Spoilers ahead…
Shashank Khaitan’s Badrinath Ki Dulhaniya troubled me like no film has in a while – and at least part of the reason was that I wasn’t expecting to be troubled. You watch a Raman Raghav 2.0, and you know a certain amount of mind-fucking is par for the course. But here, I was just expecting a rom-com. Boy meets girl. And Bollywood’s recent love for the man-child meets Bollywood’s eternal adoration of Dilwale Dulhania Le Jayenge.
The man-child is Badrinath (Varun Dhawan). The titular dulhania (bride) is Vaidehi (Alia Bhatt). He’s from Jhansi – and for a reason. Irony. Despite the city’s legendary association with its warrior-queen, what prevails is patriarchy. We see it in Badrinath’s father, who won’t let his wife speak, or his daughter-in-law work. I’ll give you a minute to digest the fact that the daughter-in-law is played by Shweta Basu Prasad, the little girl from Makdee and Iqbal. Dharma Productions likes to shock us with reminders that time flies. I’ll give you a minute to recall that Sana Saeed, the little girl from Kuch Kuch Hota Hai, reappeared as a sex symbol in Student of the Year.
Vaidehi, meanwhile, is from Kota – and for a reason. The city has a park with replicas of the seven wonders of the world. So her dreams of becoming a flight attendant – as she explains in an interview – aren’t about seeing the world. Been there, done that. Her reason is that she wants to free herself from her surroundings, she wants to fly away.
All I expected from this premise are some laughs, some chemistry, a lot of bright, happy colours, some foot-tapping music. The film fails us on the last count (the original songs are anaemic, the remixes are generic), but it delivers on the rest. Sahil Vaid is a hoot as Badrinath’s chaddi-buddy, and I liked the lightness with which Khaitan sets up the patriarchy he is out to puncture. A teacher informs us, using a blackboard, that a boy is an asset, a girl is a liability, and marriage is a form of audit.
And the leads are excellent – individually, and together. Varun has the best gallery-playing instincts since Govinda, and he manages to shed a couple of layers of his innately urban skin and embody a “small-town type.” Alia has fun with riffs on her real-life persona now preserved for eternity through that AIB video. You think she knows nothing? Wait till you see Vaidehi define “claustrophobia” and throw around terms like “simple interest” and “compound interest.” And to no one’s surprise, the actress aces the dramatic scenes. See her face register about a dozen things – guilt, sadness, trepidation, the resolve not to break down – when she calls home after running away. These two could sit down and read out the proverbial phone book, and you’d still have an entertaining movie. They’re the reason we keep watching, despite a padded-up second half that loses steam alarmingly and has to get the hero drunk in order to make him rebel.
Here’s the trouble I was talking about. The film wants to do more than entertain. It wants to make points about dowry, about the desire for a male child, about the validity of a woman’s career. It wants to push popcorn. It also wants to be progressive. I’m not saying the two aims are mutually exclusive. But the la-la-lands that the Dharma films are set in are more suited to matters of the heart than matters of the world. An Ae Dil Hai Mushkil works beautifully (at least till the bald heads make an appearance) because we’re in the realm of romance. Love is the only thing that matters. Badrinath Ki Dulhaniya seeks to situate itself in the realm of reality (though there’s no real sense of place), and this becomes a problem because Khaitan keeps bringing up icky situations, but he doesn’t want to really address the ickiness. He wants to be seen as progressive, but he also has an eye on popcorn sales. The result is a hotchpotch.
We get two backstories about failed romance. One of them involves Badrinath’s brother (Yash Sinha), who was forced by his father to leave the woman he loved and marry someone else. Early on, we see him moping on the terrace, downing a couple of drinks. But almost instantly, we’re told that he’s gotten over the past. There’s a hint of unresolved feelings, but the film isn’t interested in exploring them. Understandably, for he’s a secondary character. But what about Vaidehi? She loved a man, was duped by him. Surely some of this is going to colour her feelings as Badrinath chases her, wanting her to say ‘yes’! But her issues seem to have more to do with her wanting to work. This is too much emotional baggage to be brushed under the carpet. She has to learn to trust a man again, and she’s going to do this just because he has a cute smile?
