Running time 189 minutes Country India Language Hindi Budget ₹40 million Box office est. ₹1.03 billion Dilwale Dulhania Le Jayenge (English: The Big-Hearted Will Take Away the Bride), also known by the DDLJ, is an Indian, directed by (in his directorial debut), produced by his father, and written by with Aditya Chopra. Released on 20 October 1995, the film stars and. The plot revolves around Raj and Simran, two young, who fall in love during a vacation through Europe with their friends. Raj tries to win over Simran's family so the couple can marry, but Simran's father has long since promised her hand to his friend's son. The film was shot in India, London and Switzerland, from September 1994 to August 1995. Earning ₹1.06 billion (valued at about US$32,766,000 in 1995) in India and ₹160 million (valued at about US$4,946,000 in 1995) overseas, Dilwale Dulhania Le Jayenge became the highest grossing film of the year, and one of the most successful Indian films of all time.
Download Dil Ta Pagal Hai Song Download Song Mp3. We don't upload Dil Ta Pagal Hai Song Download, We just retail information from other sources & hyperlink to them.When there is a damaged backlink we're not in control of it. Each of the rights over the tunes would be the property of their respective owners. I appreciate the fact that Chopra kept updating his style with every new film. Dil To Pagal Hai Full Movie Download Free HD. Dil To Pagal Hai Full Movie Download Free HD This is one film in which the songs are mostly a part of the storyline and the movie can be rightly described as a romantic musical, and not just because it’s Bollywood.
It won 10, the most for a single film at that time, and won the. Its soundtrack album became one of the most popular of the 1990s. Many critics praised the film, which connected with different segments of society by simultaneously promoting strong family values and the following of one's own heart.
Its success led other film makers to target the non-resident Indian audience, which was deemed more lucrative for them. It spawned many imitations of its story and style, and homages to specific scenes. Dilwale Dulhania Le Jayenge was one of only three Hindi films in the reference book, and was placed twelfth on the 's list of top Indian films of all time. It is the longest-running film in the history of. As of 2017, over 20 years after its first release, it is still being shown at the theatre in Mumbai. as Raj Malhotra.
as Simran Singh. as Baldev Singh Chaudhary, Simran's father. as Lajwanti 'Lajjo' Singh, Simran's mother. as Ajit Singh, Baldev's friend in India. as Simran's grandmother. as Kammo Kaur, Simran's aunt. as Rajeshwari 'Chutki' Singh, Simran's sister.
as Dharamvir Malhotra, Raj's father. as Kuljeet Singh, Ajit's son. as Preeti Singh, Ajit's daughter. as Sheena, Simran's friend.
and as Raj's friends Production Origin and scripting assisted his father, director and producer, during the making of (1989), (1991) and (1993). During this time, Aditya wrote several of his own scripts, including one he assumed would be his first film, but eventually became his second, (2000). For three years, he worked on the story that would become Dilwale Dulhania Le Jayenge before approaching his father to direct it. Yash did not want to, and tried to persuade Aditya to do it himself. As they were discussing ideas for the script, Aditya conceived the notion that Raj would seek permission for marriage from Simran's stern father, rather than eloping with her. He then became excited about the possibility of directing the film himself. After his mother, the playback singer, agreed that the idea was sound, he decided to make this his directorial debut.
Aditya wanted to make a wholesome film that people could watch repeatedly. He wanted to diverge from the typical plot line of the time, in which lovers run away when their parents object, and show that if their love was strong enough, the parents would eventually understand.
In May 1994, Aditya read the first draft of the script to several members of the production team assigned to work with him, including a cinematographer, an art director and a dialogue writer. They were not impressed, but Aditya held fast to his ideas. He was given total editorial control by his father, the producer, and made the film according to his own tastes and sensibilities. Aditya struggled with both the dialogue writer and the song lyricist to develop words that were 'young-sounding'. There were personal clashes over writing credits on the final script. Pamela's friend believed she deserved a writing credit that she did not receive, and Siddiqui believed Aditya did not deserve partial credit for the dialogue. After Dilwale Dulhania Le Jayenge, neither of them ever worked with Yash Raj Films again.
After approving the script, Yash was consulted about the songs, but mostly left the creative process to his son, and has firmly denied that he was a ghost director on the project. He did not shoot a single frame, and did not even view some portions of the film until it was nearly completed. Casting Aditya originally wanted the film to be about a relationship between an Indian and an American. He wanted for the role of Raj but was dissuaded by Yash, who did not want to use a foreign star.
They decided their characters would be non-resident Indians (NRIs). Aditya approached Shah Rukh Khan to play the role of Raj.
