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Anindita Majumdar, author of the book ''Surrogacy'' (2018), wrote, "In popular Indian culture, surrogacy has come to be associated with the 2001 Hindi language film ''Chori Chori Chupke Chupke''."<ref>{{cite book |last1=Majumdar |first1=Anindita |title=Surrogacy |date=2018 |publisher=Oxford University Press |isbn=978-0-19-909654-1 |pages=19-23 |url=https://books.google.com/books?id=kPqNDwAAQBAJ&pg=PT22 |language=en}}</ref> In a book published a year earlier, ''Transnational Commercial Surrogacy and the (Un)Making of Kin in India'', Majumdar discussed the similarity between ''Chori Chori Chupke Chupke'' and ''Doosri Dulhan'', describing the surrgoate mothers as "fallen women" who are first portrayed as aberrant women with no interest in motherhood, who gradually develop a sense of maternal instinct along the process of pregnancy.<ref>{{cite book |last1=Majumdar |first1=Anindita |title=Transnational Commercial Surrogacy and the (Un)Making of Kin in India |date=2017 |publisher=Oxford University Press |isbn=978-0-19-909142-3 |pages=14-15 |url=https://books.google.com/books?id=NlNUDwAAQBAJ&pg=PT29#v=onepage&q&f=false |language=en}}</ref> According to author Daniel Grey, that Madhubala was a prostitute before becoming a surrogate "reinforces a stereotyped and erroneous popular association between the two roles that has contributed to considerable prejudice on the Subcontinent against women who act as surrogates."<ref>{{cite book |last1=Grey |first1=Daniel |editor1-last=Davis |editor1-first=Gayle |editor2-last=Loughran |editor2-first=Tracey |title=The Palgrave Handbook of Infertility in History: Approaches, Contexts and Perspectives |date=2017 |publisher=Springer |isbn=978-1-137-52080-7 |pages=249 |url=https://books.google.com/books?id=L7szDwAAQBAJ&pg=PA249 |language=en}}</ref>
Anindita Majumdar, author of the book ''Surrogacy'' (2018), wrote, "In popular Indian culture, surrogacy has come to be associated with the 2001 Hindi language film ''Chori Chori Chupke Chupke''."<ref>{{cite book |last1=Majumdar |first1=Anindita |title=Surrogacy |date=2018 |publisher=Oxford University Press |isbn=978-0-19-909654-1 |pages=19-23 |url=https://books.google.com/books?id=kPqNDwAAQBAJ&pg=PT22 |language=en}}</ref> In a book published a year earlier, ''Transnational Commercial Surrogacy and the (Un)Making of Kin in India'', Majumdar discussed the similarity between ''Chori Chori Chupke Chupke'' and ''Doosri Dulhan'', describing the surrgoate mothers as "fallen women" who are first portrayed as aberrant women with no interest in motherhood, who gradually develop a sense of maternal instinct along the process of pregnancy.<ref>{{cite book |last1=Majumdar |first1=Anindita |title=Transnational Commercial Surrogacy and the (Un)Making of Kin in India |date=2017 |publisher=Oxford University Press |isbn=978-0-19-909142-3 |pages=14-15 |url=https://books.google.com/books?id=NlNUDwAAQBAJ&pg=PT29#v=onepage&q&f=false |language=en}}</ref> According to author Daniel Grey, that Madhubala was a prostitute before becoming a surrogate "reinforces a stereotyped and erroneous popular association between the two roles that has contributed to considerable prejudice on the Subcontinent against women who act as surrogates."<ref>{{cite book |last1=Grey |first1=Daniel |editor1-last=Davis |editor1-first=Gayle |editor2-last=Loughran |editor2-first=Tracey |title=The Palgrave Handbook of Infertility in History: Approaches, Contexts and Perspectives |date=2017 |publisher=Springer |isbn=978-1-137-52080-7 |pages=249 |url=https://books.google.com/books?id=L7szDwAAQBAJ&pg=PA249 |language=en}}</ref>


