Jab We Met is like a spiritual successor of DDLJ. Filmmakers have used it as a template, to tell an old story in a new way, or to say something, make a statement. A generation of directors, writers and actors who grew up watching the film were in the business of making films now. Naturally, DDLJ has become a point of reference for films that have come after it. Certain dialogue, images, music have entered our consciousness forever.
(Or wait, was that already said in 2015, when it completed 20 years?) It has transcended from merely a hugely popular film to something of a mythological stature. Nothing much has been left to be said about the film, except maybe that certain things don’t come off so well in 2020. Released on October 20, it has played at Mumbai’s Maratha Mandir for nearly as long, until the Covid 19 pandemic shut down cinemas all over the world. Dilwale Dulhaniya Le Jayenge (DDLJ) needs no introduction, but a piece on its 25th anniversary may warrant one.
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