Shah Rukh was initially not interested because of the romantic nature of the role, having had success playing villainous roles. Aditya then asked to play the lead role because he was having problems persuading Shah Rukh to do it.
Saif declined for unknown reasons, as did, causing Aditya to continue pursuing Shah Rukh. Aditya and Shah Rukh had four meetings over several weeks; he finally persuaded Shah Rukh by telling him he could never be a superstar unless he became 'every woman's dream man, and every mother's dream son'. Since then, Shah Rukh has expressed his gratitude to Aditya for helping to make him a star with this film. Shah Rukh said that fellow actor also encouraged him to do the role, saying that he thought the film would be very successful.
Shah Rukh has also noted the similarities in the film's script to his own relationship with before their marriage. Kajol was the first choice to play Simran, to which she quickly agreed; she was a good friend of Aditya. She and Shah Rukh had previously worked together in the successful films (1993) and (1995). Kajol said her character was very difficult for her to relate to, whereas Shah Rukh said Raj's personality was very similar to his own. Aditya chose the name Raj for the character, and the mandolin that he played, based on his admiration for the actor. After a successful, Parmeet Sethi was chosen over for the role of Kuljeet Singh.
In addition to his assistant director, Aditya asked for two additional assistants, his brother and his friend. Johar also played a small role in the film as Raj's friend. Sharmishta Roy was the film's art director and was its costume designer.
While Malhotra had many new ideas, Aditya wanted to keep the clothing style simple; he did not want it to distract from the story. Despite this, Malhotra was responsible for the idea of Simran wearing a green dress in the song 'Mehndi Laga Ke Rakhna', an unusual colour for a Punjabi bride.
Shah Rukh Khan and Kajol celebrating 1000 weeks of continuous showing of Dilwale Dulhania Le Jayenge in 2014 In 2001, Dilwale Dulhania Le Jayenge overtook (1975), which had run for over five years at the Minerva theatre, as the longest-running film in Indian cinema history. It has been showing at the Maratha Mandir theatre (which was famous for having shown (1960) for three years) since its original release in 1995. There are often people in the audience who have seen the film 50 or more times, but still clap, cheer, mouth the dialogues and sing along with the songs, raising comparisons with (1975), the longest running film in America. When a theatre strike in early 2011 threatened the film's uninterrupted run, the producer Yash Chopra contacted theatre owners to try and ensure the film would continue. He hoped the film would continue to run for at least 1,000 weeks, which it achieved in December 2014. To commemorate the event, cast members including Shah Rukh Khan, Kajol, Anupam Kher, Farida Jalal, Mandira Bedi and Pooja Ruparel appeared on the television show.
Shah Rukh Khan, Kajol and director Aditya Chopra also attended a live chat with fans and a black tie event at the theatre on 12 December. The same day, they launched a coffee table book written by Aditya Chopra about the making of the film. Also in December, Yash Raj Films announced the availability of a collection of commemorative, licensed merchandise from various suppliers to mark the event. The Maratha Mandir's management ended the film's run after 1,009 weeks on 19 February 2015 because of low attendance (the last show was viewed by 210 people). However, after an outpouring of support from fans, and talks with the production company, they decided to reinstate the film.
Influence. Kajol and Shah Rukh Khan in the climactic train scene Dilwale Dulhania Le Jayenge spawned many imitators of its story and style, especially throughout the 1990s. According to the Encyclopaedia of Hindi Cinema, it and a handful of other films and young directors started a trend for 'designer' films. The authors said that these were 'a carefully packaged and branded product in which every little visual and physical detail. Is of utmost importance'. In Bollywood's Top 20: Superstars of Indian Cinema, Namrata Joshi said Dilwale Dulhania Le Jayenge 'reinvented Bollywood romances so decisively that we can neatly divide them into two eras—before DDLJ and after DDLJ'. Yash Raj Films was previously known for using locations outside India for in its films.
Dilwale Dulhania Le Jayenge started the trend for films designed to appeal to the Indian diaspora, which have foreign locations as integral parts of the story. The characters are themselves diaspora and tend to be able to move with ease between India and the West. Some later films that followed this trend include (1997), (2001), (2003), (2005), (2005) and (2006). Dilwale Dulhania Le Jayenge became the first Hindi film blockbuster to feature NRIs as main characters. It helped to establish the diaspora market as a vital source of revenue for the industry; that market was seen as a safer financial investment than the market.
