The critically acclaimed movie that established Kangana Ranaut’s status as an A-list Bollywood actress and won over not only the audience, but also the Hindi film fraternity, has finally completed a year. In addition to recently winning the 2015 Filmfare award for Best Film, I would like to remind everyone why it won our hearts and how it started the era of brown girls with new-found confidence.
The synopsis of the movie is quite simple. (Spoiler alert!)
Rani (also known as Queen) played by Kangana Ranaut, is a middle-class girl from Delhi, who works at her parent’s mithai shop and is escorted by her younger brother everywhere she goes. She is two days away from marrying Vijay, played by Rajkummar Rao, the love of her life. But when he returns from London, Vijay has a change of heart and feels that Rani won’t be able to adapt to his new modern lifestyle and thus breaks the marriage off.
Heartbroken, Rani decides to go on her pre-booked honeymoon to Paris and Amsterdam alone, places she had always dreamed of going to as a girl. There starts a journey of unlikely friendships, a newfound freedom, and the discovery of self.
Innocent Rani touches the heart of everyone during her solo adventure. From dancing in a club and drinking for the first time to having her first lip-to-lip kiss, you feel Rani’s journey is your own. It is similar to our awkward self-doubt about being the only brown girl in the class, to owning our dark skin and imperfect eyebrows. She is the epitome of the average brown girl trying to settle in the misogynistic and hypocritical world of ours; coming to the realization that accepting yourself is the first step in having the world accept you.
Wandering the streets of Paris in a blue kurti, Rani befriends a half-Indian, half-French woman, Vijaylaxmi, played by Lisa Haydon. Initially, Rani is startled by Vijaylaxmi’s upfront personality, but the two soon become best friends and wander around Paris, flirt at nightclubs, and do a drunken dance with police officers; a friendship every brown girl can relate to.
During the second half of the movie, Rani leaves for Amsterdam and to her horror, is assigned to a room with three “male roommates” at the hostel. However, she finds a unique friendship with her new guy friends. Together, they share deep thoughts about life, obliviously enter a sex store, visit a strip club and share the last night together at a rock concert.
Rani transforms from a scared, heartbroken girl to someone who owns herself and takes everything the world throws at her. While the mendhi on her hand faded, her confidence grows.
Rani embodies the girl we all have tried to hide throughout our lives. But she owns it, and while remaining true to her Indian ideals and customs, she becomes this badass girl who attends rock concerts in a foreign country when there once was a time when she was barely allowed to dance at family weddings. Not only does she dismiss the guy who broke her heart after returning from the honeymoon, she looks him in the eyes, simply says, “thank you” and hugs him for the last time.
Also, let’s not forget Rani’s cool dadi ma, who gives her the best advice, especially after the Vijay breakup.
Aamy Kuldip enjoys Indian classical dancing, known as kathak, and has been learning/teaching for the past ten years. She also participated in the Miss India USA pageant and gained the titled of Miss Photogenic this past year. Through Brown Girl Magazine, she would like to share her experiences, as well as give her input on issues that affect the average brown girl.
Indian-American commercial real estate and land consultant Anita Verma-Lallian launched Camelback Productions at an event held in Paradise Valley, Arizona, Jan. 7. Billed as the state’s first women-and South Asian-owned film production and entertainment company, it will focus on South Asian representation and storytelling, according to a press statement issued by Verma-Lallian. The announcement follows “Arizona Governor Doug Ducey’s $125 million film tax credit for film and TV production that was introduced in July 2022, “ the statement added.
The Jan. 7 private launch party and meet and greet introduced investors and supporters to what’s ahead for Camelback Productions.
Noting the “major push to see minority groups represented in the media over the past few years,” Verma-Lallian said she wants to see more South Asians represented. “I want my children to see themselves when they watch TV. I want my daughter’s dream to become an actress to become a reality. Skin color shouldn’t be a barrier to that.”
The event opened with remarks from Phoenix Mayor Kate Gallego, who has served as the city’s 62nd mayor since 2019. She welcomes the company to “the greater Phoenix community.” She expressed confidence that “the team will attract some of the country’s top talent to the Valley.”
