"The Matrix," for example, is unthinkable without Hong Kong movies (or the New Testament, for that matter). There's no language barrier, for one thing, and there's a shared pool of references and tradition and convention.įoreign influences have the damnedest way of working their way into American culture. But most people, no matter where they're from, respond more instinctively to their own culture. It would be easy to blame that resistance to foreign culture completely on American provincialism. Try to imagine the Hong Kong press waiting that long to acknowledge the passing of Madonna - because that's the equivalent. Every forgotten Broadway performer who once had a second lead in "Hello, Dolly!" merits an obit in the New York Times, but it took the paper a week and a half to acknowledge the death of Hong Kong pop star and actress Anita Mui. American culture is unavoidable worldwide, but in the U.S., the pop culture of other countries is almost totally avoidable. I'd much prefer it if more people in France (and in America) saw Philippe de Broca's "On Guard!" than "Troy." I just don't think the decision should be made for them.īut I do wish things worked in reverse as well. Apart from the ugly prospect of censorship (what else do you call a government deciding to withhold certain films from distribution?), the people behind those proposals always conveniently ignore the millions of others who want to see American movies. Froth all you want about cultural hegemony, but proposals like the French one of a few years back to limit the number of American movies imported into that country have obvious flaws. Zhang isn't using the detail to lament the popularity of American culture (though the success of a stinker like "Titanic" is depressing), and I'm not much interested in doing that either. You wonder, has the old lady seen the movie? Where? Does one of her neighbors have a VCR? Do movies play in some communal hall in her village? And where did the posters (there are two, actually) come from? Even given the worldwide pervasiveness of American pop culture, the passing detail of that poster is startling.
Dilwale dulhania le jayenge poster movie#
From the cast, chemistry, music, direction and the awesome pairing of Srk-Kajol.In Zhang Yimou's 1999 film "The Road Home" a poster for the movie "Titanic" hangs on the wall of an elderly widow's modest home in a rural Chinese village. Bottomline: DDLJ is 'romantic comedy' with Indian emotions at its peak. The strong supporting cast of Amrish Puri, Farida Jalal, Anupam Kher and Satish Shah definitely helped the movie to become the classic as its now seen as. The entire setting of DDLJ is very simplistic, which brings out that special "oomph" in their romance. Each one of them is uniquely different and just as much fun to watch.
There are countless heart-warming scenes between em' in DDLJ.
Thank god Madhuri didn't have the dates to work in DDLJ cuz no actress suits Srk better then Kajol. As Simran she's beautiful, sweet, sensitive and a bit stuck-up too. For Kajol, DDLJ was a career making movie. For Srk it was his first "Raj" character(play-girl type guy with the right values and morals) which he plays to perfection. Debutant director Aditya Chopra so perfectly brings these two together at the back-drop of a realistic family setting that its hard not to fall in love with them. Srk-Kajol have worked in a lot of blockbusters together(Baazigar, Karan Arjun, KKHH, K3G) but DDLJ will always be recognized as their best to date.
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