DDLJ Part 46: A Bit of Light Comedy

I’m back!  Because you promised to comment and make it worth writing these.  And I’m gonna hold you to that!  Very depressing spending 5 hours on this and then getting no comments. (full index of DDLJ coverage here)

One thing that struck me watching this scene is that DDLJ truly is a “masala” film.  The romance is the center of the plot, yes, but we also have action (at the end) and comedy (in this scene).  All without losing the right tone for the film, it never yanks you from a world of high drama to high comedy, it all feels like it fits together.  It’s the kind of construction that is familiar to me from Hrishikesh Mukherjee, early Yash Chopra, even Raj Kapoor and Guru Dutt.  A very old-fashioned solid carefully put together kind of film.

And so even in this comic sequence, it isn’t terribly over the top.  Satish Shah is loud and funny just as himself, but his clothes, his furniture, even the dishes are all as you would expect for this family in real life, and in tune with how characters have been presented in the rest of the film.

Even the set-up isn’t ridiculous, it is more light humor than slapstick.  Shahrukh has been staying in their house for a few days now, he was polite and nice to Mandira, perhaps she even shyly told her parents about his (seeming) flirtations.  Not a huge leap for Satish to decide to talk about marriage with Shahrukh.  Not like some kind of Rohit Shetty “and then I will pretend to be someone else for Reasons” humor, but small misunderstandings we can all understand.


I really love this actress in this scene.  I can’t find her name, and she has almost no lines here or elsewhere in the film, but she fully commits to going along with the physical humor part of this scene.


See?  Right from the start.  Satish is being loud and effusive, and she is playing up to him with her careful sweep of the scarf over her head and big smile.


Shahrukh, on the other hand, a tad too big here.  Always a problem for him with comedy.  The way he is fiddling with the dhoti is perfect, a great touch of being this clueless young guy caught unawares, but his “caught unawares” face is a bit much,


This is better, putting on his fake “happy to be here and talk to you” face, well enough that we can believe the people in the film would be fooled, but we in the audience can see through it.


And here’s where the physical comedy really starts.  The two of them grabbing him and smashing him between them until he can’t move.  Satish is funny on his own, but his wife brightly smiling as she manhandles Shahrukh over to the couch is what makes it really wonderful.


Also wonderful, how handsy she gets once they are sitting down!  And how visibly uncomfortable Shahrukh is with her handsiness!  Oh, and Satish’s sweat stains.  That’s realism there.  And gives you this subconscious feeling of a big hot sweaty man crushing Shahrukh, we can feel how unhappy he must be feeling.


I can’t tell if Shahrukh is exaggerating this, pulling his shoulders up and his arms in to look more trapped, or if Satish and his onscreen wife have really committed to the scene to the point that Shahrukh can’t move.


There’s her hand on his knee again!


I hope this is a pun in Hindi too, that he is so “close” to them as he is being held so tight he can barely move and she is feeling all over his body.


Shahrukh finally give sup and just grabs her hand to stop it moving around.  I wonder how much of this scene was improvised?  I’m guessing a lot, I’m guessing the directions were just “Shahrukh, look uncomfortable.  You other too, hold him in place and get all up in his face”.


And then there’s poor Mandira Bedi.  Not part of this conversation that is deciding the rest of her life.  Although looking very pretty in peachy-orange.


Interesting framing here.  Notice that Shahrukh is trapped between her parents but has the open doorway behind him, a different world implied behind him, and a possible escape.  While she is standing, blocked in by tables and furniture with walls and walls behind her, no real opening, it is all the same color.


This little exchange of glances is also perfect.  Because it isn’t really an exchange, it is Shahrukh looking at Mandira and her smiling and looking down.  Mandira is passive in this situation, she is there to be looked at and talked about but not speak for herself or even look up and make eye contact with anyone.  And then she quickly leaves the room.  It is up to Shahrukh to look at her and decide whether he wants to accept or reject her.