Badrinath Ki Dulhaniya is a great example of how “cuteness” can change our perception of things, how it can transform a film from a social drama to a rom-com. Because had it been less cute, had it featured Anil Kapoor before he made friends with Anne French, we’d have got Benaam Badshah. In case you don’t remember that 1991 film, a remake of the Tamil hit Pudhiya Paadhai, here’s what happens. The hero rapes the heroine on the eve of her wedding. She takes it upon herself to reform him. This film doesn’t go that far, but you could still make the case that this hero, with his sweet-natured stalking, repeatedly violates the heroine’s personal space and, at one point, kidnaps her and throws her into the trunk of his car so he can teach her a lesson. And what does she do? With the forbearance of a saint, she puts up with his tantrums and nudges him along the road to enlightenment. At one point, we’re made to feel it’s her fault he’s so lost. She could have been firmer in saying no, no? She kept smiling at him, no? So he will take her ‘yes’ as a given, no?
Look, I’m not saying these scenarios should not be shown. Who are we to judge how people (even if these people are only in a movie) lead their lives? I’m just saying that these scenarios are too complex to be stuffed into a film that just wants to be a light-hearted entertainer. The odd placement of the Tamma tamma remix is a perfect metaphor for the film’s bipolarity. It follows a touching moment between Badrinath and Vaidehi, and it’s as if the song is shaking us by the shoulders and saying, “Hey, snap out of it. Don’t take any of this seriously!”
The film’s most stunning scene is a subversion of the rape scene we know from the heydays of Ranjeet. Badrinath is molested by gay thugs. (We’ve already had an acknowledgement of lesbianism when Vaidehi says, “Shaadi nahin karna chahti hoon. Na kisi ladke se. Na kisi ladki se.” She doesn’t want to get married, period. Not to a guy. Nor a girl.) Vaidehi becomes the “hero” of this scene, when she charges in with her pals and “rescues” Badrinath. When she notices his T-shirt is torn, exposing his chest, she lends him her dupatta so he can cover himself. The scene is treated like a joke, but I wasn’t sure if I should laugh along. Yes, free speech means rape jokes should be okay. But how can you not squirm when a film trivialises such a horrific scenario?
It’s much easier to enjoy the subversion of the DDLJ climax. We get the train. We get the girl. We also get a fuck-you to the conservative father. There are terrific scenes with the leads, like the one inside a moving bus that captures exactly what such a conversation would be like, or the one where a singer accepts a non-singer as his spouse because her inability to sing doesn’t make him love her any less. At the “leave your brains at home” level, Badrinath Ki Dulhaniya is undeniably fun. Only, it doesn’t want you to leave your brains at home. It wants you to think about the things it’s doing. That’s the trouble.
Copyright ©2017 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
harish ram
March 12, 2017
This article is going to make me go back to your Selvaraghavan reviews in the past. I have similar problems with his films. In one end (mostly 1st half) he goes into the popcorn mode and in the other end (the real plot) he goes into the darker realities of life and mindset.
LikeLike
Sundar
March 12, 2017
“Alia has fun with riffs on her real-life persona now preserved for eternity through that ATB video”
It’s AIB video
LikeLike
Amit Joki
March 12, 2017
So that’s another stereotypical portrayal of gays, right there, like all these films do, they seem to be turned on by any decent looking guy and can’t keep their hands off him. Typical.
LikeLike
Neel Katarnavare
March 12, 2017
Hi sir, Although I do enjoy your take on movies especially shitty ones….I have to say that this movie was much better than you give it credit for…If its unexplained plot poitns you are concerned about, well the movie “Pink” was quite the same but just because it was marketed as a “feminist” movie you will applaud it. Badri is a pretty good take on what feminism means but you wouldn’t acknowledge it cause it wasn’t marketed that way…
LikeLiked by 1 person
brangan
March 12, 2017
Neel Katarnavare: It’s not that Pink was marketed a certain way. It’s that it took these issues seriously and did not airbrush them in an attempt to make an “entertaining” movie.
