–Rural life with bicycles, boats, and oxcarts. –Scenes in homes of wildly wealthy families. –Plans to finish college before getting married, especially for women. –Dreams of building a business and moving up in the world. –Deliciously corny discussions in the sale of visual concepts. –Wedding negotiations with the parents of the groom, while pretending they don’t want much, asking for what sounds like a bundle of money, along with random goods such as refrigerators. –Certificates of permission displayed in film’s opening, along with a memorial photo and tribute to someone who presumably died during the shoot. –Warnings in opening credits about smoking being harmful to one’s health. –Addressing of national issues–dowry scams, mistreatment of women, shady business practices–with an affectionate overtone. –Actors framed in archways and under Moorish architecture. –Flocks of birds scattering above telephone wires and blocky concrete buildings. –Conversations and close-ups of a delectable range of restaurant foods. –Meals of white rice with a ladle of thin liquid poured over, scooped up with the fingers. After one such movie, there were real interviews with Indians on the street, who were still largely more comfortable with arranged marriages than with the Western way of meeting and falling in love before talking of nuptials. –The fascination with love matches versus arranged marriages. –A couple in an arranged marriage slowly growing in affection and respect for one another. –Beautiful, dewy-eyed actresses with lovely complexions. –A story involving a convoluted business deal or scam leading to cringe-worthy scenes of deception. –Big, gaudy weddings, with the bride in a shining sari and nose ring, the groom handsome in long shirt and trousers. –The actors breaking into charming English phrasing, with the viewer slow to notice due to reliance on subtitles. –Cell phones and texting figuring largely in the plot. –The train ride through the countryside, or the bus or tuk-tuk ride through town. –The actors caught up in a street festival, in cascades of brilliant color and fast-moving images. –A scene with the parents and fortune teller determining the auspiciousness of the match and the right day to wed.
–A giant spectacle of singing and dancing to wild rhythms in flowing costumes of crimson, saffron, lime, and indigo. –The smiling couple buying food from street vendors to the pulsing of an energetic musical number.
One minute, the guy is driving and she is playfully covering his eyes–then she is driving and their eyes are wide in mock fear. –Scooter-riding montages with laughter, goofing around, and close-up scenes of crowded, colorful Indian cities. –A plot involving an unsuitable romantic partner versus the husband or wife arranged for the protagonist years ago. The remake will also mark the third collaboration from the father-son duo hit after Main Tera Hero and Judwaa 2.–Parents who want son or daughter to wed and are constantly bringing in photos of potential suitors or setting up meetings. “Shooting dates and casting of the leading ladies will begin once the final script is locked.†Biwi No.1 is one of Varun’s favourite films and he is excited to collaborate with his father once again,†the source said. The Dhawans will start work on the film in the coming year. €œThe discussions are presently at a nascent stage.
The leading female actors in the film are yet to be revealed. While the original starred Salman Khan along with Karisma Kapoor and Sushmita Sen in the lead, the latest one is will star Varun in the lead. After Judwaa 2, Varun Dhawan is once again set to take another 90s hit comedy featuring Salman Khan and Karisma Kapoor and make it about him!Īccording to Indian publications, sources have revealed that Varun has one more ace up his sleeve and this time, he’s pairing with his father in the director’s seat for the remake of 1999 comedy caper, Biwi No.
It seems that the era of film remakes is still not ever in Bollywood.