Harish Vyas brings a different perspective on marriage!

There's so much love, understanding, compassion and caring in Indian marriages. Irrespective of your class, upbringing or culture, there seems to be this strength you get from watching the bonding that exists in Indian marriages. 

Harish Vyas, is making his Hindi feature film debut as a director with Angrezi Mein Kehte Hain, which will release on Friday. He wishes to convey the exact same thing from his movie. Its about three couples that are trying to depict that love in Indian marriages doesnt die, but that it formulates into a more caring feeling.

The filmmaker delves into his own experiences for inspiration of his film. He grew up in Pitampura in Delhi, went back to his youth for observations for some of these scenes. Starring Sanjay Mishra, Ekavali Khanna and Pankaj Tripathi, the film is about romance in all its manifestations. There are three tangents in the story. One thread is that of Sanjay Mishra, who plays a 52-year-old married man, Yashwant Batra, whose character can be summed through the dialogue: “Main office jaata hun, aur yeh ghar sambhalti hain. Yeh hoti hai shaadi”. “Then there is a young couple who believes that love can be achieved at all costs, including rebelling. They are very vocal about their feelings. In Pankaj’s (Tripathi) case, his love has reached that stage ki bas ab fanaa ho jayen uske liye. Aur hamare Mishra ji, inhone kabhi socha hi nahin ki yeh apni patni ko apne pyaar ka izhaar karen,” says Delhi-born Vyas, who has also written the film. 

Two things really get your attention from such a different film: 

* The men aren't stereotypical heroes: The main hero is his fifties and drives a scooter, the heroine has a married daughter. According to Harish Vyas,  “Why does our hero need abs all the time? Or should be college-going? Sanjay Mishra’s character is a person you are familiar with, he could be a distant cousin or a neighbour. He doesn’t seem like a hero in the beginning but during the course of the film he becomes heroic. According to me, casting a hero with the perfect looks and perfect abs is kind of doing injustice to your script. We need to oppose dominant notions of heroes just so that we can delve into the deeper meanings of characters and narratives. When a lesser known hero is cast, the script most often takes precedence. 

*Secondly, the depiction of marriage. Marriage has always been the strangest beast in Bollywood cinema. Its been quite tough for filmmakers to encompass the varied emotions and intertwining of lives that happen post marriage. What the filmmakers have succeed in is that there isn't a fixed template for the ideal marriage. 

Ek CHEEZ to fixed hai boss, once stepped into marriage, your ship has sailed, then its your call to sail or sink. Families can only bring you to harbor, then the strife is yours and yours only. Filmmakers have also privatized love, its no longer just an exciting start-up idea, the company has been launched, you either success or you don't. Its the biggest task you can ever undertake in your life. Thus in this movie, Harish Vyas gives a very strong message through small instances. Marriage makes you feel like you owe explanations to a thousand people around you. For example there's a scooter scene where the hero is driving a scooter and the heroine is riding pavilion, and he scolds her for being too close to him. 

The project has been co-produced by the National Film Development Corporation (NFDC), that has films like Salaam Bombay, Salim Langde Pe Mat Ro, Ghaire Bhaire and Raghu Romeo to its credit. “It’s good to have state backing for films like these, especially since this is not an art house film or a commercial venture. An NFDC stamp gives you credibility. It will be great if we had bigger production houses — the ilk of Karan Johar — who perhaps make one film with Rs 60 crores or more, to make two with a budget of Rs 10 crores each. We need public-private partnerships to encourage quality cinema,” says Vyas.