Rockey Aur Rani ki Prem Kahani Movie Story Line
Rocky aur Rani ki Prem Kahani, a masala smash, marks Karan Johar’s return to directing. His final project was a short film segment he directed for the anthology horror film Ghost Stories in 2020, co-directing the picture with Dibakar Banerjee, Zoya Akhtar, and Anurag Kashyap. The highly anticipated movie stars Alia Bhatt and Ranveer Singh as the major characters, Rocky and Rani, respectively, and features a quirky ensemble cast. It’s claimed that the romantic family drama film would transport us back to KJo’s allure. The song Tum Kya Mile from the movie Rocky Aur Rani’s Prem Kahani was very famous.
Together with his sister Gayatri (Anjali Anand) and mother (Kshitee Jog), Rocky (Ranveer Singh) is an impoverished English-speaking boy with a muscular build and a Ferrari driver.
Punjabi households are grounded in reality, with features such as the man’s need to be served at every meal—a dependence that is frequently viewed as a luxury of men. Amnesic Kamal suddenly experiences a flashback, bringing him back to the memories of a woman named Jamini Chatterjee (Shabana Azmi). Despite being married, Kamal and Jamini, who loved poetry and culture, had an affair in the past.
Rocky chooses to bring back the bygone era of his grandfather’s romance. To establish a connection, he meets Jamini’s granddaughter, Rani Chatterjee (Alia Bhatt), who is intelligent, anglicised, and perceived as a fiery TV news anchor. At first glance, the Chatterjee household appears to be more liberal and progressive than the inflexible Randhawas. At their dinner table, Rani’s father (Tota Roy Choudhary), an “in-house Shashi Tharoor,” indulges her English professor-mother (Churni Ganguly) in her discussion about how boys today lack rhythm to win a woman’s affection.
Even though Kamal and Jamini had split up a long time ago, their love remained. Upon meeting Jamini, Kamal falls in love right away. They both break social taboos and start dating in front of Dhanlakshmi. In the process, despite their stark differences, Rocky and Rani find themselves drawn to one another.
Johar and his screenwriters battle gender bias and societal taboos in the second half of the movie, overcrowding the plot with scenes that are there only to make a point. It tackled a wide range of subjects without pausing, including male privilege, fat-shaming, gender stereotypes, and cancel culture. A portion of it is effective in shifting the discussion in favour of women. Rani usually prevails in battles, but towards the end of the game, one of her behavioural flaws spoils things.
Ishita Moitra, Sumit Roy, and Shashank Khaitan are writers who have used current events, such as social media outcry, to support Rani’s progressive actions. Characters like Dhanlakshmi, Jamini, and the parents have been given some depth because the families are important to the plot. Still, clichés are common.
The Punjabis are portrayed as being ignorant of basic life facts, and their style of life is flamboyant and ostentatious. Modernism and knowledge are deeply ingrained in Bengali culture. Rocky has a great heart, which helps him win the story, but occasionally his actions border on foolishness.
In contrast, Bollywood’s equivalent of a TV journalist is called Rani. Her preference for partnering with a member of the ruling political party would make it difficult for her to find or keep a job in modern-day India, and her wardrobe would never be able to fly. The stereotype of her producer, Shomen (Namit Roy), as a cynical and incompetent Bengali man is also prevalent.
Progressive changes made by Rani in the Randhawa home appear to incite immediate disobedience. The story’s weakest point is how quickly Rocky and Rani’s love story progressed from lust to a profound, fully engrossed love. It moves too quickly to be believable. Rocky perceives the Bengali parents as unpleasant hosts, even though the matriarch Randhawa and her submissive son are unwelcoming to Rani. Was this done on purpose? Not in my opinion.
The arguments this movie makes are its strongest points. Certain scenes don’t belong, like the one where Rani’s unintentional genius saves the Mithai empire’s antiquated marketing, or Rocky and his future mother-in-law go shopping. However, their message is unmistakably pro-women. It challenges “cancel culture” by contrasting it with the severe forms of judgemental behaviour that characterise nearly all social interactions in the modern world.
The romantic adventures of Kamal and Jamini are the most charming parts of the movie, even though they are a little corny at times. It is endearing to see people defy social conventions and marriage standards in order to rediscover their love in their later years. Retro Hindi songs are interspersed throughout the movie to broaden its appeal and serve as a statement piece in place of the film’s verbose dialogue regarding the characters’ progressive choices. This movie’s conscious attempt must be considered in light of the expectations associated with a Karan Johar production; it makes a nonpretentious case for acceptance and advancement.
