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He vehemently protests the very idea, drowning out his family’s pleas to think of the alliance as a financial trade-off. Prem’s emasculation – whether it is his father treating him like a wayward child and leaving him twenty rupees as pocket money or his ignoble illiteracy – hits a crescendo when his family forcefully marries him off to a fat girl. In fact, Katariya’s quiet mockery of the shakha culture where overgrown men heap eloquence on the bravery of Bhagat Singh, Bose, and Vajpayee in khaki knickers, while being juvenile cowards in their personal lives, is a treat to watch. Prem, who has failed to clear his Class 10 exams twice, and is forced to run a small cassette shop, also devotes the better part of his day at a local RSS shakha in a bid to retain a semblance of masculinity. The year is 1995, and the film’s lead Prem Prakash Tiwari, nicknamed Lapoo, is a 25-year-old loserish man-child who spends his days listening to Kumar Sanu’s melodious ode to love and getting bullied by his waspish father. Dum Laga Ke Haisha sneakily shed a light on the frustrations and resentments that the weight of aspirational manhood inflicts on innumerable small-town men across the country. With Dum Laga Ke Haisha, Katariya managed the impossible: paying a nostalgia-induced homage to everything that made the ’90s what they were without an iota of irony. Couple that with Katariya’s astute writing which brings alive the ’90s small-town flavour – replete with Kumar Sanu’s trademark “Hey hey”, mohalla politics, abundance of dusty cassettes, and Limca being dispensed as a soother for an upset stomach – and you have Yash Raj Films’ strongest, and arguably its best romantic comedy until date. In doing so, Dum Laga Ke Haisha sneakily shed a light on the frustrations and resentments that the weight of aspirational manhood inflicts on innumerable small-town men across the country. It was the fact that for the first time, a young heroine completely refused to treat it as an inadequacy (unlike in Shaandar). Like this scene, what made the film revolutionary wasn’t just that it starred an overweight actor essaying its overweight heroine (or in film parlance: a “brave” film). In a way, this precious little scene sets the tone for what Katariya intends to achieve with Dum Laga Ke Haisha.
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They look away disapprovingly, but the damage is done. But to onlookers, this autonomy over her body is the reason for their glaring embarrassment. Just as her in-laws arrive at the venue, Sandhya joins the other brides-to-be and gyrates deliriously to the music: Enjoying herself and acutely unconscious of her body, even as Prem, his friends, and her in-laws stare at her in horror.įor Sandhya, her weight poses no great constraints. The setting is quietly comic a teeming community centre in Haridwar where Sandhya and Prem are one of the many couples whose marriage is getting officiated that day. There’s a scene in Sharat Katariya’s Dum Laga Ke Haisha where an elated and overweight Sandhya Verma (an impressive Bhumi Pednekar) dances with pure abandon minutes before getting married to the distraught Prem Prakash Tiwari ( Ayushmann Khurrana).