed to be the catalyst for the marriage to work but everything after their appearance in court just felt rushed towards a conclusion.
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thecoffeetableactivist
March 3, 2015
Have been a regular reader of your columns for many years. First read your review when you used to write for Indian express. Your reviews are always nicely written and add to movie watching experience. I found this movie 2015’s Queen. As usual, this review is balanced and does justice to the makers. You could have also mentioned excellent supporting cast of the movie. Sanjay Mishra, Seema Pahwa and the gang.😊
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Ravi K
March 3, 2015
More CBFC idiocy:
https://moifightclub.wordpress.com/2015/03/02/wtf-the-dreaded-lesbian-bit-in-dum-laga-ke-haisha/
Today the news is out that the Censor Board had asked the makers of Dum Laga Ke Haisha to mute the word “lesbian”. Ghanta, haramipana, haram ke pille and haramkhor words have also been replaced (see the image).
Well, nothing surprising there. But “lesbian”? What’s wrong with the word? or in what context is it wrong? We called up one of the Board members who was against it and we got to know the exact scene.
When the female lawyer is consoling Sandhya at the court and touches her face lovingly, her younger brother says – ‘Mummy…didi lesbian toh na hoti jaari..‘ Mummy says ‘Ye kya hota hai?‘ and then the brother says ‘Bade shehron ki bimaari hai..‘
Aing! The “L” word. What’s so scary there? Since it was shot in such a way that the makers could not mute the word, so they had to remove the entire dialogue.
Will someone please enlighten us what was so wrong with “lesbian” or its context in the scene?
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Rahini David
March 3, 2015
BR: In other words, this movie seems to be correct answer to all the things you found wrong about English Vinglish. I did not agree with you on your perceived problems of English Vinglish, but I could see where you were going with it and am glad this movie does away with the “She changed herself to attain his love/respect” part.
As many people here often say, it is a delight to read your stuff when you don’t like a movie and your claws are out. But for me the real delight is in reading about movies that really impressed you. For then, there is something special and impressive about the writing as well. This movie inspite of a few assorted flaws seems to be quite a story. I have never enjoyed reading about a Hindi movie as much as this one.
“We know the man’s got serious issues, and we aren’t even sure if his problem with Sandhya is that he doesn’t like plus-size women in general or if Sandhya’s arrival in his life has caused another complex, that he’ll not just be known as the guy who couldn’t clear Class X, the guy who gets bossed around by his father, the guy who gets emotionally manipulated by his mother (Alka Amin) and aunt, but also as the guy who couldn’t get a svelte, conventionally pretty girl to marry him.”
I just loved this part. If I had watched this movie, I would have been annoyed with him and that is it. I would not have seen his side, so to speak. That is what makes reading about movies a better experience for me than actually watching movies. I get to see the angles that are actually invisible to me.
In short, I am delighted.
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Utkal Mohanty
March 3, 2015
BR: “By the end, Sandhya isn’t asked to transform the way the Sridevi character did in that film. She makes no effort to change.”
Naturally. Here it is Prem who needs to change more. And I would be happy , and I guess Prem and Sandhya would be happy too, if Sandhya puts in the effort to lose some weight. And what’s so great about not changing? Why so much ego? Love means to be able to let go of your ego and the willingness to change. If you are not willing to change, you are wasting your time getting into a relationship. Might as well stay single, with your ego totally intact, not a ripple of change.
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Rahini David
March 3, 2015
Ravi K: Could you please translate the Hindi part please?
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musicofchance
March 3, 2015
@ Rahini David: I know! That sheer piece of poetry in the VTV review –
“The problem isn’t particularly that she’s older than Karthik, or that she’s Christian to his Hindu, or that her stentorian father will not approve of this match, or that, as a card-carrying citizen of Venus, she herself is unsure, at some levels, about this mad Martian who woos her incessantly – Jessie’s mind is like an exam sheet with these multiple-choice options, and her problem is all of the above.”
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Nidhi
March 3, 2015
This is to ‘Rab ne bana di jodi’ what ‘Luv Shuv Te Chicken Khurana’ was to DDLJ.
