Towards a covalent bond – The Hindu

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Swara Bhaskar

It is changing because the woman’s perspective is increasing in love stories. For example, in Raanjhana, the girl with whom Kundan falls in love with, doesn’t respond till his last breath. And yet you are exploring the idea of love in the film. A heroine is not falling in love with the hero just because he is the hero of the film. She has agency to reflect on the proposal the way she wants to. Tanu Weds Manu Returns has an interesting angle to this agency where Datto represents the empowered woman in love. She loves the hero but does not choose to marry him because she does not find him good enough for her because he does not love her back. And she does that on her wedding day and that too in a setting like Haryana. This is so empowering.


Tisca Chopra

I think it is becoming more realistic and credible. We are witnessing a trend where clichés are being questioned in love stories. The hero is not always a poor guy who wants to get married to a rich girl and the obstacle of class in love stories is no longer necessarily present. Love is happening in many different ways and there is no one template. Because of it being more sensible, it is more sensitive to the audience. The fantastical element is losing its way but I think the song and dance routine will also co-exist with the new age sensible love stories.


Tapsee Pannu

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