Vivah Film Hindi

[Tory Lattin]

Kapoorand Rao's performance in the film earned them a nomination for Best Actor and Best Actress respectively at the Screen Awards. Vivah is the first Indian film to be simultaneously released in cinema and on the internet (through the production company's official site). The film was also dubbed into Telugu and released as Parinayam.[5]

Poonam is a middle-class girl living in the small town Madhupur in Mathura district, Uttar Pradesh. Her parents died in her childhood and since then, her uncle Krishnakant has fulfilled a father's void in her life. However, his wife Rama is jealous and unable to accept Poonam, driven by the fact that their own daughter Rajni is darker in complexion and not as beautiful as her cousin. Despite this, Rajni and Poonam are close and consider themselves sisters. Harish Chandra Bajpayee, a renowned businessman in New Delhi, has two sons: the married Sunil, and the soft-spoken and well-educated Prem.

Poonam's simple and affectionate demeanor impresses Bhagatji, a jeweller and Krishnakant's friend, who takes her marriage proposal for Prem. Harish asks for his son's opinion on the proposition. Hesitant, Prem feels he needs to focus on his career first. Harish convinces him to at least meet Poonam before deciding, which Prem agrees to. They visit the Mishras and let him get acquainted with Poonam. Prem and Poonam are instantly attracted to each other, agree to the marriage and get engaged.

Krishnakant invites Bajpayees to their summer place in Som Sarovar so Prem and Poonam get to know each other better. The two go through the most magical and romantic period of their lives, begin to fall in love and become attached. Later, Harish and his family return home to attend a business meeting urgently. Poonam and Prem communicate via telephone and letter. Prem joins the business and takes on an essential project in Japan.

Upon returning, the family brings Poonam as a surprise, and a celebration is held in honour of Poonam's first visit and Prem's successful business venture. During the celebration, an angry and jealous Rama hides in her room, refusing to join. Krishnakant finds her and angrily confronts his wife, calling her out on her refusal to accept Poonam despite her attempts throughout her life to win Rama's love. He informs Rama that she is the only person who has ever had a problem with Poonam.

Sooraj Barjatya noted that the story of Vivah is based upon a newspaper article his father read in 1988.[6] Like in all of Barjatya's previous films, the male lead is named Prem. The story combined elements of Hindu tradition to set itself up as a film of cultural significance and was constructed differently than Barjatya's earlier films. Barjatya hoped that the film would be remembered as the first to tackle the definitions and dynamics of a marriage.[7] In an interview with Times of India Barjatya said, he kept in mind all the novels of Saratchandra Chatterjee while making Vivah.[8] Barjatya felt that the film should possess a lyrical feel, since it was, according to him, "a lyrics oriented film."[9]

Samir Soni was cast to play Kapoor's brother, Sunil. He added that Barjatya would explain scenes to everyone individually.[13] Lata Sabharwal was cast as Bhavna opposite Soni. Anupam Kher, Alok Nath, Seema Biswas, Manoj Joshi and Amrita Prakash were cast in other prominent roles.[14]

Filming took place during the first months of 2006.[10] The main hurdle came up with the location.[9] Barjatya wanted to shoot film in an authentic way. He asked the film's art director Sanjay Dhobade to create the entire town of Madhupur that can give a realistic look, particularly portions where water leaking takes place and portions where spit marks were visible on the walls of the buildings in the film.[9] Later, the town was created in Film city, Mumbai. Outdoor session of the film was done in Delhi, Lonavla, Ranikhet, Nainital and Almora.[15]

The soundtrack (songs and the background score) and lyrics for Vivah was scored by Ravindra Jain. Vivah was seventh collaboration of Ravindra Jain with Rajshri Productions.[9] It was produced under the Saregama label. The composer primarily gave special importance to "taal" and opted to keep two "antras" followed by a "mukhra" in the songs.[9] The orchestra combines with classical Indian instruments, like the sitar, sarod, violin, dholak and tabla to produce a blend between classical western and classical Indian music.[17] The complete film soundtrack album was released on 26 September 2006.[17][18]

Although the songs were appreciated, the music was criticised due to its monotony choice of instruments and music arrangements being very similar to one another. Rediff.com wrote in its music review that, "Vivah's music disappoints".[19] Nofil of Glamsham gave the album 2.5 out of 5 stars and noted that, "The music of Vivah fails to emerge as successful as other Rajshri family potboilers, Maine Pyar Kiya, Hum Aapke Hain Koun [sic] and Hum Saath-Saath Hain."[20]

