Rahul has his own production company, housed in the playhouse-studio in which he lives: a capacious loft overlooking an urban dreamscape, and littered with oversized toys, Pepsi machines, custom cars, and firehouse poles. The film's hero, Rahul (Shahrukh Khan) is an Artistic Genius, a popstar producer-performer who stages spectacular "shows" that suggest a combination of opera, arena rock concert, and Las Vegas revue - that no such genre of entertainment actually exists in India (or perhaps anywhere) merely contributes to the film’s fabrication of a realm, like that of Western sci-fi, for unfettered fantasy (though Rahul's closest model is undoubtedly Michael Jackson, whose touring show-concerts made a great splash earlier in the decade). The film swept the Filmfare Awards in nearly every category, and also won a pack of national and regional prizes. This is a striking, even bizarre departure from the Bollywood norm, but in this case it effectively contributes to the creation of an alternative reality that obviously resonated with millions of viewers as well as industry critics. Two of its three principal characters have no apparent family ties or life histories, and the third is an orphan raised by a devoted aunt and uncle. But whereas HAHK!'s thin story unfolds within a milieu saturated with reconstituted Indian (and especially Hindu) Tradition and focuses on the protracted wedding celebrations of a large extended family, DTPH situates its characters in a surreal urban postmodernity inhabited by single and largely autonomous 20-somethings. (HAHK!, 1994 note also DILWALE DULHANIYA LE JAYENGE or DDLJ, and KUCH KUCH HOTA HAI or KKHH), Yash Chopra's dazzling DTPH is a relentlessly entertaining consumerist fantasy with a minimal plotline and phenomenally popular sountrack.
Like its predecessor among blockbuster-films-of-the-1990s-with-unwieldy-four-part-names-that-became-known-by-Romanized-acronyms, HUM AAPKE HAIN KAUN!. Dialogues: Aditya Chopra Music: Uttam Singh Lyrics: Anand Bakshi
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