After Rahul's white pop-star fiancée dies in a bizarre levitation accident his mother insists he find another girl as soon as possible, preferably a Hindi one. As she backs this up by ... See full summary »
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Vishu and Ramu are a pair of Indian twins living in America with their father, Rajamani. When Madhumita (Aishwarya Rai) and her brother come to America to get medical treatment for their ... See full summary »
Kishen is a newspaper baron married to Kaajal, a housewife who suspects her husband of having numerous non-existent affairs. Pooja is the believing wife of ever-philandering globe-trotting ... See full summary »
A student of classical music and his teacher's daughter fall in love. However, the young woman's family arrange for her marriage to another man. The new groom surprises everyone with his actions in handling the situation.
Director:
Sanjay Leela Bhansali
Stars:
Salman Khan,
Ajay Devgn,
Aishwarya Rai Bachchan
Karan Kapoor and Rhea Prakash meet for the first time in a flight bound from Delhi to New York. They just cannot stand each other: Rhea is disgusted by Karan's flirtatious mannerisms and ... See full summary »
There are lots of poor people in India who want to get rich soon. A woman named Seema is one of them. She is very beautiful and has an admirer by the name of Sidharth. This man is very rich... See full summary »
Director:
Aziz Mirza
Stars:
Shah Rukh Khan,
Aditya Pancholi,
Juhi Chawla
It tells the story of two lovers, Prem (Salman Khan) and Nisha (Madhuri Dixit). Their older siblings, Rajesh and Pooja get married. After Pooja has her baby, the elders decide to get Prem ... See full summary »
This is the story of Priya (Kajol) and her life. She is friendly, outspoken, sensitive, yet percocious and apt to get into trouble, brought up by her dad, Amal Raj (Girish Karnad). In her ... See full summary »
Sapna, the daughter of the Saigal family's driver is a simple fun-loving girl, but her dreams are not as simple. She dreams about riches and day-dreams about her dream man. Vijay Saigal and... See full summary »
Khushi (Rani Mukerji) is a careless worker always conning her boss and making excuses to bunk her duty. She meets Ranbir Malhotra (Ajay Devgan) and comes to know that the home he plans to ... See full summary »
After Rahul's white pop-star fiancée dies in a bizarre levitation accident his mother insists he find another girl as soon as possible, preferably a Hindi one. As she backs this up by postponing his sister's wedding until he does so, he feels forced to act, the more so as he knows his sister is pregnant. But it's a pretty tall order for an Indian living in Ontario, so when he meets striking escort Sunita who can 'be whatever you want me to be' he hatches a scheme to pass her off as his new betrothed. Things get complicated when his family start to take to her and he realises his own feelings are becoming rather stronger than that. Written by
Jeremy Perkins {J-26}
Killer Khalsa (Mike Deol) is a real wrestler, and the website listed when he appears is his official site. When he heard Deepa Mehta was making the movie, he contacted her as he wanted to break into acting. See more »
Quotes
Grandma ji:
[about grandson's caucasian girlfriend]
This is the winter of our discontent.
See more »
B/H stands up as a comedy AND an affectionate parody of Bollywood formula romances. The very title underscores the love-hate relationship many contemporary South Asian filmmakers feel about the Hollywood hegemon (see http://www.thefilmjournal.com/issue9/bollywood.html ). As such, it offers a sly reworking of the Pretty Woman formula, with an Indian twist which raises the question of why Mehta's writers chose THAT Hollywood movie to build a comic plot upon. One answer requires examination of how women, especially young women, are depicted in Bollywood movies, which valorize even enforce Ramayana-like ideals of female purity versus the reality and problems of female identity in a modern world. Compare Mehta's Fire. The comedy and parody in B/H offers a different take on a Mehta theme. The Shakespeare-quoting grandmother reflects another aspect of the film's comic concern with the clash between tradition and modernity here, the kind of British-inspired education the grandmother would have received, which often required students to memorize whole scenes from Shakespeare (whose plays were and are very popular in India). The comic turnabout at the end might be examined in light of equally sudden turnabouts in movies like DDLJ, the difference being that the main blocking character at the end of B/H is Sunita herself. Her father, minutes before, reverses himself BECAUSE he has seen movies like that one. A very "filmi" intrusion into the comic plot, but (true to Mehta's sympathies) it is Sunita herself who becomes for a moment the blocking character whose needs must be recognized. It's a matter of HER identity, albeit within the framework of Bollywood comic romance. As such, her situation offers, for the perceptive, a bittersweet comic take on a question Mehta raises more seriously elsewhere. B/H is a parody, yes, but it has a serious side as well. Think about this while you laugh.
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B/H stands up as a comedy AND an affectionate parody of Bollywood formula romances. The very title underscores the love-hate relationship many contemporary South Asian filmmakers feel about the Hollywood hegemon (see http://www.thefilmjournal.com/issue9/bollywood.html ). As such, it offers a sly reworking of the Pretty Woman formula, with an Indian twist which raises the question of why Mehta's writers chose THAT Hollywood movie to build a comic plot upon. One answer requires examination of how women, especially young women, are depicted in Bollywood movies, which valorize even enforce Ramayana-like ideals of female purity versus the reality and problems of female identity in a modern world. Compare Mehta's Fire. The comedy and parody in B/H offers a different take on a Mehta theme. The Shakespeare-quoting grandmother reflects another aspect of the film's comic concern with the clash between tradition and modernity here, the kind of British-inspired education the grandmother would have received, which often required students to memorize whole scenes from Shakespeare (whose plays were and are very popular in India). The comic turnabout at the end might be examined in light of equally sudden turnabouts in movies like DDLJ, the difference being that the main blocking character at the end of B/H is Sunita herself. Her father, minutes before, reverses himself BECAUSE he has seen movies like that one. A very "filmi" intrusion into the comic plot, but (true to Mehta's sympathies) it is Sunita herself who becomes for a moment the blocking character whose needs must be recognized. It's a matter of HER identity, albeit within the framework of Bollywood comic romance. As such, her situation offers, for the perceptive, a bittersweet comic take on a question Mehta raises more seriously elsewhere. B/H is a parody, yes, but it has a serious side as well. Think about this while you laugh.