BIG BIG THING!!!!!  This is the only internal monologue in the film besides Amrish Puri’s opening speech.  And it is completely non-meaningful.  So I say “big big thing” because it is a “big big mistake”.  Adi (or someone) didn’t trust that the audience would be able to follow what was happening.  So they cheated and put in an internal monologue.  It’s lazy and clunky and doesn’t fit with the rest of the film and I wish I could just remove it entirely.


SEEE????  We can get the exact same thing from his face and the double-meaning lines here.  He can’t have any objections, objections would mean he would be expected to politely leave the household.

Let’s take a second to break down his options:

  1. Tell them he is already in love with/engaged to someone else
    1. But that means he has misrepresented himself to them by not mentioning this before, meaning they will no longer trust him as much, perhaps no longer bring him along to all the wedding events.
    2. And it might also mean, if they know of his flirtations with Mandira, that they would go so far as to be offended and angry
    3. Worst of all, there is a chance they would put two and two together and realize the girl he is in love with is Kajol, because if he wasn’t flirting with Mandira, that is the only other choice.
  2. Politely turn down the proposal flat
    1. A hard thing to do!  But not impossible, he could say he wants to marry a London girl or something like that.
    2. But even the most polite refusal would still come with an expectation that he would leave the household, not be as welcome in the family and he needs that access.
  3. Agree
    1. A jerky thing to do.  To Mandira, and Satish, and the whole family.
    2. Also, Kajol would be mad at him


Satish and his wife know they have him a bit trapped as well.  The best time to ask is now, when he is living on their generosity, isolated in their house from his own family and other friends, it makes it hardest for him to say “no”.  Their confidence is not misplaced in making this proposal.


The perfect answer!  Not a flat refusal which would mean he would have to leave the house out of common decency, or a complicated explanation they might see through.  Just a delay to keep him there a little longer.


Once Shahrukh has his solution to the puzzle, he is all smiles and all confidence again, he has successfully put Satish Shah on the backfoot.


And now he is happily able to take her caresses, has managed to wriggle free a bit both metaphorically and literally.


But, ha-ha!  He has underestimated his opponents!  They are ready to push for this more than he expected, even to the degree of long distance phone calls.


Part of the reason this scene is funny is because the audience has no particular sympathy with Shahrukh in this moment.  We enjoy seeing him wriggle a bit.  Because this is a mess of his own making.  He knows perfectly well that this family is letting him stay in their house partly because they want to get close to a millionaire’s son, and he used that.  If he had been more standoffish, less effusive, he wouldn’t have been invited to all of Kajol’s wedding events and given free reign of the house.  But the price he pays for that is giving them the impression he would be open to a closer alliance.


We don’t mind seeing Shahrukh wriggle, because we also know these are very nice people.  They may be loud and a little excited by money, but they are cheerful and happy and willing to believe whatever he tells them.


And very very generous.  If Shahrukh hadn’t been using them, hadn’t needed access to Kajol’s marriage, if he had presented himself as less wealthy, less friendly, they still would have invited him into their home.  This is a nice family with a nice father and a nice mother and a good daughter and a really terrible son.

One thing this scene does is show us a couple working as a team, a surprising couple.  Satish teases her for being always late, sends her away when the men are talking, she is working in the kitchen while he is playing chess, and so on and so on.  But when it gets down to it, in moments like this, they are one and the same mind.  Under all the social roles and everything else, this is a couple that likes each other and likes working together.  This is a very different proposal scene than Amrish reading the letter from India to Kajol.  In both, the bride/daughter was excluded from the conversation and ran away in confusion.  But in Kajol’s scene, Farida saw something and thought about things that Amrish was missing, and hid her feelings from him.  In this scene, while the daughter is separated, husband and wife are together in all ways.


And then the final laugh of this sequence, Anupam arrives just as Shahrukh is thinking he made an escape by making sure he will never arrive!