LikeLike
Jay
March 12, 2017
Would love read your reviews of old tamil movies for example ‘Pudhiya Paadhai’.
LikeLike
Srinivas R
March 12, 2017
Harish ram – I don’t think any of Selvaraghavan’s movies sell popcorn, there are an universe away from Dharma productions IMO.
LikeLiked by 2 people
Vikram S
March 12, 2017
BR, Anil Kapoor before he made friends with Anne French…😂
Just like old times….
LikeLike
Sukanya
March 12, 2017
Great review! I haven’t seen this one yet but isn’t the stalking bit of boy following girl even when she says no a hundred times common in Indian movies, I know there are plenty of Tamil ones. These set a dangerous precedent don’t they?
LikeLike
sanjana
March 12, 2017
I do not know whether I should say this. But it seems your criticism of this Dharma movie is to make a point to your detractors who say you are friendly with Kjo. If that is the case, it is not fair criticism. I think you are rather harsh on this film.
LikeLike
Aran
March 12, 2017
But, BR, isn’t ‘took these issues seriously and did not airbrush them in an attempt to make an “entertaining” movie’ asking too much of a Dharma Productions movie? These movies have always taken serious issues and dealt with them in a non-serious way, right from DDLJ’s Kajol forcibly being married off by her father to the whole soft-gay thing in a variety of movies like KHNH and Dostana. Do you feel uncomfortable with the trope itself or this particular movie?
And despite reading about the stalker issue in various places about this movie, somehow I haven’t felt that when I was watching it. Not like, say, Raanjhanaa. I wonder why that is. I’m still trying to figure out if it was the way Badri’s character was contrasted with his father’s so that we had more sympathy for him, or just the way he played the character in general. To be fair, Vaidehi also used him to get her sister married and as her ticket out of the small town to chase her dreams.
LikeLiked by 1 person
brangan
March 12, 2017
Aran: Again, as I said in the review, the issue for me wasn’t that certain social issues were brought up. It was more that these were quite major issues and they weren’t dwelt on. See, a film like Vivah does this sort of thing with some conviction. The stars are low-key. The small-town sweetness seeps through. The issues are “simple” ones (like dark skin). Here, there’s an aggressive “let’s put on a show” vibe that makes rape jokes etc quite squirmy.
And no. Raanjhana is very serious about how it tackles stalking. We see people — the hero included — pay a price.
sanjana: I haven’t really torn the film apart, have I? I loved the leads. I loved a lot of the popcorn moments. All of this is in the review. It’s just the squirmy parts I had an issue with. You seem to think this is harsh. I think it’s a glass-half-full kinda review.
Then again, there’s no winning with this kind of accusation, is there? If I like a Karan Johar or Mani Ratnam movie, I am “biased.” If I appear negative, then I am trying to “prove a point.”
My job is to write. You’re free to conclude whatever you want.
LikeLiked by 1 person
sanjana
March 12, 2017
I know one cant win with this kind of argument. One is damned either way.
LikeLike
flapshapin
March 12, 2017
My Rating to this Movie is 3.5. One time movie.
http://flapshap.in/movies/badrinath-ki-dulhania-2017/
LikeLike
Aran
March 12, 2017
BR, Comparing Vivaah and Badrinath ki Dulhania in the same breath? Bite your tongue! 😀
I understand why you’re uncomfortable but it still seems like an unusual problem to mention in a review about a Dharma production movie, the production house that has made a movie full of gay jokes. That’s their MO. They do serious issues in a jokey way. I guess I just want to understand why this is an issue with you here and now with this movie.
LikeLike
Subhash
March 12, 2017
Please put up with me and follow this comment for few more lines. Not many, just till the end. :p Try explaining that stalking is wrong and let the rejecting woman go to the innumerable delirious fans of our superstars. Or to those superstars having innumerable delirious fans.
One undeniable aspect of superstars is that they happen to be a visual representation of what an average chinna would like to be (Average Joe is American and our people might be offended, so I’m going Indian). For every average chinna, watching a superstar fight dozens of goons, throw some punches and do whatever they wish to (Shankar made Arjun a one-day CM) means something. These larger-than-life avatars of their demigods are so much unrestrained that they will end up providing temporary salvation to the mindless doubts and insecurities of the devotees on the other side of the screen.
