Salman Khan, Preity Zinta, Rani Mukherjee Suterhit Romantic Movie Chori Chori Chupke Chupke

Mst Suhana Mostafa Sumi
Nov 2 · 4 min read

Salman Khan, Preity Zinta, Rani Mukherjee Suterhit Romantic Movie

Chori Chori Chupke Chupke

Chori Chori Chupke Chupke is a story of a couple who wants a child and hires a surogate woman. How the two women come to terms with each other forms the centre of the theme of the movie. Raj (Salman Khan) is the grandson of Kailashnath (Amrish Puri), a successful businessman. Kailashnath’s only wish is to have a great-grandson from Raj. Raj marries Priya (Rani Mukherjee), but unfortunately she meets with an accident and losses the child.

Naturally, if the batsman hits a century in the first innings, the viewer expects an encore in the second innings [post-interval] as well.But the pace drops in the second half. Also, the goings-on tend to get lengthy and cumbersome as you see same ‘’god bharai’’ ,’’mehendi ‘’ and stuff, most of which lack ground. Fortunately, the second half has its share of brilliantly executed and emoted sequences that save the film from sinking. Like, for instance, the scene in the platform when Preity and Rani have a tiff, is one of the best sequences of the enterprise

The doctor informs them that she cannot have a child again. They conceal this secret and hire Madhubala (Priety Zinta) to have a child for Raj for some monetary benefit. Raj falls in love with Madhubala while they are off to Switzerland to accomplish their task. The family pays a surprise visit to Switzerland thinking that Priya is pregnant. They mingle out from there to return to India and what happens next is the rest of the story. The music is a mixed bag — not great, not bad either. Amongst the tracks, ‘Dekhne and ‘Diwaaana’ stand out for their honey-coated tunes, while the balance tracks range from quite good to strictly average. Cinematography is first-rate. Salman Khan. The name says it all. It goes without saying that the actor carries the film on his firm shoulders and towers above everyone else. He lends dignity to the character and walks away with honors.

I realize that to complain about the implausibilities of a Bollywood plot is to miss the point. Instead, I should just confess to enjoying the pleasures the film offers — the obvious onscreen chemistry among all the principles, and particularly the terrific performances of Preity and Rani. There’s a great confrontation between the two in the final part of the film where Madhu decides to keep the baby and the saintly Priya finally lashes out in very convincing anger. If the conclusion of the film reaffirms that in Bollywood, motherhood is the condition that absolves all sins, it’s just the price you pay for admission. And under the, er, veil of reaffirming traditional values, the movie has managed to suggest a number of fairly radical propositions: that one’s identity is more a matter of life circumstances than of ineluctable fate; that the reduction of a woman’s value to her childbearing ability is highly damaging; and that love — like generosity and self-sacrifice — takes no heed of caste or class boundaries. As with many Bollywood films, you just have to take the crunchy with the smooth.

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Originally published at https://kabira2z.blogspot.com.

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