Several later films have paid homage to Dilwale Dulhania Le Jayenge. The Karan Johar-produced (2014) was directly inspired by it. The films (2007), (2011), (2011), (2013) and (2013) include scenes similar to the climactic train sequence, wherein a woman is running to catch a moving train and is helped aboard by a man with his outstretched arm. The British film (2008) contained a similar train scene, and its final dance sequence was partially shot at the same railway station as the Dilwale Dulhania Le Jayenge finale. Impact Audiences appreciated the screen chemistry between Shah Rukh Khan and Kajol, who later worked together in several successful films including (1998), (2001), (2010), and (2015), and are often referred to as Indian cinema's most loved on-screen couple. Shah Rukh Khan credits this film with making him a star, and says it 'changed the entire scene for romantic movies of the 90s'.
During an interview in 2002, he said 'Whatever I'll stand for as an actor, in the whole of my career, whenever it ends, it will start with and end at Dilwale'. The actress Farida Jalal said the film gave her career a boost, saying she got many offers and 'could quote any price'.
It also helped the young careers of Pooja Ruparel, who received advertising offers, and of Sharmistha Roy. The British Film Institute (BFI) commissioned a book about Dilwale Dulhania Le Jayenge. It was the first Hindi film chosen for a series of studies on international films, called 'BFI Modern Classics'. The author was Anupama Chopra and the book was released in 2002. It was reissued in paperback by Harper-Collins as Dilwale Dulhania Le Jayenge: The Making of a Blockbuster in 2004. After an unexpectedly long delay, the film was released on DVD by Yash Raj Films in 2002. The release included The Making and 300 Weeks Celebration documentaries, Success Story (highlights from the film's premiere), clips from the ceremony and other interviews.
In 2006, members of the film crew were honoured at a dinner event to celebrate the film's 500th week since release. It was hosted by the Consulate General of Switzerland in Mumbai and by Switzerland Tourism. In 2010, Yash Raj Films signed an agreement with Indian and Swiss tour companies to provide a tour package called 'YRF Enchanted Journey', to allow visitors to Switzerland to view filming locations used for famous Yash Raj films including Dilwale Dulhania Le Jayenge. In 2014, Yash Raj Films released Aditya Chopra Relives. Dilwale Dulhania Le Jayenge (As Told to Nasreen Munni Kabir), an attractive but expensive book about the making of the film.
In response to Indian prime minister quoting the line 'May the force be with you' from the American film franchise during a visit to the U.S., President decided to quote a line from a Hindi film during his visit to India in January 2015. He chose a line from this film, ' Senorita, bade bade deshon mein.' (Miss, in large countries.), and added 'you know what I mean'. From the original on 30 May 2015. Retrieved 18 March 2015. From the original on 18 July 2016. Retrieved 19 October 2017.
Baker, Steven (12 January 2013). From the original on 30 May 2015. Retrieved 10 March 2015. From the original on 21 March 2012. Retrieved 5 July 2015. Select Indian Rupee on the 'Compare' pulldown, then click 'Retrieve Data'.
From the original on 1 June 2015. Retrieved 25 June 2015. From the original on 30 May 2015. Retrieved 8 December 2011. ^ Kulkarni, Ronjita (8 October 2003).
From the original on 30 May 2015. Retrieved 11 November 2011. 10 December 2014.
From the original on 30 May 2015. Retrieved 5 March 2015., pp. 31–32.
10 December 2014. From the original on 30 May 2015. Retrieved 5 March 2015., pp. 50–51., pp. 44,47. 7 January 2011. From the original on 30 May 2015. Retrieved 6 April 2011. The Times of India.
12 December 2012. From the original on 30 May 2015. Retrieved 22 March 2015. Naval-Shetye, Aakanksha (18 May 2013). From the original on 28 October 2013. Retrieved 20 April 2015.
The Times of India. From the original on 12 February 2017. Retrieved 2017-02-11. ^ Vijayakar, Rajiv (12 December 2014). From the original on 30 May 2015.
Retrieved 14 January 2015. 15 December 2014. Archived from on 3 June 2015. Retrieved 30 June 2015. ^ Ramsubramaniam, Nikhil (12 February 2011). Bollywood Hungama.
From the original on 30 May 2015. Retrieved 26 January 2012. 300 Weeks Celebration. Yash Raj Films. Event occurs at 10:30–11:30. 13 December 2014.
From the original on 16 December 2014. Retrieved 30 June 2015. ^ Sharma, Saumya (4 June 2014). From the original on 31 May 2015.
Retrieved 31 May 2015., pp. 42–43. Singh, Harneet (19 November 2012). From the original on 30 May 2015. Retrieved 19 November 2012.
