{"id":3808,"date":"2016-07-05T11:52:55","date_gmt":"2016-07-05T06:22:55","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3808"},"modified":"2016-07-05T11:52:55","modified_gmt":"2016-07-05T06:22:55","slug":"11-years-of-rab-ne-bana-di-jodi-how-suri-taught-us-love-is-about-letting-go","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3808","title":{"rendered":"11 Years of Rab Ne Bana Di Jodi: How Suri Taught Us Love Is About Letting Go"},"content":{"rendered":"\n

E<\/span><\/p><\/div>

\nleven years ago <\/span>Aditya Chopra<\/span><\/a>\u2019s <\/span>Rab Ne Bana Di Jodi <\/span><\/i>released on this day. Shah Rukh Khan\u2019s mustachioed and guileless Surinder Sahni walked into our lives with an effervescent Anushka Sharma\u2019s Taani partner in tow \u2013 giving us an unassuming take on \u201can extraordinary love story in every ordinary jodi\u201d.<\/span>\n\nI vividly remember going to watch <\/span>RNBDJ<\/span><\/i> the day it released. Back then, I was a devoted <\/span>SRK<\/span><\/a> fan. Even in 2019 \u2013 a time when the changing landscape of Bollywood has deemed King Khan almost irrelevant \u2013 some part of me is still stuck in that phase. Although, his charm and my unadulterated love for him remains largely unblemished, it is now tempered by expectations of quality on screen and a generous dose of resignation. I consider <\/span>RNBDJ<\/span><\/i> as a sort of a personal landmark because it marked the zenith of my love for SRK. <\/span>\n\nThe film had a strange timing: It went head-on against <\/span>Aamir Khan<\/span><\/a>\u2019s <\/span>Ghajini<\/span><\/i>, a gore- and estrogen-soaked take on love that set the template for Bollywood minting money off South Indian adaptations. Yet the over-hyped Khan vs Khan battle was pointless. <\/span>RNBDJ<\/span><\/i> was too quiet, too underplayed, and too saccharine for its own good.<\/span>\n\nBut <\/span>RNBDJ<\/span><\/i> also has a distracting legacy: It continues to be remembered (and mocked) the most for SRK\u2019s mustache and the general audacity of a filmmaker expecting the audience to buy that <\/span>King Khan<\/span><\/a> could play a middle-class Everyman. And that a woman would be unable to recognise her husband pranking her with a double role only because one version didn\u2019t have a moustache. <\/span>\n\nIn this meme-worthy premise, the essence of one of the most beautiful depiction of love somewhere went unnoticed. With <\/span>RNBDJ<\/span><\/i>, Chopra cleverly depicted the problems plaguing Yash Raj\u2019s idea of the larger-than-life romance… while exploiting the exact same <\/span>Yash Raj<\/span><\/a> tropes. A vivacious young woman has to choose between a boring yet safe man and a man who makes her feel alive. It hinged on the eternal passion vs stability debate that has haunted every other Bollywood love story from <\/span>Hum Dil De Chuke Sanam<\/span><\/i> to <\/span>Manmarziyaan<\/span><\/i><\/a>.<\/span>\n\nBut there was something different about <\/span>RNBDJ<\/span><\/i>. It strayed from Yash Raj convention and yet it didn\u2019t. In the film, Taani didn\u2019t have to choose between two men; instead she had to decide whether she actually wanted to be with the person she had married. It didn\u2019t offer the larger-than-life hero \u2013 obviously called \u201cRaj\u201d \u2013 a straightaway triumph, but it also followed tradition by giving the \u201csafe bet\u201d (the Ajay Devgns and <\/span>Abhishek Bachchans<\/span><\/a>) a chance at redemption. <\/span>RNBDJ<\/span><\/i> came with a catch: It was never about making the passionate hero win but about locating the passion inside the Everyman. In doing so, <\/span>RNBDJ<\/span><\/i> was one of those rare films that kept the old-world ideas of love alive while juxtaposing it with modern values.<\/span>\n\n

