#100days100scenes: self-sacrifice ended for the next generation

As you saw in Maine Pyar Kiya , with the sons mother bringing that equilibrium between tastes, traditions and thalis in 1989, by the time we reached Dilwale Dulhaniya Le Jayenge in 1995 , there was another change.

Young ones were meeting each other in college trips and of course in a Yash Chopra movie, the college trip will not be Goa but Europe. But leaving that aside, Dilwale Dulhaniya le Jayenge ( DDLJ) was that effervesence that early indicator that we could have dreams , where traditions can stand on their own but love doesnt mean eloping against parents wishes. Parental sanction was still paramount but you are free to use all kinds of psychological warfare in winning this battle.

Although DDLJ has many great scenes, keeping in line with the theme, the scene I have chosen is to balance the Maine Pyar Kiya one. Here the mother is talking to her daughter. She is giving her the strength to face her father who is against the guy she likes. Its a very important transition in Indian cinema, where the mother who never gets a voice of her own wants the daughter to be bolder and  live her dreams.  She doesnt want her to give that  Pyar ki Kurbani ,  that self sacrifice that her generation had made their karma to be passed on to the next generation.

This is where Aditya Chopra's script gains that superior foundation. Its not a frivolous romance. Its deep rooted. Raj may appear to be a happy go lucky brat , but he knows Simran wont be happy without her parents consenting, since he knows what a womans honour is as well (the night in Switzerland where he doesnt do chance pe dance). He waits for the father to say yes till the last moment without eloping. Aditya Chopra shows the cinematic credulity to 'follow ones own heart' and ' yet respect the family that dotes on you' . This set the trigger for an increase in love marriages in India dramatically.