If Galib were to be alive today he would have to rewrite his famous couplets on love as the manner in which love is now being portrayed in Hindi cinema has really given a new definition to it. Galib had written "koi mere dil se pooche tere teere neemkash ko, wo khalish kahan se uthti jo jigar ke paar hota", and now the eyes only vituperate with venom, venom of such intensity that one is ready to take revenge at the drop of a hot.
The intermediary step in being spurned in love in Hindi cinema was that the jilted lover would turn into a villain and eke out his or her revenge, but still in some corner of the heart of the jilted lover a feeling of warmth still continued to simmer. Not now, as the jilt has now morphed into a more venomous kind of a thing, no more soaking oneself in sorrow and drowning, now revenge has become the leitmotif. This transformation of Hindi cinema started in a real way with LOVE SEX AUR DHOKHA, or was it OYE LUCKY LUCKY OYE. May be OYE LUCKY LUCKY OYE had given the inkling of the portents to pan which took their own manifestation through LSD. Now it has reached its acme with PYAAR KA PUNCHNAMA, LUV KA THE END, etc., all wherein spurn is being used as a device to wreak havoc on the partner with whom one had taken oath to walk in the sunset.
The transformation that love has undergone as far as its on screen projection is concerned, is more to do with the intervention of technology in our lives, and where the tools of technology are being used to launch a blistering vitriolic campaign. In its evolution, love a few years ago was characterized by "tu nahi to aur sahi, aur nahi to aur sahi", but now it is "to meri nahi to kissi ki bhi nahi", and it is more a reflection of the evolution of the society where one cannot take rejection for an answer.
Love has now become painful and it is also to do with the fact that the career and a fat pay package has become the dominant motif rather than the oaths to die hungry but not leaving the partner. May be, with changing times, where one does not have the time to hold hands and sing romantic songs, love has acquired this manifestation. It is also reflected from the kind of romantic songs being aired, there hardly exists a song, which has an element of softness that can touch your heart. In fact the dilemma of manifestation of love is best expressed through the song of DELHI BELLY, socha tha tu saboon hai; par to nikla jhaag, love has acquired this manifestation indeed. But it would acquire the sepia toned halo in times to come.