Let’s talk placement for a moment!  I said this is a reminder that this is a Masala movie.  The idea of a “masala” movie, or the general rasa theory of drama, is to have a combination of “flavors”, each one providing contrast to the others.  Our last scene before this was also slightly comic, Shahrukh and Amrish, but less so than this one.  Before that, we had “Mehndi Laga Ke Rakne”, which was comic and also joyful and fun.  And before that, the engagement sequence.  And before that, the silly semi-fight between Shahrukh and Kajol followed by her conversation with Pooja Ruperal.  There were more little comic bits thrown in, really there has been no moment of true total seriousness since Shahrukh’s arrival.  Moments of stress, yes, moments when he and Kajol had a little fight, or Amrish seemed to have almost caught him, or when Kuljit was creepy.  But nothing as serious as the conversation between Farida and Kajol.

This sequence here is entirely comic.  And there are a few more lighter comic moments coming, after all that is why Anupam Kher arrives at this moment, to make it all even lighter.  And that is two prepare us for the last 20 minutes of unrelenting drama.  The audience needs this little breather space here to get us through the last conversation on the terrace, the final speech to Amrish Puri, all that stuff right up to the final “Senorita” line when we can all laugh again and go out with a smile.


30 thoughts on “DDLJ Part 46: A Bit of Light Comedy

  1. `
    As much as I like Anupam Kher in most films, I confess I find him a little irritating in DDLJ. I groan when he appears rather than chuckle.


  2. I would never have noticed without your commentary and a rewatch, but there is a continuity issue with Satish’s sweat. None in the portion of the scene where he discusses the match with his wife. Massive in the rest. As if these takes were somewhat later in time, and they just decided to go with it.

    I tried to track down the wife’s name using Google with search in Hindi native alphabet, but no luck. Maybe someone who really speaks the language could do better…


    • Or maybe earlier in time? Now that you point it out, it makes sense that they would film the bits before and after Shahrukh’s arrival separately. Could have been two different days with time for the shirt to dry in between.


  3. I do think that you’re now focusing on minutiae, which may be fascinating to you, but less so for the general reader/audience. Yes, your observations on framing, etc., are good and insightful. But your absorption with these relatively less interesting scenes is, well, less interesting. Your discussion of major themes and characterizations are what I find interesting, not so much these kinds of discussions. Maybe it’s taking you so long to get through this movie because you are investing every detail of it with equal importance and profundity. I only came to comment because you asked us to, but if you’re really interested on generating genuine comments, consider sticking only to the more important scenes. Of course I realize that what’s “important” is a subjective decision, so that’s probably the explanation for the lack of comments on some of these posts versus others.


    • Yeah, that’s the problem with these posts. I committed to going through this movie scene by scene, and that’s what I am doing, unlike every other film where I am much less detailed. It’s why I am only doing it for DDLJ, at least this film there is a good chance that many people will have scene it and be interested in even these dull bits. I can’t really change midstream on this one, but maybe after I finish it, I try doing random posts on just scenes from different movies, instead of going through a whole movie again. Like, just a post on the flashback sequence in Sholay.


  4. I think part of the reason these people are so “hands on” is that in all but the most modern of Indian weddings, the bride and groom are referred to as “boy” and “girl” who’re supposed to just sit there as their parents make all the decisions. They also inherit a new set of parents, who fawn over their new babies. I find it offensive, the same way as I find all infantile-ization of adult women offensive. But it makes sense that when people talk about their “new son” or “new daughter” they’d expect them to behave like babies and shower affection on them the same way.

    I’ve thoroughly enjoyed this series! And it’s made me appreciate the smaller nuances that I’d have otherwise missed, like the kind of relationship Kuljeet’s parents have. Thank you for undertaking this massive effort!


      • Yep, agree. Although I got close to this level of analysis with Guide, and I think it might have been able to stand-up to it. Probably Awara too, and anything by Guru Dutt. But then the question becomes, would anyone actually be interested in reading those analysis?

