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Prem is the member of that very kind of wooly-headed organisation where grown men walk around in half-pants, and that’s what, we assume, shall define him somewhat.
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The Shakha, the local branch of the right-wing nuts, is a fascist group, the type of thing Roderick Spode ran in Wodehouse’s The Code Of The Woosters: Spode’s boys where called The Black Shorts, and included the measurement of male knees in its manifesto. Sharat Katariya’s film, however, is beautifully seasoned, with utterly fabulous detailing: a community wedding featuring rows and rows of scarlet brides dressed like thalis at a Jagran a morse-code like frugal missed-call based moneysaver (two-rings-for-this, one-ring-for-this) pastries handed out instead of birthday cake, and - most critically - the shakha Prem attends. The fascinating Haridwar - its tongues, its street-side sass, its love for the metaphor, its intricate signboard-painting - might not itself have been the sight of many a recent rom-com, but several approximations have. There are superb actors performing a sweet script, but after a while all you have is flavour.
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It’s a two-hour film, and yet drags its feet enough to feel long and stretched. So simple, in fact, that Dum Laga Ke Haisha never gives you a single moment of unpredictability. She’s fat, he’s foul-tempered, and they have nothing at all in common.Īnd so it goes, a truly simple story. His bride, Sandhya, is a sharp and well-educated girl with ambitions of being a teacher. We meet Prem a year after that in 1995, a barely-educated good-for-nothing who is being shovelled into a financially convenient marriage.