Such perceptions, on a serious note, subconsciously affects people watching films “owning” such people. And if they find something relatable there to their actual persona, half task is done. Let us see the most troubling aspect in such cases: romances.
There is an idiom in English, “Hold your horses”. This needs to be mutual in cases where both the star and the fan are in a position of influencing each other. Either one going overboard would end up making chaos. Oh no! Sorry! I forgot that there are devotees of demigods who are unrestrained. So, let’s make this slightly south Indian. Make them, “Hold your Sarangams (deers)”. For those asking what I mean, please read this as I don’t want my deer to jump now. 😉
http://www.hindudevotionalblog.com/2014/05/meaning-of-deer-in-shiva-hand.html
You are great enough if you managed to reach this point. Bravo! Now just three more paragraphs (please! please!). When the audience see the hero taking no as yes and relentlessly pursue, it is neither the character’s desperation to find success nor the star’s intent to promote anything out of it. The fans, considering the state of mind they are in, see things from the hero’s eyes but with their own hearts. So, they too cannot take no for a no. They too need success by hook or crook. Take this as a single stroke. How many stars in how many films faced such conditions and how many films an average chinna watches every year consistently. Every stroke culminates into a shade on a paper. What about the heart? It creates greys, serious and callous greys. The unrestrained avatars of their demigods give so much false hope that one unintendedly starts imitating them.
When the average chinna meets a girl in real life, proposes and gets rejected, he is not expected to be moving on. How can he, after all. Firstly, love is such a bitch and again the filmy influence is so strong. So, the feet start progressing with ominous regressiveness which the non-desi/mnc-desi/educated-desi/judgemental-desi/medical-desi stylise as “stalking”. More than a crime, it is a mental condition first. Before punishment, it requires medication. It requires assurance that the unstabilising insecurities can be warded away, that non-judgemental is no myth, and definitely that every superstar is a work of fiction from a fan’s eye. OK, assume he stops stalking (because ‘she’ never does that, right? Hey man, feminists are watching. careful! careful!). Then, you get TASMAC songs in films which do help the reformed average chinna develop hatred and disrespect on women (which is really wrong, I mean it). Remove TASMAC too.
Average chinna and his superstar move on holding their deers firmly. Breakup happens in climax and hero is happy letting her go, realising that stalking is a crime. Then, will the problem end? You will hear comments like these: “What was the director thinking? Was he making a PSA on anti-stalking? We need films, man. Bring on some drama”, “This is too dramatic. Can’t the director be subtle? Too preachy. Sorry”, “This is an art-housy shit not intended to waste your precious time and money”, “the filmmaker intends to insert moments of fake emotional manipulation and fake feminism (but I managed to sniff; I’m no ordinary critic)”, “The hero lets her go and audience acclaim him. So, clearly the girl is villainised here and we have to be silent cooking in kitchens? We strongly protest”. You forget, the society will remind. Every week, every day. This is a butterfly-effect-having-sex-with-blame-game where none talks. They only state/protest/shout/declare/argue/judge/comment etc.
Huh… still didn’t get my point? Talk, converse, appreciate and understand. That is the only way of romancing where neither party has issues. Go, start conversing with the opposite gender. We still have time!!
LikeLike
Aman
March 12, 2017
One thing about all these DDLJ inspired films are that they can’t possibly as bad as the original. Especially films like Humpty Sharma scores better because the leading lady is much better and a pleasant presence, also the films that came post seem to get India and NRIs which ddlj never could. Anyway as someone said amazing how a film that’s such a disservice to real and reel romance inspiring film after film because of the success it achieved should be a case study. Is it just about the overseas markets it expanded or something else.
LikeLike
Rrb
March 12, 2017
U ve written so much skillfully…Without waisting Ur energy why don’t u write own stories N become a script writer….