Nice to see YRF protégés showing the boss how it’s done. 😀
I quite liked the film, but I still don’t know what exactly brought about Prem’s change of attitude. I wish their relationship, and particularly Prem’s arc, had been etched out better, instead of all the focus on family.
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brangan
March 4, 2015
Ananthakrishnan Suresh: I think the rather generic trailer is basically Mani Ratnam telling the box office “OK, so you don’t like my experiments? So you want another ‘Alaipaayuthey’? I’ll give you one exactly along those lines.” So my expectation, too, is along those lines.
Though I hope it’s a much better movie. I like the first half of ‘Alaipaayuthey’ very much but the second half is really problematic for me.
Hithesh Devasya: Usually we’d find mothers having trouble adjusting with the daughter-in-law in our movies but here it happens to be the aunt.
Yes, and I loved the way the “trouble” between them started right away, during the wedding night. The aunt proudly declares that she’s adorned the room with marigolds. Sandhya response is a sneeze — she’d allergic. The aunt’s face falls. Thereon, it’s war (though of a mild kind) 🙂
Rahini David / musicofchance: Thanks so much. I’m very touched that something I wrote so long ago (even I’d forgotten it) is still being pulled up. Thanks.
Nidhi:Yes, I too would have liked more detailing in Prem’s attitude, and more of why Sandhya changed too. She seemed so insulted at that point, she slaps him and goes as far as considering a divorce — and then she kinda-sorta folds meekly. I wish more had been done.
BTW, I think YRF gets a bad rap needlessly. Even if you see Hollywood studios, they balance out the good stuff with glossy crap like “Fast and Furious” or whatever. YRF brought us “Shuddh Desi Romance,” “Band Baaja Baaraat,” etc. — and even films like “Rab Ne…” have lots of nice, subtle, underplayed stuff.
“DDLJ”, though, I agree with you. One of those mega-successes I just don’t see the fuss about. And an easy candidate for “biggest hit with the most unremarkable music score.” 🙂
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apala
March 4, 2015
BR,
I thoroughly enjoyed the film… It’s infectiously sweet… Loved it.
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jussomebody
March 4, 2015
Oooh, would like to know why you found the second half of Alaipayuthey problematic. Pity you weren’t writing reviews then. And Conversations remains very much the maker’s perspectives.
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RT
March 5, 2015
After reading your review, am definitely planning on seeing this. Especially after your comments about English Vinglish. I searched for your review on that (hadn’t read it earlier) and agree with a lot of what you said about it. The whole concept of changing oneself to be accepted/respected/loved can be difficult to get right and English Vinglish didn’t quite manage that. Glad to know that this movie has a different take on it.
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Ananthakrishnan Suresh
March 5, 2015
BR: I personally believe that the second half began properly. But towards the end, the movie turned too dramatic with a poor climax. And adding insult to the injury was khushboo’s overacting.
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MANK
March 5, 2015
BR: BTW, I think YRF gets a bad rap needlessly
Brangan , i agree to an extend. But more than SDR or BBB , I think the more courageous movies were Jhoom barabar jhoom and tashan were they gave free rein to to the idiosyncrasies of the respective filmmakers and let them experiment with the form of the medium.. Its too bad those films flopped
“DDLJ”, And an easy candidate for “biggest hit with the most unremarkable music score
Hey how about HAHK,3 IDIOTS and now PK
But all films from YRF are like that , they all seems to have superhit songs, but with the exception of Kabhie Kabhie , i dont think they ever had a remarkable music score.
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soumya
March 5, 2015
@BR: “biggest hit with the most unremarkable music score.”
Oh, I totally agree with you on that one. Infact I feel it holds true for most of the music under YRF banner..
Here is something written about the film that I found very interesting…
http://www.firstpost.com/bollywood/hoopla-around-dum-laga-ke-haisha-celebrating-bhumi-pednekar-exposes-our-ingrained-fat-phobia-2132481.html
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brangan
March 6, 2015
MANK: And you can add “Kill/Dil” to that list. The film didn’t work at all, but it must have sounded pretty high-concept on paper — not at all your usual masala.
jussomebody: Oh, once they move into the apartment, the film gets into a melodramatic zone and it doesn’t work for me at all. The whole thing about Shalini not keeping in touch with even the sister she’s so close with. The thing about her seeing Madhavan with her sister and suspecting him. All this felt like it belonged in a more melodramatic movie.
