The Empire Strikes Back! It has, on horseback and with guns, through trade, political protests and with migrants – legal or otherwise – swarming the land of their erstwhile masters. But on a railroad with romance and music?
British Railways, the world’s oldest rail network, is partnering Dilwale Dulhaniyan Le Jayenge – DDLJ for short – (Bravehearts Will Win the Bride). The 30-year-old Indian film is running uninterrupted for as many years, setting a world record for screening at a single cinema theatre. Both are creating drama, literally, around it.
It’s double-nostalgia. Details later – first, the history.
Britain began laying rail tracks on their island in 1825, and within a decade, the East India Company began moving goods in 1835. The efforts to consolidate hold through commuting across its “Jewel in the Crown” began in 1853 at Bori Bunder with Asia’s oldest railway station. Named Victoria Terminus (VT) after then-Queen, it is now Chhatrapati Shivaji Maharaj Terminus, after the 17th century Maratha king. But ask an oldie – the name VT continues.
India’s rail journey began in Bombay. Coincidentally, 50 years later, it also screened Raja Harishchandra, becoming the birthplace of Indian Cinema. Now, Bombay-bred cinema is called Bollywood, to rhyme with Hollywood. Bombay is now Mumbai.
But like Bori Bunder and VT, the multiple changes in names do not matter. Like DDLJ, the ‘Bride’ is the same one that is pursued by the ‘Bravehearts’. As both explore the world market, Indian Railways are busy transporting a whopping 24 million commuters daily.
As they hark back two centuries of the rail, the British are courting the romance-on-the-rail with DDLJ, released in October 1995, still being screened at Maratha Mandir. This cinema theatre in the heart of Mumbai is a single screen (in this age of small multiplexes) with a 1,000 seat capacity. No long queues of wannabe spectators outside and tickets are not sold in ‘black’. That was the norm before the era of OTT (over-the-top) entertainment on home screens arrived. The sole yesteryear-style Matinee show continues to get dedicated DDLJ lovers, day after day.
What draws the viewers to DDLJ is the romance between Shah Rukh Khan (SRK), then 29, and a nubile Kajol, then all of 20. He has since earned the epitaph of King of Bollywood, and the lass, exuding raw, coltish charm, has become one of India’s finest actors.
In this jet-age when millions tour abroad, the DDLJ viewers are still stuck on this rail-and-road show traversing Europe that captures the scenic beauty of the Alps, Paris and more with the two prancing, singing and engaging in their respective first love – flirty but “within Indian limits”.
Mind you! They are two British-Indian kids who fall in love and decide not to rebel but get married only if their parents bless. That ‘Indian-ness’ would raise chuckles, even heckles, today! It may not happen among most Indian émigré families in the West, where the generation gap is wide. But it depicts an Indian ethos, however unrealistic it may sound in the present century. Arguably, though, the story in India remains unchanged for millions of young. You can say it is manipulated, but it is still the norm. The unstated sentiment was, and remains, that this is what they would like their children to be: well-educated but Indian to the core.
The significant thing is that audiences lapped up the mix of tradition and modernism dished out by Aditya Chopra, the debutante director.
DDLJ’s lead character Raj gave Shah Rukh the platform to leap into big-time showbiz, from a struggling actor to a one-man show. With his unconventional looks, nobody expected him to make such an impact on audiences as the romantic hero. It also launched Kajol, not conventionally good-looking either, into the big league.
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DDLJ is a prime example of Indian cinema’s commercial success, also of its ‘soft’ diplomacy the government only backs, but unofficially. That makes it an entrepreneurial success.
In the hands of Aditya Chopra, who was all of 23 then, this very predictable plot was transformed into a first-rate entertainer. He is among the top ranking film-makers in Bollywood today.
Somewhere during the European gallivanting with Kajol comes SRK’s famous line to cheer up the girl who is upset at missing the train. “Bade bade deshon mein aisi chhoti chhoti baatein hoti rehti hain” (Such minor things happen in big countries). It was delivered by United States President Barack Obama during his 2015 India visit.
Obama should know since he was the one, albeit cinematically, a young couple, coincidentally, played by SRK and Kajol after much trouble, in another film, My Name is Khan (2012). SRK insists, “I am not a terrorist”. And Obama’s character cheerfully approves.
Incidentally, My Name is Khan was made by Karan Johar, who assisted Aditya Chopra in DDLJ and had a walk-on part as Shah Rukh’s buddy. One of the most sought-after directors in Bollywood, his blockbusters include Kuch Kuch Hota Hai, Kabhi Khushi Kabhie Gham and Kal Ho Naa Ho.
All this eludes an explanation on the ‘romance’ between the British Rail and DDLJ. Surely, this is not the only Indian film showing their train, nor are the Indians the only ones who have filmed their trains and stations. One is that the month-long European journey scenes and songs, besides being filmed in Saanen, Montbovon and Gstaad, begin and end in England at locations including Trafalgar Square, King’s Cross railway station and Angel Underground station.
This is not easy to explain – till it happens and is out for the people to see and savour.
What we know so far is that British Railway and Yash Raj Films have partnered for a UK-India cultural event. As part of the celebrations, YRF will bring ‘Come Fall in Love — the DDLJ musical’, a stage adaptation of the iconic film, to the UK.
The musical, just like the film, will be directed by Aditya Chopra. It will premiere at the Manchester Opera House on May 29 and go on till June 21, the British Railway and YRF announced the campaign as part of the Valentine’s Day celebrations.
Executive Director of Railway 200, Suzanne Donnelly, expressed delight about the association and said they were thrilled to collaborate with Yash Raj Films to celebrate the “enduring romance of train travel and the connections it fosters across the globe”.
The production will feature an original score, complete with 18 English songs. The core team of CFIL is truly an amalgamation of East Meets West! The music is by Vishal Dadlani and Sheykhar Ravjiani, and the book and lyrics are by Nell Benjamin (Mean Girls, Legally Blonde). The creative team also includes choreographer Rob Ashford (Disney’s Frozen), co-choreographer for Indian dances Shruti Merchant (Taj Express), scenic designer Derek McLane (Moulin Rouge! The Musical), and casting director David Grindrod for Grindrod Burton Casting.
“It is a true romantic comedy. The script is incredibly funny and full of heart and what l love most is how it shows two cultures, each staying true to their roots while embracing something bigger than themselves. The music has this unbelievable mix of musical theatre and Punjabi pop, something I’ve never seen done on stage,” Day says, adding: “The show is about family, love, empathy, and fighting for what truly matters. True honest love! Especially in today’s world, that message feels more relevant than ever.” The musical will conclude on June 21.
With apologies to Mr Mark Twain: Will the East and West meet here?