LikeLike
brangan
March 12, 2017
Aran: I don’t know if you’ve seen this film, but the Dostana zone is slightly different. That’s entirely consensual. The concept is more screwball comedy in nature. This film keeps veering towards drama — it bends over backwards to make the girl “reform” the guy (instead of booting him out), because she feels “guilty” about what she did to him. (Maybe this was just funny to others. But it made me squirm.
LikeLike
brangan
March 13, 2017
For perspective, I had similar issues with Gori Tere Pyar Mein, another Dharma romcom that dealt with social issues.
Suddenly, there’s a little too much real life for a film as silly as this one…
LikeLike
Anuj
March 13, 2017
“You watch a Raman Raghav 2.0, and you know a certain amount of mind-fucking is par for the course.” ~wow. Perfect usage of words by the legendary great Sri Sri Rangan Ji Maharaj whom some of his “fucking” yes men (including dumb film makers like Zoya Akhtar) believe can never say a word wrong and is the Indian cinematic equivalent of Shakespere.
LikeLike
Anuj
March 13, 2017
“free speech means rape jokes should be okay. But how can you not squirm when a film trivialises such a horrific scenario?” ~so what exactly were you up to when Chatur Ramalingam mouthed his legendary BALATKAAR speech? Making constipated faces trying to suppress your laughter in an attempt to take a high moral ground?
@Amit Joki : Unfortunate that a Karan Johar production indulges in such crass depiction of homosexuality, even if its meant to be humorous. I thought KAPOOR & SONS was a leap forward for commercial Hindi Cinema but I guess we’re back to square one!
LikeLike
Arun Annamalai
March 13, 2017
Aran, let me give a comparison, a factory sells only food made with cheese as their core ingredient, your question to @brangan is similar to assuming that the reviewer has a problem with cheese, but the fact is it also matters how the cheese feels in your mouth with the new product, that is the essence of a review and not just saying that they sell anything with cheese so why do you have a problem.
LikeLiked by 1 person
Vee Jay Chan
March 13, 2017
Eagerly waiting for your review of ‘Angamaly Diaries’ !
LikeLike
Snehal
March 13, 2017
Completely agree with your assessment. Popcorn parts work, progressive parts dont.
I was shocked to see Badri throwing Vaidehi in the trunk of a car and her still going ahead with trying to get him off the hook with the cops. And there were no repercussions for that action or any other misconduct. Alia Bhatt was amazing though.
LikeLike
Amit Joki
March 14, 2017
Anuj: Forget about ‘depiction’. They just bring them just so that the joke’s on them. Aligarh was good too. And though Rishi Kapoors character in SOTY was irksome in a way, but wasn’t too stereotypical, in the sense, Ronit Roy isn’t disgusted and he’s treated as any normal human being would be.
Airbrushing such issues are the forte of Tamil Cinema ain’t it, so the audience come out saying, “what a moral!” and most of the time, it becomes the sole basis for a “not-bad to good” word of mouth.
LikeLike
Madhu
March 15, 2017
long long time ago, I used to blog and critique movies; i stopped as i was told that i needed to lighten up; i just couldn’t trivilaize certain things even in the make-believe world of bollywood; your post today struck a personal chord; loved every bit of it.
LikeLike
John
March 15, 2017
Overall a one time watch and was for entertainment.
LikeLike
tonks
March 17, 2017
http://www.thehindu.com/thread/arts-culture-society/understand-a-films-language-before-pointing-a-finger/article17475456.ece
The above article on the stalking aspect of this movie provides a thought provoking alternative view point.
LikeLike
Anu Warrier
March 18, 2017
@Tonks – thanks for that link; it was interesting to read. I haven’t watched the film yet, so now I’ll be watching with BR’s and this article’s viewpoint in mind.
LikeLiked by 1 person
brangan
March 18, 2017
tonks: I agree with a lot of the article. My problem is more what I say in my review:
Look, I’m not saying these scenarios should not be shown. Who are we to judge how people (even if these people are only in a movie) lead their lives? I’m just saying that these scenarios are too complex to be stuffed into a film that just wants to be a light-hearted entertainer.
A film like Raanjhanaa does not give me this problem because it is a serious dissection of a kind of male gaze. This popcorny version is what makes it… troubling, for me.
LikeLiked by 2 people