        On Fri, Apr 20, 2018 at 11:23 AM, dontcallitbollywood wrote:



          • Yep! But I do like throwing in these kinds of posts, for variety for you, and for me writing them. So maybe I will think about what I was saying to Moimeme, just taking one famous scene from a movie. Although it will be less satisfying, because I really like how the scenes build on each other here, little things like noticing this is the only time Shahrukh gets an internal monologue which I wouldn’t have seen if I hadn’t just watched the whole rest of the movie.

            On Fri, Apr 20, 2018 at 11:56 AM, dontcallitbollywood wrote:



    • Another one of those little things that feels like it made sense back when child marriage was common, but has somehow survived to the present day when it doesn’t really work any more. If your son is marrying an 8 year old girl who you will bring into your household and raise as another child and shower love down on her and so on for years and years until she is grown up enough for the “first night” and moving into the position of a true married woman, then this all makes sense. But it does seem odd when you have 20-somethings being fussed over.

      On Fri, Apr 20, 2018 at 11:21 AM, dontcallitbollywood wrote:



      • Just a point of fact, when eight year old children were really being married, they did not go live with their in-laws while they grew up, they stayed with their own parents. After puberty, when they were deemed “adult” enough, a separate ceremony took place for the bride and groom to begin their married life.


        • Interesting, thanks! I know I read in at least one source that part of the goal of child marriage was that the bride would be familiar with her in-laws and vice versa from a young age, since she would be spending the rest of her life in their household, but that could have meant merely visiting the household not living in it before the adult ceremony.

          On Fri, Apr 20, 2018 at 11:43 AM, dontcallitbollywood wrote:



          • Exactly. There are all kinds of rituals and ceremonies for which the bride or groom would need to visit their in-laws’ family, plus, now that they are “family”, mandatory attendance at any other family events like marriages, births, coming-of-age ceremonies of siblings, etc.


  5. I like (to be honest, I long for) your takes on DDLJ (and strangely, ShahRukh’s/Raj’s reaction to Kajol’s/Simran’s invitation to her marriage also moved me in a very special way…and in addition, I wonder if he ever liked Kajol’s choice to marry Ajay).
    Oh yes, ShahRukh had put himself in a rather ‘squeezy’ situation with his plan to make himself liked. I love this scene exactly for the framing and the way the parents intrude into Raj’s personal space which I at once took more of a symbolic visual statement than a reflection of Indian life. I equally liked that Raj somehow accepted through his body language that he did indeed put himself into this situation and found a seemingly diplomatic way to wriggle himself out of that squeeze.
    And then this next hilarious moment: oh noooo, his father just arrived 🙂 (strangely, I sensed it like a relief somehow confident that he would be of help)


    • I love that first meeting between father and son, starting with Shahrukh yelling at him, and then ending with them embracing. And the way, eventually Anupam does come to help and support, show himself as the charming but still in touch with his roots type, and giving Shahrukh emotional support. While still causing issues.

      On Sat, Apr 21, 2018 at 8:33 AM, dontcallitbollywood wrote:



  6. There was time when I thought Anupam Kher was the ONLY actor allowed to play the father in Hindi films because in the first dozen or so I saw it was always him. Since I am an SRK fanatic, I LOVE these scene by scene. An idea might be that you have two sections; one with the key scenes for ‘normal’ people and one in this fine detail for the fanatics amongst us. I found Anupam over the top in this film, but I love the scene with the parents squishing him. It showed that he was in fact playing with other people’s emotions and he did apologize for that when he left.


    • Right now I’ve got the index so people can skim, maybe once I finish the whole darn thing I can just add asterisks or something next to the key scenes.

      On Sat, Apr 21, 2018 at 9:52 PM, dontcallitbollywood wrote:



  7. I never noticed how hands-y the parents were with SRK till you pointed it out. And I also never considered that his definitively declining the offer of their daughter’s hand would necessitate his leaving their house. Because wasn’t he the guy who had saved the life of their odious son? Wouldn’t that still give him some traction?

    In any case, I think there was at least one more internal SRK monologue in there somewhere…not the Palat scene but some other moment when he mentioned being in trouble.

