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I found myself labeling her a cold-hearted villain for simply wanting to break free. Why can’t she just get rid of him once and for all? Yet, as a man watching a film about another man struggling to understand the woman he wants, I found myself wondering why Badri is the one so hopelessly obsessed with a girl far beyond his reach. Or why, through a meandering Singapore-based second half, she tolerates all his dangerously violent tantrums. Or why she perpetually feels sympathetic instead of threatened by his caveman ways. It’s natural to wonder why someone as discreetly ‘modern’ like Vaidehi would even consider an ignorant, misogynistic, ill-mannered twit like Badri. She puts to rest her dreams of becoming an air-hostess, yet one tiny shot of mehndi on her hands and a box of chapatis in a kitchen signifies far more than many of this film’s redundant songs do.
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In true rom-com fashion, Vaidehi convinces Badri to find a groom for her older sister if he wants to attain her. Both the families are built on the unshakable foundation of dowry-loving patriarchy they consist of in-house sanskaari heroes (Yash Sinha, as Badrinath’s brother) and villains (Rituraj Singh, as his father) and hero’s friends (a thoroughly confident Sahil Vaid), yet the deafening silence cast by the supporting actresses (Shweta Basu Prasad, as his sister-in-law) runs the plot. Entertaining, charming even, in a “Wow, such people still exist?” sort of way. Or why she perpetually feels sympathetic instead of threatened by his caveman waysįor the first hour, Khaitan goes on to paint a claustrophobic, unsettling, infuriating yet oddly entertaining portrait of big-town life. We’re told right in the beginning, through an oddball-montage (in Dhawan’s sarcastic voice, the kind that hints that he is reflecting – as a happy future self – on his silly history), that boys are ‘assets’ and girls are ‘liabilities’ in a family’s balance-sheet, and that Indian fathers develop mysterious heart problems when faced with rebellious children. Most of them mistake economic and physical development to be signs of growth – urban babies of 2017, as it were – but it is in fact the inhabitants that, with their 1950s mindsets and ancient ideals, continually demote their actual status to that of rural adults. Kota and Jhansi, like Ahmedabad and a few others, are some of India’s bigger towns that insist on being identified within the ‘smaller city’ bracket instead. Either way, it makes for curious viewing.
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They aren’t urban enough to throw an existential fit, yet just about rural enough to panic, elope, disappear and deflect. Perhaps his choice of geography is crucial here.Īs is evident, women aren’t conditioned to even consider the possibility of being unstable or jittery in such parts of the country. To writer-director Shashank Khaitan’s credit, he refrains from turning her into a quintessential I-don’t-belong-here millennial flake. She belongs elsewhere, yes, but isn’t as dramatic and showy as you’d expect a frustrated, coming-of-age ‘heroine’ to be. Basically, her life becomes a script – a hero-oriented film – the second she engages with the shackled hearts from her universe.
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This is a fleeting establishing scene, in her hometown of Kota – the Rajasthani city (in)famous for its IIT coaching institutes.Īs soon as she steps out, she is to be relentlessly pursued by Badrinath Bansal ( Varun Dhawan), an illiterate lovelorn brat who drives five hours from Jhansi every morning to ask for her hand ‘integrate’ her into his prestigious family. One can sense her character’s default mode she ends up explaining this sensitive term robotically, not yet aware that she is aching for somebody to recognize this ‘condition’ of hers. She answers a question during a college lecture: what is claustrophobia? Bhatt thrives on such moments, where her blank face is supposed to convey the storm brewing within. Early on in Badrinath ki Dulhania, after a mandatory spunky factory-line wedding song intro, we see Vaidehi Trivedi ( Alia Bhatt) in her natural environment.