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The allure of Aditya Chopra's romantic films lies not just in the grand gestures or sweeping landscapes, but in the deeply human portrayal of characters grappling with love, destiny, and the messy reality of choice. These films, particularly their final acts, possess a unique ability to evoke a cathartic release, a sense of resolution born from the chaotic dance between fate and free will. Characters stumble, they leap, driven by an almost reckless clarity that defies logic yet resonates with a sense of inevitable destiny. The improbable happy endings, when they arrive, carry a weight, an ache that speaks to the core of the human desire for connection and enduring love. It’s a feeling that transcends the screen, settling somewhere deeper within us, a memory we revisit and a hope that beckons us back to the darkness of the cinema, to believe, even momentarily, that such profound love is within reach. The article reflects upon these very sentiments, using Mohit Suri’s latest romantic musical, Saiyaara, as a vehicle to explore the enduring influence of Aditya Chopra’s signature style on Bollywood romance. The author finds that the final act of Saiyaara is most reminiscent of the classic Aditya Chopra films, most particularly Rab Ne Bana Di Jodi.
The author’s experience of watching Saiyaara in a packed theater underscores the enduring appeal of this brand of romance. As the final act unfolded, the writer felt a sense of connection to the characters' choices, their seemingly baffling yet profoundly sincere actions echoing those found in Chopra's films. The shared experience of the audience, marked by hushed breaths, sobs, and the surreptitious glow of phone screens, suggested a collective recognition of the film's ability to touch upon something deeply personal. The author suggests that perhaps the audience wasn’t merely capturing the moment but shielding themselves from it, from the emotions that remind us of our inherent romanticism. However, the author is also careful not to overstate the film's perfection, acknowledging that Saiyaara is not without its flaws. The initial portion of the film treads familiar ground, employing tropes and narrative beats typical of Mohit Suri's earlier work. This predictability, while not inherently detrimental, prevents the film from achieving true emotional resonance. It is only when Suri begins to break free from his established stylistic habits and embrace the spirit of Aditya Chopra’s masterful understanding of the genre that Saiyaara truly finds its footing.
The turning point, according to the author, occurs post-interval when Suri introduces a quietly radical shift in the character of Krish, played by Ahaan Panday. Rather than conforming to the brooding, hard-edged archetype often associated with romantic leads, Krish transforms into a more tender and emotionally articulate individual. This “soft boy” persona, however, is not presented in a reductive or ironic manner. Instead, it embodies qualities of gentleness, patience, and a willingness to prioritize love above ambition. Krish's dedication to Vani, played by Aneet Padda, leads him to make choices that others might deem foolish, but his actions are driven by a genuine desire to be near her and support her dreams. This portrayal of masculinity, rooted in care, sensitivity, and empathy, aligns perfectly with the emotional intelligence that Aditya Chopra has championed since Dilwale Dulhania Le Jayenge. Chopra's male characters have never relied on aggression or dominance to assert themselves; their strength lies in their ability to feel deeply and express their emotions without shame. The article also explicitly praises the choice to cast Ahaan Panday and Aneet Padda. Furthermore, the article also touches on the musical score, calling it the “film’s strength.”
The article underscores the significance of Aditya Chopra's involvement in Saiyaara as a producer, highlighting his consistent efforts to redefine the portrayal of love on the Hindi screen. It's noted that it is fitting that the man who has consistently redefined what love looks like on the Hindi screen is once again behind the genre’s resurrection with Saiyaara. The film doesn't advocate for abandoning ambition in favor of love, but rather suggests that love requires a reordering of priorities, an acknowledgment of its inherent value and a willingness to be present in the relationship. This emphasis on emotional clarity and compassion, the author argues, has been sorely lacking in mainstream romantic leads for far too long. The central conflict in Chopra's films, the delicate interplay between fate and free will, provides the framework for Suri's narrative. Like the lovers in Mohabbatein who challenge their predetermined paths, Suri's characters grapple with circumstances and make choices that seem impossible, only to be drawn back into alignment by a force beyond their control. The themes of star-crossed lovers is also referenced and compared to previous works, which the author readily acknowledges.
While the trope of star-crossed lovers is a staple of the romance genre, the author emphasizes that Aditya Chopra's unique approach sets him apart. Rooted in the conventions of melodrama, his characters are caught in a moral and spiritual storm, making decisions that, on the surface, should undermine their chances of happiness. However, through sheer conviction and the power of love, these choices ultimately lead them towards a union. This dynamic is mirrored in the final moments of Saiyaara, where the characters actively fight for their happy ending, defying fate and choosing to believe in the possibility of love. This, the author argues, is a hallmark of Chopra's world, where those who love with defiant purity are rewarded by destiny. The article then draws a parallel between Saiyaara and Rab Ne Bana Di Jodi, highlighting the way in which the male protagonists in both films use their art to connect with their loved ones. Just as Suri (Shah Rukh Khan) in Rab Ne Bana Di Jodi goes to great lengths to be seen by Taani (Anushka Sharma), Krish in Saiyaara becomes a rockstar in his pursuit of Vani. In both cases, love is not simply given, but earned through genuine expression and a willingness to reach the other person's heart in the language that resonates with them. The author concludes by focusing on a particularly memorable scene where Krish runs towards a giant screen displaying Vani's face before collapsing to his knees, calling it a sign of Chopra's triumphant return to the genre.
The author, in conclusion, highlights the pervasive and significant influence Aditya Chopra has had on the genre. Despite its flaws, Saiyaara's success is that of an ode to Aditya Chopra, as it recalls the best aspects of Chopra’s cinematic craft. It is a welcome return to the screen. The film is a successful testament to the fact that love in its truest form isn’t always easy, but it is attainable, and is earned through genuine expression, and a willingness to reach the other person's heart.
Source: In Saiyaara’s final act, Mohit Suri channels the best of Aditya Chopra’s brand of romance