This earns him points, as does his fervent embrace, on arrival, of the shoes of Daddy, to whom he is wholeheartedly devoted-a real Indian boy, after all! He also loves his fluffy dog, Brownie (seasoned fil-um-watchers may guess that the latter will eventually play a key role as romantic go-between), and his toys, especially the fab new digital camera brought by Daddy from Singapore. Whereas most of the Mehta clan arrives in the hills (where they own a mansion and scheme to build an unspecified but sinister-sounding вЂњprojectвЂќ involving foreign investors and billions of rupees) by limousine and helicopter, young Manav-who wants to вЂњsee the real IndiaвЂќ-comes, complete with rucksack, in a second class railway compartment and perched atop the crowded roof of a bus.

Like the heroes of many romances of the late 1990s, Manav (Akshay Khanna) is a вЂњNon-Resident Indian,вЂќ London-raised (but speaking nice Hindi), and in fact visiting India (improbably) for the first time, together with his billionaire father Jagmohan Mehta (Amrish Puri) and assorted hangers on, including a sycophantic and calculating uncle and a shrewish sister-in-law (whose short, color-streaked hair immediately warns of the Too-Westernized Woman, an impression confirmed when she snobbishly compares the Himachal hill station of Chamba unfavorably to Scotland). In addition, such narratives often portray the supposed вЂњinnocentвЂќ sensuality and sexual forwardness of the mountain maiden both as a pretext for erotic spectacle and as a plot-driving motif e.g., with a self-assertive Pahari girl boldly choosing an outsider, pardesiВ boy in defiance of her family and community. The basic scenario lends itself to a complex array of thematic polarities that have often been explored in Hindi films: e.g., the equation of woman with nature, purity, and tradition and of man with modern civilization and its attendant ills the contrast between the rustic (both valorized as pure, natural, and indigenous, and critiqued as coarse, вЂњjunglee,вЂќ and backward) and the urban (again, both in its positive valuation as modern, educated, and progressive, and in its negative depiction as westernized, callous, and corrupted), and the tension between the regional or local (embodied in ethnic costume and cultural practice) and the cosmopolitan or national (expressed in the centrism of nationalist ideology and through a supposedly pan-Indian-although in fact mainly north Indian-urban lifestyle).

Studios), to Shakti SamantaвЂ™s 1964 Kashmir Ki KaliВ (вЂњbud of Kashmir,вЂќ starring Shammi Kapoor as the runaway son of an industrialist and Sharmila Tagore as a flower-seller in the Vale), to 1985вЂ™s blockbuster Ram Teri Ganga MailiВ (вЂњRam, your Ganges is tainted,вЂќ again directed by Kapoor). In Hindi cinema, this theme has long been a favorite that has regularly generated hits, ranging from Raj KapoorвЂ™s 1949 BarsaatВ (вЂњMonsoon,вЂќ famous for its image of Nargis, as a Kashmiri maiden, swooning in the arms of the violin-playing poet-hero, which became the logo of KapoorвЂ™s R.K. In India, stories in which a boy-from-the-plains meets and falls in love with a girl-from-the-mountains-after which complications ensue-are as old asвЂ¦.well, the hills-or at least as old as the classical epics.

Rahman Lyrics: Anand Bakshi Art direction: Sharmishtha Roy Audiography: Rakesh Ranjan Choreography: Saroj Khan, Ahmed Khan, Shiamak Davar Cinematography: Kabir Lal. Story: Subhash Ghai Dialogues: Javed Siddiqui, Subhash Ghai Screenplay: Sachin Bhowmick, Subhash Ghai Music: A. Produced, Directed, and Edited by Subhash Ghai

Taal movie singer