This brilliant reversal of tropes infused RNBDJ with a rare pathos: It strived to reset and redefine how Bollywood made us understand love and its interplay between the two genders. <\/p><\/blockquote>\n\nIn the film, Surinder Sahni isn\u2019t just an ordinary man \u2013 he is an ordinary man in love. And because it was SRK, Suri\u2019s ordinariness posed no hindrance in embodying a love that is essentially larger-than-life.\u00a0Yet the film focused on revelling in Suri being a <\/span>feminist<\/span><\/a> delight. He silently destroyed every love story and wokeness clich\u00e9, including the one that implies that feminism is an urban trait and the one that believes that feminism will ruin romance. And Suri\u2019s single-minded, borderline insane pursuit of trying to alleviate and share his wife\u2019s unexpressed pain is a take on romance that is as profound as it is invigorating. A romance that would be a dream for anyone, whether feminist or not. <\/span>\n\nIn the film, Taani is a flawed woman struggling with her pain, refusing to be helped, and demanding to be understood. In other words, she is the textbook definition of a typical tortured hero from every <\/span>romantic story<\/span><\/a> ever. Except for the part where she is a woman. <\/span>\n\nSuri\u2019s moustache-less \u201chep\u201d alter-ego Raj becomes what has always been the role of a manic pixie girl in conventional romantic stories \u2013 the catalyst who is fun, kind, and completely unburdened by the baggage of a backstory. The one who becomes instrumental in triggering a profound transformation in the life of the angsty protagonist.<\/span>\n\nThis brilliant reversal of tropes infused <\/span>RNBDJ<\/span><\/i> with a rare pathos: It strived to reset and redefine how <\/span>Bollywood<\/span><\/a> made us understand love and its interplay between the two genders. In affording Taani her flaws and giving her the space to deal with them without any burdens of gender-related expectations, <\/span>RNBDJ<\/span><\/i> makes Taani a relatable heroine at every level. Her pain is real, but so is her realisation of her husband\u2019s love; none of which feels forced, artificial, or burdened by false morality.<\/span>\n\nOn the other hand, Suri\u2019s ordinariness is overshadowed by the extraordinary depths of his <\/span>love<\/span><\/a> \u2013 the kind that is not based on the loud male ideas of ownership but the quiet foundation of acceptance, understanding, and agency. He is a man who does not judge his wife for wanting to be with another man (even when the other man is him). Instead he is allowed to interpret it as his own failing, accepting that maybe his love can\u2019t be enough; he prioritises her happiness by willing to let go of her. <\/span>\n\nIn one of the rarest instances in the history of Hindi cinema, a hero acknowledges the fact that sometimes the test of love is not holding on, but letting go. That alone should make <\/span>RNBDJ<\/span><\/i> one of the greatest love stories of our times \u2013 one that recognised the need for feminism much before Bollywood\u2019s feminist awakening.<\/span>\n\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rab Ne Bana Di Jodi, which turns 11 today, is often mocked for its simplistic premise. But the film actually overturned quite a few tropes: Taani is the textbook definition of a tortured hero, while Suri\u2019s \u201chep\u201d alter-ego Raj is like the manic pixie dream girl, instrumental in triggering the hero\u2019s profound transformation.<\/p>\n","protected":false},"author":212,"featured_media":3809,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7133,1143,141,7134,7135,2298],"class_list":["post-3808","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-11-years-of-rab-ne-bana-di-jodi","tag-aditya-chopra","tag-bollywood","tag-king-khan","tag-rab-ne-bana-di-jodi","tag-srk"],"yoast_head":"\n11 Years of Rab Ne Bana Di Jodi: How Suri Taught Us Love Is About Letting Go<\/title>\n<meta name=\"description\" content=\"Rab Ne Bana Di Jodi, which turns 11 today, is often mocked for its simplistic premise. 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