    I enjoy your intense scene by scene analyses. I dont know that much about cinema &zigs sleays interesting to see why a scene (probably) played out the way it did. I like this one because DDLJ is such an iconic film but I really love what you did with JHMS which has turned out to be my all time favorite rom-com as well as my all time favorite SRK film.

    Thanks for this!


    • You are welcome!

      I hadn’t really thought about it until this moment either, but Shahrukh is in a tricky social situation. He got into the house based on saving Kuljit’s life, that was fine. But once he was there, in order to explain his willingness to spend all that time at the engagement parties and stuff he had to be a little overly friendly and enthusiastic. Which naturally led to Kuljit’s family assuming he liked them for themselves, and might want to marry into their family. Only, if he backs up now, clarifies that he isn’t actually interested, they would start wondering why he was so friendly in that case, what is up with him.

      Oh! I know what I am thinking of! It’s the way Amrish Puri reacts to him. this strange young man who is super super friendly for no reason at all. Amrish can’t understand it because he doesn’t know that Shahrukh is courting his daughter. Satish Shah accepts it because he assumes Shahrukh is courting his daughter. But if Shahrukh says “no, I’m in love with someone else” or “no, I definitely can’t marry her for such and such reason”, then he is just a strange young man who is way way too friendly for a casual acquaintance. He could still stay in their house, but volunteering to go to all the wedding events, leading the dances, all of that becomes strange suddenly.

      On Sun, Apr 22, 2018 at 8:52 PM, dontcallitbollywood wrote:



      • And Raj definitely kind of danced with their daughter – in front of everybody! In addition, their daughter is smitten by him. So his slightly insouciant kindness and diversion tactic rightly puts him in this kettle of fish.
        When I searched for another inner monologue (I did not remember another one), I stumbled over the church scene and discovered Raj’s almost same kind of looking at Simran (while she is praying) than the one Harry when looking at Sejal in the train…a kaleidoscope of loving feelings. (btw, Raj praying for Simran indeed belongs to the film…I went back to DDLJ 12…should I still comment to those one? )


        • Sure, comment anywhere! I always get the comment updates, and they show up on the home screen too.

          On Mon, Apr 23, 2018 at 4:13 AM, dontcallitbollywood wrote:



  8. No one but you, Margaret is going to read this..but that’s fine with me. I reread some of this because I’m rewatching DDLJ after a relatively long time. Please do continue this! Also on the subject of child marriages and the other family: there is a Pakistani soap opera (26 episodes which they all are) about a village family starring Mahira Khan. The girl is betrothed AT BIRTH to a cousin. She has known her whole life she is going to marry him. She sees him at family weddings, festival etc. He is her mother’s nephew (son of her mother’s sister) so there are lots and lots of occasions. All her friends who are also at these events know it and she has willed herself to fall in love with him. Her very very wicked mother decides out of revenge on her sister to say NO when the kids come of age and his family comes with the “real” proposal. The rest of the episodes are about how this girl won’t have anyone else because she considers herself married to him and how the mean mother won’t let her have him. So, I suspect that was the pattern. The girl stayed home but saw the other family frequently which while it has its weird aspects (feels like marrying a brother) its better than a total stranger.


    • I assume that was supposed to be how Kuljit and Kajol’s engagement worked in this film, they were engaged at birth and it was thought that they would grow up together in houses next door, with fathers who were best friends, and then the marriage would follow naturally. But instead Amrish moved his family away and Kajol and Kuljit grew up to be very different people who could never make a good match.

      Chekka Chivantha Vaanam, the new Tamil film, has a really good picture of a marriage in it between cousins who grew up together. They have been married for at least 15 years based on the age of their oldest child, and they grew up in the same household, and there are all these subtle ways that you can see that their bond is different, there is a bedrock certainty in their relationship because they have always been together.

      On Wed, Oct 3, 2018 at 9:40 AM dontcallitbollywood wrote:



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