Vivah premiered on 10 November 2006 across India.[21] Like Hum Aapke Hain Koun..! (1994), Rajshri Productions released limited number of prints for the film and eventually increased prints with increasing popularity. Early reviewers of Vivah predicted that it would be a huge disappointment. The film opened well and went on to become a commercially successful venture.[22][23][24]

Madhuparna Das of The Telegraph criticised Vivah for lacking plot, flat characters and mentioning that the story was "rather weak and improbable."[31] BBC described Vivah as "a didactic, worthy, and highly sanitised take on reality in keeping with the Rajshri tradition."[32] Rajeev Masand of CNN-IBN gave only 1 out of 5 stars and condemned the screenplay, calling both Kapoor and Rao "insipid and boring."[33] A review carried by Anupama Chopra mentioned, "Sooraj Barjatya's fantasy world is carefully constructed, but his conviction infuses his films with an emotional heft."[34]

Vivah remains one of the most popular cast ensemble film of Indian cinema.[38] Kapoor and Rao's performance has been noted as one of their most notable works.[39][40] Bollywood Hungama placed Kapoor and Rao in its list of the top 10 best romantic couples of the decade.[41]

Indian painter M. F. Husain, decided to create a series of paintings inspired by Amrita Rao and Vivah. Husain planned to create an entire exhibition around her.[42] He organised a private screening for 150 friends and press attendees to "convey his interest for the film" at Dubai's Plaza cinema.[43] The Regent, a theater in Patna, Bihar, put up a festive banner to promote the movie.[44] The banner reads Poonam weds Prem. Vivah inspired couples at that time to emulate the protagonists.[45]

This movie is particularly interesting because it shows an unhappy family. But a family that is happier being unhappy together than they would be being unhappy apart, if you see what I mean. There are two families being joined in marriage, one is large and perfect, the other is small and flawed, but they are both households that see each other as units, that cannot conceive of living outside of the web of family and home. This is a choice they have made in how they want to live their lives.

And the ending. In which the point is, nothing changes. Amrita is burned, not just disfigured but requiring intensive care for months and months. It is the kind of situation in which many married couples might split up, and in this case Shahid and his family unquestioningly stand by their commitment. Her value is NOT just in her body, and romance is more than love letters and phone calls. There are two very on the nose moments late in the film. The first is when the doctor, Hot Hot Mohnish Bahl, points out how strange it is to see the two families around a marriage come together over a burn victim instead of separate. Because of course, bride burnings are so so so so common. And the second is when they have their first night together, and the moment of intimacy is Shahid changing her bandages. Marriage is about bodily intimacy, caring for the body of your wife, not just using it.

It stars Amrita Rao as Poonam, an orphan being raised by her aunt and uncle. Though her uncle Krishnakant and cousin Rajni treat her as a daughter/sister, her aunt Rama has never warmed to her. Despite this situation, Poonam's beauty and good nature net her a prospective marriage with Prem (Shahid Kapoor), the second son of a well-off businessman friend of Krishnakant's. Prem and Poonam hit it off and a wedding is planned. However, between foreign business ventures, antagonistic family members, and general disaster, a lot has to happen before the two lovebirds can get hitched.

But Not Too Black: Rajni isn't considered as attractive a marriage prospect as her cousin Poonam, even though the latter is an orphan with no dowry, in part because she is darker-skinned than Poonam. Dowry Dilemma: The heroine Poonam is so lovely and good-tempered her perfectly arranged fianc Prem's family gleefully pass over that she is an orphan without dowry, even explicitly saying "we don't care about the dowry, we just want the girl." Meanwhile, her cousin Rajni does have a substantial dowry and is just as nice, but because she has darker skin than expected for a girl from her caste and social class, her family finds that their money isn't enough to lure a good enough match for her. Evil Aunt: Rama has always disliked Poonam for her beauty and how she takes away from the former's daughter Rajni. Krishnakant even points out that Poonam is a lovely girl and Rama is the only one who has ever had a problem with her. Poonam risking her life to save Rajni from a fire is what causes Rama to finally realize how badly she's been acting. Heroic Fire Rescue: In the climax, Poonam demonstrates her loving nature by risking her life to save Rajni after the latter is trapped in their burning house. She is badly scarred for her efforts, but is met with a grateful family and a loving fianc who still wants to marry her. Metaphorical Marriage: Prem decides to informally marry Poonam before she is whisked away for surgery. Later, the two marry in a traditional Hindi ceremony. Nephewism: Following the deaths of her parents, Poonam is raised by her uncle Krishnakant and aunt Rama. Perfectly Arranged Marriage: Prem and Poonam meet for a prospective marriage at the behest of their respective father figures. They're charmed by each other and soon agree to get engaged. The two only fall deeper in love throughout the film.

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