↳Film: DIDI TERA DEVAR DEEWANA from HUM AAPKE HAIN KOUN (1994, Hindi), dir. SOORAJ BARJATYA
Sooraj Barjatya films are known for their (often unintentionally comedic) portrayals of traditional family values, which is why it was so surprising that a song like Didi Tera Devar Deewana somehow made it into what was, at the time, the biggest Indian blockbuster. The character Rita (Sahila Chaddha), who has no prominent role in the film otherwise, crossdresses to role-play as Prem (Salman Khan). She teases the women, romances Nisha (Madhuri Dixit) and conducts herself with a confident masculinity that was, and still is, virtually unheard of in mainstream Indian cinema across all languages.
Commentary on this song by Professor Gayatri Gopinath, from her book Impossible Desires: Queer Diasporas and South Asian Public Cultures, was posted by Desbian Herstory here.
This song was only the beginning of Madhuri Dixit's involvement in queer media, as she would go on to feature in multiple gay and gay-coded media, both as a supportive character and as the gay character herself. She has also been supportive in real life of the LGBTQ community.
Kaate nahi kat-te hain lamhe intezaar ke,
Nazarein jama ke baithe hain raste pe yaar ke,
Dil ne kaha dekhein jo jalwe husn-e-yaar ke,
Laaya hai koun inko, phalak se utaar ke.
काटे नहीं कटते हैं लम्हे इंतज़ार के,
नज़रें जमा के बैठे हैं रस्ते पे यार के,
दिल ने कहा देखें जो जलवे हुस्न-ऐ-यार के,
लाया है कौन इनको, फलक से उतार के।
has anyone thought about the diegesis of music in bollywood/south asian masala movies? there's no doubt that it functions differently than in western musicals... but HOW exactly? in most western musical theatre the music seems to non-diegetic (as in, the characters and those around them are unaware that they are singing) unless it is a performance, then it is diegetic/source music (they are singing in the story- everyone knows they're singing).
perhaps the difference comes from the fact that masala movies are movies first and (to my knowledge) are often not adapted from musical stage productions (though the movies CAN be adapted into musicals in the case of mughal-e-azam, hum aapke hain koun, and dilwale dulhania le jayenge). but in masala movies the line between "this is a performance in the story" and "i am singing to express my feelings" seems somewhat blurred. Señorita from ZNMD is a performance, they are singing, everyone knows it. Bum Bum Bole from Taare Zameen Par, they're singing, Aamir Khan is a funny little dude singing a funky clown song. But then what about Kashmiri Main Tu Kanyakumari from Chennai Express? Singing in a car... okay, that's a performance! But the choreographed dance number? Is that happening or is it symbolizing their journey across India? Mere Khwabon Mein from DDLJ is definitely (probably?) Simran expressing her dreams and such, and she's not singing in universe. But then what about Mehndi Laga Ke Rakhna? Raj singing at Simran would make sense as a performance at a mehndi, but what about Simran singing back?
OH and since the popularity of film/musical songs works differently in South Asia than it does in the States... how does continuity work in that? Such as the medley from Mujhse Dosti Karoge, in which Hrithik's character sings Kuch Kuch Hota Hai to Rani's character... does this mean that KKHH exists in this universe?? Does Rani Mukherjee the actress then exist in this universe and her character in this movie have a doppleganger?? What about all of Shahrukh Khan's movies... especially with the antakshari scenes in Chennai Express? Does Om Shanti Om exist in that universe? Does SRK the actor exist? If not then how did these songs come about? Is it similar to the NSU (Nickelodeon Sitcom Universe) in which there are gray parts of one's mind when it comes to crossover events? This FASCINATES me to no end you don't understand.
side note. i want to see someone that has directed a masala movie tackle one of these american musical to movie adaptations. no more tom hooper. i want farah khan or karan johar or ss rajamouli to direct cats and see how THAT looks. if tom hooper had directed k3g it would not have been as fantastical (such as the "my son is here" super sense) as it was.
let american movie musicals have as much fun as south asian masala films do.
there seem to be some (paywalled) academic papers on the matter but it'd be interesting to hear anyone's thoughts on it!
watching hum aapke hain koun and the opening credits, which are just close-ups of salman and madhuri’s faces in black-in-white, lip syncing the title song with placid and vacant smiles, and I am perturbed
No but one of my biggest gripes with Hum Aapke Hain Koun is that Pooja straight up DIES, they have a funeral scene for her, and then the entire family unit is like. Oh no!! Anyway. Rajesh marry her *sister* of all people
Coeli's Picks: Weddings, part 1 (Indian Film Edition)
One Dress a Day Challenge
June: Weddings
Indian movies do love their wedding scenes! Here are some more terrific costume examples, in order from the oldest film to the newest. Lots of good men's costumes in this batch.
Hum Aapke Hain Koun..! (1994) / Madhuri Dixit as Nisha Choudhury
Devdas (2002) / Madhuri Dixit as Chandramukhi
Mujhse Dosti Karoge! (2002) / Hrithik Roshan as Raj Khanna
Bride and Prejudice (2004) / Namrata Shirodkar as Jaya Bakshi and Naveen Andrews as Balraj (top); Martin Henderson as Will Darcy and Aishwarya Rai as Lalita Bakshi (bottom)
(Okay, this one isn't technically an Indian movie, being an international co-production. But it definitely belongs with the Indian movies costume-wise.)
Vivah (2006) / Shahid Kapoor as Prem 'Bholu' and Amrita Rao as Poonam 'Bitto'
Rockstar (2011) / Nargis Fakhri as Heer Kaul
2 States (2014) / Alia Bhatt as Ananya Swaminathan
Prem Ratan Dhan Payo (2015) / Salman Khan as Prem Dilwale (or maybe Yuvraj Vijay Singh; he plays a double role and I'm not sure which this is!)
Sonu Ke Titu Ki Sweety (2018) / Sunny Nijar as Titu Sharma