Guests at the event included actor and comedian Lilly Singh, actor Nik Dodani, Aparna of Netflix’s “Indian Matchmaking,” Bali Chainani and Anisha Ramakrishna of Bravo’s “Family Karma” fame, and Paramount+ executive P. Sean Gupta, to name a few.
The company is Verma-Lallian’s first venture into the film industry. She is known for providing full concierge services for land seekers and developers of all types of sites and assists investors in discovering viable properties in the Phoenix area through her company, Arizona Land Consulting, the statement added.
Named in honor of the iconic Camelback Mountain in the Valley, Verma-Lallian says she wants her production company to have the same indestructible foundation. Camelback Productions plans to begin its first project later this summer.
March 20, 2023March 21, 2023 4min readBy Nida Hasan
If you are a South Asian, born in the ’80s or the early ’90s, chances are your ideas of love and romance are heavily influenced by Hindi films — that first gaze, the secret love notes, that accidental meeting somewhere in Europe, over-the-top gestures and dancing around trees. While reality may have been far from what was promised on reel, you still can’t stop pining over a hopeless romantic, with chocolate boy looks, chasing you across the earth and many universes; in the life here and the ones after. Somewhere deep down, you still dream of that possibility despite your husband sitting and sipping his morning coffee right next to you. And much of the credit for weaving this dreamland, that we can’t resist happily sliding into, goes to the legendary Yash Chopra. Award-winning filmmaker Smriti Mundhra’s docu-series, “The Romantics,” that released on Netflix on February 14, chronicles Chopra’s prolific career; offering an illuminating look into the highs and lows of his journey, his unblemished vision for Hindi cinema and sheer love for filmmaking.
I wanted to look at Indian cinema through the lens of it being a major contributor to the global cinema canon and Yash Chopra seemed like the perfect lens to explore that because of the longevity of his career and the fact that he had worked across so many different genres. His films, for so many of us, defined what Hindi cinema is.
— Smriti Mundhra
As “The Romantics” unveils, in a mere episode — a challenging feat in itself — Chopra did experiment with multiple genres as a budding filmmaker, initially under the shadows of his elder brother B.R. Chopra. From the religiously sensitive “Dharamputra” and the trendsetting “Waqt” to the action-packed and iconic “Deewaar.” It wasn’t until later on in his career that he set a precedent for a Hindi film having a wholly romantic narrative; though “Waqt” did offer the perfect glimpse into what would go on to become Chopra’s cinematic imprint. And then came “Chandni” which ushered in a new era for Hindi cinema; defying the formulaic approach to box office success and making love stories the golden goose.
In the words of more than 30 famous faces, a host of archival videos and interviews, and personal anecdotes, audiences get an extensive insight into the life and career of Yash Chopra and the evolution of his vision through the business acumen and genius of his polar opposite son and a famous recluse, Aditya Chopra. “The Romantics” is not a fancy portrait of a legendary filmmaker but an exploration of what goes into making a successful film family and a path-breaking production house. As viewers, we not only get a peek into the making of a fantasy creator but also learn of the many failures, hurdles and uncertainties that the business of filmmaking comes packaged in, the impact of socio-political shifts on the kind of content being produced and demanded, and just how much control we have as an audience over the fate of the film and the filmmaker.
For both the uninitiated and fanatics, there are some interesting revelations like Shah Rukh Khan’s lifelong desire to become an action hero as opposed to a romantic one and the creative conflict between Aditya Chopra and his father Yash Chopra on the sets of “Dilwale Dulhania Le Jaayenge” — a project that, surprisingly, did not seem too promising to the latter. Mundhra penetrates deep into the family’s history and industry relationships evoking some really candid conversations; almost as if these celebs were eagerly waiting for their moment to speak. With one appraising interview after the other, it’s a panegyric that does border on being a tad tedious but there is enough depth and fodder in there to keep one hooked. Kudos to Mundhra for managing to achieve cohesion despite there being more than enough material to chew on. In the process of bringing this project to life, Mundhra also ends up achieving a number of milestones: one that the series features the last of actor Rishi Kapoor’s interviews and two, it brings Aditya Chopra, who, it appears, can talk a blue streak contrary to popular belief, to the front of the camera after almost two decades. The moment when he puts the nepotism debate to rest by referring to his brother’s catastrophic attempt at acting is quite the show-stealer.