Melodrama, in general, doesn’t fit in easily with Mani Ratnam’s films because he’s a world removed from someone like, say, Bharathiraja, whose films are steeped in melodrama. In the latter’s films we wouldn’t bat an eyelid at a “kudumba pagai” or something. In a Mani Ratnam film, we flinch because the characters don’t seem to be that sort — or maybe they are, but the glimpses of them we see on screen don’t seem to indicate that kind of behaviour.
While interviewing Mani Ratnam for the book, I did ask him about some of this. I remember a question about the sister. I think it did make it to the final edit.
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venkatesh
March 7, 2015
Ha : “And an easy candidate for “biggest hit with the most unremarkable music score.”
I disagree … strongly.
You can spin Rukh ja o dil diwaane and still get most guys of a certain vintage pretending to be SRK. Nowt wrong with that score and that movie
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sachita
March 9, 2015
My friends and I had a long debate whether shalini did suspect it was her sister or think it was some other girl. That is definitely a sore point in the movie. So out of character.
But except for that, everything else is alaipayuthey is perfection ( for a whole generation I might add – a popular cult).
I wonder to enjoy Tashan or the other slew of such movies, one needs to have been a 80s 90s masala movie fan – they dont appeal to me but I see it gets repeatedly praised here.
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brangan
March 22, 2015
Some really nice points here. Solid, focused film analysis.
http://scroll.in/article/714632/why-the-woman-is-actually-not-on-top-in-dum-laga-ke-haisha
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Aran
April 2, 2015
Coming late to the discussion as I just saw this yesterday, but why is no one talking about the issues Sandhya’s character has apart from the weight? The weight seems to have overpowered everything we see about her, sadly. Her sharp tongue IS problematic and though not a catalyst in the ending of their marriage here, is definitely not something that contributes to it either. Why is it that when women need to be depicted as assertive, they end up being somewhat of a shrew?
When Sandhya talks back about throwing out the expired whatever it is in the kitchen with the bua, I felt it is mostly her escalating the situation rather than the bua. And when she says something like “dekh li kitni grahasti banali aapne”, I actually gasped. That is MEAN. As mean, if not more, as the sleeping with the saand comment her husband utters. This issue is addressed a little obliquely when the female lawyer berates her gently for talking back to her parents and asks her to apologize to them. That comment is treated as somewhat of a joke in there but it is a serious issue.
The female lead seems to be getting a free pass as the victim in the movie and the main arc is about the husband coming to terms with his underwhelming self-confidence. I suppose the end felt okay to me when she gives up her Meerut job because that is really the only time she is not completely selfish in the entire movie.
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pankaj1905
May 4, 2015
I saw this movie today. Somehow, the marigold scene reminded of the metaphor of Sasural Genda Phool from Delhi 6 that also starred Sheeba Chaddha. And, I am not sure about this but there was something related to food/digestion between Bua and Sandhya. The first one is the scene when Sandhya says the word metabolism, the second fight is over Isabgol – a great remedy for digestion, third scene was when Sandhya cooks boiled vegetables, and bua remarks, “Masale kare kya, bas khoon jalaye” which was subtitled as ‘Spices cause acidity’ – was this some reference to fact that a plain looking girl was chosen for her financial benefits (like the health benefits) and very difficult to digest this fact?
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karrvakarela
May 7, 2015
I saw this one in Dubai earlier today and thought it was fantastic. Warm, funny and completely charming in an understated way. Bhumi Pednekar stole the show. I agree with you in that I wish the arc of Prem and Sandhya’s relationship has been explored better. Also, I wish there had been a few more scenes with Pednekar, Alka Amin, Sheba Chaddha, Seema Pahwa and Sanjay Mishra. They really inhabited their roles. It’s a lovely change from the usual YRF gloss.
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