Kaur, Jasleen (July 2014). Archived from on 30 May 2015. Retrieved 24 March 2015. ^ Tagliabue, John (11 July 2010). From the original on 30 May 2015. Retrieved 11 November 2011.
Yash Raj Films. 12 January 2010. From the original on 30 May 2015. Retrieved 11 November 2011. Singh, Amar (14 May 2007).
From the original on 30 May 2015. Retrieved 20 August 2014. Khubchandani, Lata (5 February 2001).
From the original on 30 May 2015. Retrieved 20 August 2014. December 9, 2014. From the original on 1 January 2016. Retrieved 2016-01-03., pp. 45–46.
The Times of India. 7 January 2011. From the original on 30 May 2015. Retrieved 27 February 2015.
^ (13 July 2014). SKJ Bollywood News. Archived from on 30 May 2015. Retrieved 19 March 2015.
Dilwale Dulhaniya Le Jayenge, known the world over by the amiable acronym DDLJ. ^, p. 8. ^, pp. 46–48., pp. 305, 333.
^ Harris, Scott Jordan (18 December 2014). From the original on 30 May 2015. Retrieved 5 March 2015. From the original on 30 May 2015. Retrieved 18 March 2015. ^ Jha, Subhash K. (16 December 2014).
From the original on 30 May 2015. Retrieved 5 March 2015. Gupta, Bhasker. From the original on 30 May 2015. Retrieved 14 March 2011. Box Office India. 22 January 2009.
Archived from on 15 February 2008. Retrieved 17 August 2011. From the original on 30 May 2015. Retrieved 9 June 2011. (PDF) from the original on 19 October 2015. Retrieved 29 June 2015.
The Times of India. 25 January 2011. From the original on 30 May 2015. Retrieved 27 November 2011. ^ Lalwani, Vickey (5 August 2010). The Times of India. From the original on 25 June 2015.
Retrieved 22 March 2015. ^, pp. 49–50. 11 December 2014. From the original on 30 May 2015. Retrieved 11 December 2014. Box Office India.
Archived from on 17 October 2013. Retrieved 21 April 2008. Box Office India. 19 December 2011. Archived from on 25 April 2012.
Retrieved 19 December 2011. Box Office India. Archived from on 17 October 2013. Retrieved 21 April 2008. Box Office India.
Archived from on 6 October 2013. Retrieved 5 March 2011. Retrieved 2 December 2017. Gattani, Shruti (17 October 2009).
Box Office India. From the original on 30 May 2015. Retrieved 21 August 2014.
24 October 2011. From the original on 2 April 2015. Retrieved 19 March 2015. Archived from on 29 December 2013.
Retrieved 5 March 2011. Taylor, Charles (17 June 2004). From the original on 6 September 2015. Retrieved 14 March 2011. Chopra, Anupama.
Archived from on 20 March 2012. Retrieved 23 September 2011. Shariman, Meor (5 August 2004). Archived from on 11 November 2013.
Retrieved 25 April 2013. Kuch Kuch Hota Hai and Dilwale Dulhania Le Jayenge are 'must watch' for every Bollywood fan.
In fact, viewers seeking an introduction to Bollywood should also check them out. – via Highbeam (subscription required). ^ Sen, Raja (13 May 2005). From the original on 30 May 2015. Retrieved 25 March 2015. Mozaffar, Omer M. (20 March 2012).
From the original on 30 May 2015. Retrieved 5 March 2015. Times of India. From the original on 29 May 2016. Retrieved 1 September 2016. The Times of India.
From the original on 30 May 2015. Retrieved 30 May 2015. Archived from on 30 May 2015. Retrieved 22 November 2010. British Film Institute. Archived from on 20 January 2012. Retrieved 15 March 2011.
Box Office India. Archived from on 26 October 2013. Retrieved 4 October 2012.
Indian Film Festival,. Archived from on 27 December 2013. Retrieved 27 December 2013. The Times of India. From the original on 21 June 2015. Retrieved 21 June 2015. (PDF) from the original on 24 April 2012.
Retrieved 6 March 2012. 11 December 2014. From the original on 29 June 2015. Retrieved 29 June 2015. Archived from on 16 February 2009. Retrieved 24 February 2015.
Khubchandani, Lata (5 February 2001). From the original on 30 May 2015. Retrieved 27 December 2013. 2 November 2004. From the original on 27 June 2012. Retrieved 27 June 2012. Marchive, Laurane (10 May 2009).
Archived from on 28 December 2013. Retrieved 15 November 2011. Lalwani, Vickey (26 March 2010). The Times of India. From the original on 30 January 2015. Retrieved 11 November 2011. The Indian Express.