At some point during the four-episode series, you might question if it’s fair to credit the Yash Raj family for being the only real changemakers of the Hindi film industry and for picking up the baton to get Hindi cinema the global recognition that it has. But then there is no denying the Chopra clan’s body of work, their ability to understand what pleases the crowd and their commitment towards growth and progress amidst changing times and technology — Yash Raj Studios is in fact the only privately held and one of the biggest, state-of-the-art film studios in India. Chopra’s career and legacy are in no way under-lit that Mundhra can claim to throw new light on with “The Romantics.” But what she really has on offer here are sheer nostalgia, some fascinating discoveries and an ode to a cinephile and his art with a bit of fan service.
In an interview with Brown Girl Magazine, Mundhra discusses why it was so important for Chopra to be the subject of her docu-series, her own learnings during the series’ research and creative process and her accomplishment of getting Aditya Chopra to talk, and that too, at length.
“After so Long” is a poetry film created for Simha’s EP, which is streaming on Spotify, Apple Music and Amazon Music. The poem was collaboratively written by Simha, a U.S. native, and Jae, who is based in India, during the 2020 lockdown. “After so Long” was recited by Simha and their parents. In 2022, I directed and produced the film through my studio, Star Hopper. “After so Long” premiered on Nowness Asia in March 2022.
This film is a worldwide collaboration among trans and queer south-Asian artists from the United States, India and Canada. It was recorded, shot and filmed during the lockdown of 2020 and 2021.
Awake at 10 am but out of bed at noon,
I want to be here where I lose myself in these sheets
Glancing through half-shut eyes
At the gold pressing past my window
The glimmer remarks on the ledge of my bed
But the voices are so loud
Like dust collecting in the corner of my room
I am unaware to why I’m still here
With the chilling doubt of the breeze…
I’m swept into lucidity After so long
Mil rahi hoon mein aaj iske saang barso baad,
(Today, I’ll be meeting them after so long)
Koi paata nahi diya tune
(But with no destination sight,)
(What should I do?)
(Where should I go?)
Shayad agar mein chalne lagoon,
(Perhaps, if I keep walking)
Inn yaadon ki safar mein
(Down this road of memories)
Mujhe samajh mein ayega,
(I will find out)
Yeh rasta kahaan jayega,
(Where this road leads)
Inn aari tedhi pakadandiyon pe baarte hi jaana hai,
(Through the twists and turns of this winding roads, I must keep going on)
Mujhe mil na hain aaj uske saath,
(I wish to meet them today)
(After so long)
I feel like I’m retracing my footsteps
From these concrete stretches
To broken cement walls
Chips and cracks forge their way for new designs
I see the old abandoned buildings
That once held the warmth of bodies
Now just hold memories
Supporting the nature’s resilience
In vines and moss
After so long
Dhoondli shishe mein jaaga leli hai
(These isty mirrors have offered refuge)
Bikhri hui laatao ne,
(To these scattered vines)
Zameen pe uchi ghaas pe
(Amidst the tall grass stretching from the ground)
Lehrati kamsan kaliyaa
(The swaying little buds)
Bheeni bheeni khushboo bikhereti
(Spreading honeysuckle scent through the air)
Phir wahi mausam,
(I lose myself in reminiscing, the same season)
(The same heart)
(After so long)
Phir bhi mein chal rahi hoon aaj
(Still, I keep carrying on today)
Khudko khudse milane ke liye
(In the pursuit of my higher self)
Inn galiyo se guzarna hain aaj
(I must pass through these streets today)
Chaalte chaale jaana hai aaj
(I must keep going on today)
Kabhi hum milenge kisi mor paar
(Someday, we’ll meet again, somewhere on this road)
(After so long)
Kabhi hum milenge kisi mor pe
(Someday, we’ll meet again, somewhere on this road)
(After so long)
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