1 is marred with sexist sub-plots like Anil Kapoor’s Lakhan encouraging his best friend’s adulterous ways by covering for him when his wife first gets wind of it. Two decades later, that seems baffling, considering Biwi No. It was after all, like most David Dhawan outings at the time, the kind of film that families watched together. My seven-year-old brain saw nothing wrong with Biwi No. For most of that year, we played the songs on our walkman and did regular renditions of “Chunnari Chunnari” at family get-togethers. Not only was it one of the first movies I saw in a theatre with my parents, but my sister and I were also immediately taken with the soundtrack. 1 acquiring an integral place in my life that year. And on the other, Pooja’s sanskaar is driven home by the fact that she sings bhajans every morning.Īnd yet I remember Biwi No.
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1 dealt in two extremes: On the one hand, Prem’s blatant misogyny is established with dialogues like, “Main iss ladki ko apne ghar pe naukraani na rakhu,” which he utters while looking at pictures of aspiring models. Say what you will about ’90s Bollywood, but they didn’t hold back with tired tropes like star-struck models whose only goal in life is a husband with a “aalishaan bungalow and shaandaar gaadi”. After much tomfoolery and Pooja pulling out all the stops, the good wife eventually “ WiNs HeR MaN BaCk”. The film revolves around Prem Mehra (Salman Khan), an ungrateful husband who, despite being married to the sanskaari Pooja (Karisma Kapoor) and fathering two kids, decides to leave his family for Rupali (Sushmita Sen), a model.
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1, the David Dhawan infidelity comedy where one of the actual dialogues is “Aish nahi, Sush”.
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And then there was Salman Khan, who instead just decided on doing the bare minimum: filling in Govinda’s shoes in Biwi No. SRK starred in Abbas-Mustan’s campy Baadshah. Back in 1999, Bollywood’s three Khans were going through an unusual experimentation phase: Aamir Khan was trying to shed his chocolate boy image with the gritty cop drama, Sarfarosh.