Shraddha Kapoor and Tiger Shroff are the new age Baaghis. The picture was symbolic of Raj's efforts to convince Priya to marry him, which later reminded him to not let her go and mend their relationship. Eventually, love triumphed and one train chase later, Raj and Simran became the definitive filmy happy ending.Ī torn and then taped picture became a memento of Raj (Shah Rukh Khan) and Priya's (Rani Mukerji) struggle to be together. The picture entirely altered the narrative they had mapped for themselves and Babuji (Amrish Puri) was enraged that he had been taken in by the man because of whom he sent his daughter to India. Raj (Shah Rukh Khan) and Simran's (Kajol) love story couldn't have had so dramatic an ending if their photograph from the Europe trip hadn't ratted them out. So as Kapoor and sons and grandsons and Alia Bhatt prep for a family picture, we take a look at the clicks which became game changers in Bollywood film plots. (Also Read - It's Complicated: Kapoor And Sons and Lessons in Love and Geometry)
In Kapoor And Sons, Mr Kapoor's desire for a family picture turns an otherwise regular family story (with a cliched love triangle) into a fresh attempt at a family drama, which is Karan Johar's (the film's producer) specialty. In a three-hour film reel, photographs find a cameo role but their significance often outstrips the length of appearance.
(Also Read: Kapoor And Sons Movie Review) When Kapoor senior says, " Marne se pehle mai chahta hu parivaar ke saath ek family photo ho, jiske neeche title hoga 'Kapoor And Sons, Since 1921'," we all smiled and remembered in that minute the importance of our own family photos. One such example Bollywood's latest offering, Kapoor And Sons.
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