Rajkumar Hirani, a renowned filmmaker celebrated for his socially-conscious and impactful storytelling, recently shared his admiration for Sooraj Barjatya’s iconic film Hum Aapke Hain Koun. Hirani, known for his masterful creations like Munna Bhai MBBS, 3 Idiots, and PK, made a candid revelation about his love for the film, despite its lack of a strong narrative arc, at least in the traditional sense.
Hirani, speaking on Komal Nahta’s Game Changers YouTube channel, discussed his experience of watching Hum Aapke Hain Koun long before he became a director. He acknowledged that while the film didn’t have a conventional storyline, with the main conflict only arising towards the end, it managed to captivate audiences and hold their attention throughout. He called it an “unbelievable” achievement, especially considering that Barjatya had built a gripping narrative without the reliance on a strong plot. The charm of Hum Aapke Hain Koun, Hirani noted, lay in its family dynamics, music, and performances, which made it one of the most memorable films in Hindi cinema, even without a typical conflict-driven narrative.
The film, starring Salman Khan and Madhuri Dixit, has since become a cultural landmark, particularly in the realm of family-oriented films. Barjatya, known for his ability to create cinematic experiences centered around family values and traditional relationships, achieved immense success with this 1994 blockbuster. Hirani’s admiration for the film highlights how effective storytelling doesn’t always need a typical story arc or conflict but can succeed through emotional depth and engaging character interactions.
In the same interview, Hirani was asked about the possibility of remaking each other’s films. He responded with a light-hearted wish, saying he would love to see Sanju—his 2018 biographical drama about actor Sanjay Dutt—remade by Sooraj Barjatya. Hirani expressed his admiration for Barjatya’s unique storytelling style and his ability to craft films that resonate with family audiences. Sanju, which delves into the tumultuous life of Sanjay Dutt, is a much more intense film compared to Barjatya’s family-oriented works, but Hirani playfully imagined how Barjatya might adapt the film in his signature style, transforming it into something more heartwarming and family-friendly.
This remark from Hirani underscores the respect he has for Barjatya’s work and his ability to tap into the emotional core of family stories. While Barjatya’s films are often light-hearted and idealistic, filled with traditional values and grand family celebrations, Hirani’s approach is often more grounded in realism, with a dose of humor to tackle serious subjects. Hirani’s suggestion of a Barjatya-directed Sanju reflects a playful blending of these contrasting filmmaking styles, offering a creative challenge to reimagine a hard-hitting biographical drama through a family lens.
Hirani’s candid reflections on Hum Aapke Hain Koun and his vision of Sanju under Barjatya’s direction speak volumes about the versatility and mutual respect between the two directors. Despite their differing cinematic approaches, both Hirani and Barjatya have found immense success by tapping into the human experience, with Hirani’s films often dealing with social issues and Barjatya’s with familial bonds and celebrations. Their films stand as examples of how Hindi cinema has evolved over the years, with each filmmaker carving out a distinct space in the industry.
In the world of Bollywood, where competition is fierce, and the audience’s tastes constantly evolve, Hirani’s comments reveal the deep reverence he has for his contemporaries. It also serves as a reminder that despite their different approaches, filmmakers like Hirani and Barjatya share a common goal—creating films that resonate with audiences and leave a lasting impact on Indian cinema. Their legacy continues to inspire future generations of filmmakers who strive to create cinematic magic, whether through thought-provoking narratives or heartwarming family tales.
Rajkumar Hirani’s reflection on Hum Aapke Hain Koun also brings attention to the changing landscape of Indian cinema. At the time of its release, Barjatya’s film was a fresh take on the family drama genre, which had been largely dominated by melodrama. The absence of a conventional plot structure in Hum Aapke Hain Koun marked a shift in how stories could be told within the framework of a family entertainer. Hirani’s acknowledgment of this underscores the evolution of storytelling in Bollywood, where films no longer need to adhere to predictable storylines but can instead thrive through the strength of their characters and emotional connection with the audience.
The admiration between Hirani and Barjatya speaks to the camaraderie often found among filmmakers in the Indian film industry, who, despite their distinct styles, have a shared respect for the craft. Both directors have carved their own niche by focusing on different aspects of human emotions and relationships. While Hirani’s films typically tackle social issues, such as the importance of education in 3 Idiots or the acceptance of religion in PK, Barjatya’s works, including Hum Aapke Hain Koun, emphasize the simplicity and beauty of familial bonds and the moral dilemmas faced by characters in traditional setups.
Hirani’s vision of a Sooraj Barjatya remake of Sanju also reflects the playful side of filmmaking. The idea of reimagining a biographical drama in the context of Barjatya’s idealized family values seems almost incongruous, yet it highlights the beauty of artistic interpretation. By suggesting such a remake, Hirani opens up a conversation about the infinite ways a story can be told, depending on the filmmaker’s perspective and thematic focus. It also exemplifies how filmmakers can push boundaries and experiment with genres to create something entirely unique, whether it’s a comedy, a family drama, or a biopic.
In discussing the possibility of remakes and cross-genre exploration, Hirani also touched on the enduring charm of Hum Aapke Hain Koun. The film’s ability to create such lasting memories, despite lacking a strong narrative structure, showcases Barjatya’s understanding of his audience. He had the remarkable ability to weave together everyday situations and relationships into a tapestry that resonated deeply with viewers, making them laugh, cry, and reflect on their own family dynamics. The cultural phenomenon that Hum Aapke Hain Koun became was, in many ways, a precursor to the wave of family-friendly films that would follow in Bollywood’s golden age of the 1990s and early 2000s.
Hirani’s praise for Barjatya’s film and his playful desire for a Sanju remake also reflect the growing diversity in the types of films audiences in India are now consuming. While family dramas like Hum Aapke Hain Koun continue to hold a special place in the hearts of many, audiences are also increasingly drawn to more complex, thought-provoking narratives like Sanju, which delve into the complexities of celebrity life, addiction, and redemption. This shifting preference underscores the need for filmmakers to continually adapt to the changing cultural, social, and emotional tides of society.
Looking ahead, it will be interesting to see if this kind of cross-genre exploration becomes more common in the Indian film industry. Directors like Hirani and Barjatya have shown that there is no one-size-fits-all approach to filmmaking. Each story, whether it’s about a family reunion or an individual’s personal struggles, offers a fresh opportunity to connect with viewers on an emotional level. As Bollywood continues to evolve, it is clear that these filmmakers, with their distinct yet complementary approaches, will remain influential voices in shaping the future of Indian cinema.