3 December 2014. From the original on 30 May 2015. Retrieved 15 December 2014. 13 December 2014. From the original on 30 May 2015.
Retrieved 15 December 2014. Joshi, Priya (15 December 2014). From the original on 30 May 2015. Retrieved 5 March 2015. Yash Raj Films.
16 December 2014. Archived from on 30 May 2015. Retrieved 5 March 2015. Ramasubramanian, Uma (19 February 2015).
From the original on 30 May 2015. Retrieved 19 February 2015. 22 February 2015. From the original on 30 May 2015. Retrieved 19 March 2015., pp. 235–236. ^ Desai, Lord Meghnad (25 November 2007).
From the original on 30 May 2015. Retrieved 6 April 2011. 13 October 2006.
From the original on 30 May 2015. Retrieved 6 April 2011. Bohni, Bandyopadhyay (20 July 2013). The Times of India. From the original on 30 May 2015. Retrieved 2 February 2014. Lalwani, Vickey (19 May 2011). Pdf file upload in joomla templates free.
The Times of India. From the original on 1 November 2014. Retrieved 7 December 2011.
Dedhia, Sonil (13 December 2014). From the original on 30 May 2015. Retrieved 19 April 2015.
From the original on 30 May 2015. Retrieved 4 February 2014. 300 Weeks Celebration. Yash Raj Films.
Event occurs at 17:23–17:35. Dedhia, Sonil (10 December 2014). From the original on 30 May 2015. Retrieved 23 March 2015.
From the original on 30 May 2015. Retrieved 19 March 2015. 23 February 2012.
Archived from on 30 May 2015. Retrieved 5 March 2015. From the original on 30 May 2015.
Retrieved 19 March 2015. Lutgendorf, Philip. South Asian Studies Program,. From the original on 4 July 2012. Retrieved 24 March 2015. Horne, Stephen (5 October 2005).
The Digital Fix. From the original on 30 May 2015. Retrieved 8 December 2011. Bollywood Hungama. 10 April 2006. From the original on 30 May 2015. Retrieved 7 December 2011.
Bhatia, Sidharth (31 January 2015). From the original on 30 May 2015. Retrieved 26 March 2015. Bawa, Jyoti Sharma (28 January 2015). From the original on 30 May 2015. Retrieved 31 March 2015.
Bibliography. Chatterjee, Saibal (2003).
'1990–2001: Designer Cinema'. In Ramchandani, Indu. Chopra, Anupama (2002)., London. Dengel-Janic, Ellen; Eckstein, Lars (2008). 'Bridehood Revisted: Disarming Concepts of Gender and Culture in Recent Asian British Film'. In Eckstein, Lars; Korte, Barbara; Pirker, Eva Ulrike; et al. Dwyer, Rachel (2014)., London.
Ganti, Tejaswini (2004). Joshi, Namrata (2012). 'Shahrukh Khan: Yuppie Prince of Liberalized India'. In Patel, Bhaichand., India. Mazumdar, Ranjani (2014). 'Dilwale Dulhania Le Jayenge / The Brave-Hearted Will Take Away the Bride'. In Barrow, Sarah; Haenni, Sabine; White, John., New York.
Mehta, Rini Bhattacharya (2011). 'Bollywood, Nation, Globalization: An Incomplete Introduction'. In Mehta, Rini Bhattacharya; Pandharipande, Rajeshwari V. Anthem Press. Punathambekar, Aswin (2005).
8 (2): 151–173. Ramchandani, Indu, ed. Mukherjee, Madhuja (2012) 2011. 'Mustard Fields, Exotic Tropes, and Travels through Meandering Pathways: Reframing the Yash Raj Trajectory'. In Roy, Anjali Gera; Huat, Chua Beng.
Sarrazin, Natalie (2008). 'Songs from the Heart — Musical Coding, Emotional Sentiment, and Traditional Sonic Identity in India's Popular Film Music'. In Kavoori, Anandam P.; Punathambekar, Aswin. Uberoi, Patricia (1997). 'The Diaspora Comes Home: Disciplining Desire in DDLJ'.
32 (2): 305–36. Virdi, Jyotika (2003). Further reading. Chopra, Aditya; Kabir, Nasreen Munni (12 December 2014).
Aditya Chopra Relives. (Dilwale Dulhania Le Jayenge: As Told to Nasreen Munni Kabir). Sharpe, Jenny (2005).
'Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge'. Meridians: feminism, race, transnationalism.
6 (1): 58–81. External links.