It is one of the apparently unwritten rules of the Indian society that there exists a relationship between a Dewar and Bhabhi which sometimes assumes myriad proportions. MERE BROTHER KI DULHAN is one such story of a Dulhan where a younger brother in his quest for a Dulhan for his elder brother falls in love with her. It has been happening in real life for quite some time but Hindi cinema has now taken a first step forward in this direction with MERE BROTHER KI DULHAN. It is in sync with the times, and it also is a pointer to the fact that the so-called idea of a younger brother being Laxman to his elder brother Ram is changing factoring in the change in the societal structure.
During the last decade or half Hindi cinema has given some interesting works where the focus is on the Dulhan, and the quest to win her. It could be in the form of two male stars vying for the Dulhan or the male star trying his level best to get the Dulhan fighting against all the odds from the society. Here is a look at such films over a decade and a half which underlines this premise.
DILWALE DULHANIA LE JAYENGE: It was the first film of the genre where a Dulhan, aka Kajol, whose marriage had already been fixed rebelled against the decision of the family, though covertly to express the desire of her heart, obviously helped by the female of the species in the family to have her say, and eventually in the end even melt the iron-willed father. As a matter of fact if one were to search for films having message of gender empowerment, DDLJ was probably the first film which was packed in the commercial veneer underlining this premise. It could be precisely for this reason that Kajol still is going very strong even 15 years down the line.
MERE YAAR KI SHAADI HAI: Again a film from Yash Raj Banner where the jealousy angle of childhood flame was put into relief. It was also underlining the existentialist dilemma of the average Indian male where most of the chemistry associated with love is formulated in his mind and he lives in the utopian world and when the reality is different he tries to sabotage it, though he never could muster courage to express the fondness. Tulip Joshi had underlined the confusion compounded in a very nice manner in this film.
DULHAN HUM LE JAYENGE: Here is another angle to the way the marriages are conducted. It is characterized by the aspirations that the parents have for their girl child (ren) and the manner in which they want to decide their destiny by arranging the tiles of marriage on the board fulfilling their aspirations. In this film same was being done by Anupam Kher, Om Puri and Paresh Rawal who wanted to impose their will on Karisma Kapoor, and the film is a narration of how Karisma Kapoor was able to wriggle out of the situation. Incidentally, this film was again a film distributed by Yash Raj banner in India.
MAIN PREM KI DIWANI HOON: A Rajshri film starring Kareena, Hrithik and Abhishek again is a case of mistaken identity where Kareena Kapoor falls in love with the boy who has come to see her (Hrithik Roshan), but he is not the boy who was supposed to marry her (Abhishek Bachchan), and it is a stark reality in quite a lot of cases in real life. The only thing is that the girl is forced to accept it as her fait accompli, but the film tries to convey the message that the girl should indeed have a say in the manner in which her life is going to progress.
MUJHSE SHAADI KAROGI: One of the biggest hits of its times, Priyanka Chopra has played an interesting role of a girl whom Salman loves, but Akshay Kumar tries to create all kinds of hurdles supposedly so that the marriage does not happen. But as it is revealed in the end, Akshay is really trying to help his friend Salman shed his inhibition and express his love, a dilemma that still creates complications in life of the youth in India. One only hopes that MERE BROTHER KI DULHAN would help youth of the present times, especially the girls to have a determined a say in their marriage, as it is their destiny which is on fire.