Like many from the generation who came-of-age only in the early 2000's, the 90s live only as a blurry memory, with no lived-in feeling. And in hindsight, the 90s were also a year where Hindi cinema was hitting puberty, an awkward transitional phase where right from physical appearances to the tone of the voice, everything is a little ill at ease.
I had never seen Maine Pyar Kiya or Hum Aapke Hain Koun or Hum Saath Saath Hain in a movie theatre, but had watched and re-watched them on television at a fairly young age. Even then, they felt very dated, stuck in a time-warp that never felt relevant to me, something that made me sceptical of Sooraj Barjatya's new film.
But that's where Prem Ratan Dhan Payo, Sooraj Barjatya's latest family-entertainer comes as a refreshing breather. An out-and-out crowd-pleaser, the film is bound to leave families teary-eyed while also giving them a satisfying emotional trip. In creating two identities of Salman Khan as Prem and Vijay (he has a double role, Prem is a doppelganger who is brought after an assassination attempt on Vijay, who is the King) - Sooraj has essentially created two worlds far removed from one another, much like the one we live in and the one his films occupy.
The crux of Prem Ratan lies in how the modern Prem - one whose humour is relatable, whose wit has genuine flair and one whose attitude towards women is heartfelt and progressive - is able to transform a household seeped in patriarchy, manipulation, and general hatred towards one other.
By creating the new Prem, Barjatya manages to bring in a contemporary worldview while still retaining the old-world charm that made his films mandatory household viewing. For instance, in the modern household set in a fictional town in the film, the woman is the one who initiates sex while the man is seen chopping vegetables. It's a fleeting scene but very telling of how Barjatya has tried to adapt to changing times while still keeping his brand of cinema relevant.
Sonam Kapoor plays Maithli, a princess, the about-to-be Queen. But that's not her only identity. She also runs an NGO that supports relief-camps. At the luncheon with her fianc, she is quick to point out how the marriage will be doomed because she isn't going to be the one bowing to his demands, living in fear of when he may get angry or upset. A turning point which brings us to their subsequent romance.
Dreamy, picturesque, sensual yet dignified, Sonam Kapoor and Salman Khan's on-screen love story is beautiful to experience, one oozing with grace and an understated chemistry. While she's elegant and quietly articulate, he is brimming with energy, a good contrast to Vijay, the King she never knew. Their love story reminded me of Gregory Peck and Audrey Hepburn's romance from William Wyler's Roman Holiday.
There is some great craftsmanship in terms of the storytelling and Barjatya even manages to ensure that the supporting characters stand out - whether it is Swara Bhaskar as the jilted step-sister, or Deepak Dobriyal as the sidekick. Anupam Kher too has a substantial role and the veteran actor, for once, isn't mouthing senseless one-liners, which he has been reduced to doing. It's a well-shaped character and a moment towards the end when he speaks about why he never found love (there's a running gag about his virginity) is sure to melt your heart.
The film is technically brilliant, exquisitely shot with sweeping sets and a heart-achingly beautiful background score that uplifts the scene.
The only false note here is Neil Nitin Mukesh. The subplot involving him isn't given enough attention and reeks of lazy writing. Neil's performance too is overdramatic, even for a Sooraj Barjatya movie. The climactic battle between Salman and him is excessive and feels rehearsed rather than real. A better actor could've saved the day.
In a time where films like Titli and Talvar, both dark dramas about dysfunctional families have been appreciated, Prem Ratan Dhan Payo is its utopian cousin. But, be aware, there's a lot of underlying tension even here.
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