Sociologist Steve Derné wrote in his book ''Globalization on the Ground: New Media and the Transformation of Culture, Class, and Gender in India'' that through the character of Madhubala, ''Chori Chori Chupke Chupke'' becomes one of the films which portray "excessively sexual, greedy women who are redeemed by being remade as consumers". Derné further credited the film with melding the stereotypical "heroine" and "vamp" roles of Hindi heroines in contrast to how they were portrayed in previous decades, describing Zinta as a "legitimate heroine" in the film.<ref>{{cite book |last1=Derne |first1=Steve D. |title=Globalization on the Ground: New Media and the Transformation of Culture, Class, and Gender in India |date=2008 |publisher=SAGE Publications India |isbn=978-81-321-0038-6 |pages=107-108 |url=https://books.google.com/books?id=ybaGAwAAQBAJ&pg=PA107 |language=en}}</ref> [[Bhawana Somaaya]], while critical of the film's "regular packaging of commercial cliches", noted it for the unique portrayal of the wife, played by Mukerji, who is the sole decision maker in the family throughout the entre process of surragacy.<ref>{{cite book |last1=Somaaya |first1=Bhawana |authorlink1=Bhawana Somaaya |title=Cinema: Images & Issues |date=2004 |publisher=Rupa & Company |page=34 |url=https://books.google.com/books?id=s_FkAAAAMAAJ |language=en}}</ref>
Sociologist Steve Derné wrote in his book ''Globalization on the Ground: New Media and the Transformation of Culture, Class, and Gender in India'' that through the character of Madhubala, ''Chori Chori Chupke Chupke'' becomes one of the films which portray "excessively sexual, greedy women who are redeemed by being remade as consumers". Derné further credited the film with melding the stereotypical "heroine" and "vamp" roles of Hindi heroines in contrast to how they were portrayed in previous decades, describing Zinta as a "legitimate heroine" in the film.<ref>{{cite book |last1=Derne |first1=Steve D. |title=Globalization on the Ground: New Media and the Transformation of Culture, Class, and Gender in India |date=2008 |publisher=SAGE Publications India |isbn=978-81-321-0038-6 |pages=107-108 |url=https://books.google.com/books?id=ybaGAwAAQBAJ&pg=PA107 |language=en}}</ref> S. Banaji, spoke of a "transformation in the 'moral' consciousness of the prostitute".<ref>{{cite book |last1=Banaji |first1=S. |title=Reading 'Bollywood': The Young Audience and Hindi Films |date=2006 |publisher=Springer |isbn=978-0-230-50120-1 |pages=9 |url=https://books.google.com/books?id=saXtCwAAQBAJ&pg=PA9 |language=en}}</ref> [[Bhawana Somaaya]], while critical of the film's "regular packaging of commercial cliches", noted it for the unique portrayal of the wife, played by Mukerji, who is the sole decision maker in the family throughout the entre process of surragacy.<ref>{{cite book |last1=Somaaya |first1=Bhawana |authorlink1=Bhawana Somaaya |title=Cinema: Images & Issues |date=2004 |publisher=Rupa & Company |page=34 |url=https://books.google.com/books?id=s_FkAAAAMAAJ |language=en}}</ref>


==Soundtrack==
==Soundtrack==

Revision as of 09:27, 15 October 2020

Chori Chori Chupke Chupke
File:Chorichorichupkechupke.jpg
Theatrical release poster
Directed byAbbas–Mustan
Screenplay byJaved Siddiqui
Story byNeeraj Vora
Produced byNazim Rizvi
Starring
CinematographyThomas A. Xavier
Edited byHussain A. Burmawala
Music bySongs:
Anu Malik
Score:
Surendra Sodhi
Production
company
Emaar Films International
Distributed byEros International
Release date
  • 9 March 2001 (2001-03-09)
Running time
165 minutes[1]
CountryIndia
LanguageHindi
Budget₹13 crore[2]
Box office₹37.5 crore[3]

Chori Chori Chupke Chupke (English: Secretly and Stealthily) is a 2001 Indian Hindi-language romantic drama film directed by Abbas–Mustan and starring Salman Khan, Rani Mukerji and Preity Zinta in leading roles. The music is composed by Anu Malik and lyrics are penned by Sameer. Telling the story of a married couple hiring a young prostitute as a surrogate mother, the film generated controversy during its release for dealing with the taboo issue of surrogate childbirth.

Chori Chori Chupke Chupke was to premiere in 2000 but was shelved when the Central Bureau of Investigation seized its prints suspecting the film was funded by Chhota Shakeel of the Mumbai underworld, which resulted in well-publicised cases. It released a year later to a wide audience and emerged a commercial success and one of the highest-grossing films of 2001 in India. The film received generally mixed reviews, but critical praise was directed towards Zinta's performance as a prostitute cum surrogate mother, which earned her a Filmfare nomination for Best Supporting Actress at the 47th Filmfare Awards, the only nomination for the film.

Plot

Raj and Priya are from well-to-do families and meet at a wedding and fall in love. They are married and soon afterwards, Priya gets pregnant. Early in the pregnancy, Priya miscarries and becomes permanently infertile. On Dr. Balraj Chopra's advice, they decide to look for a surrogate mother to bear Raj's child and hide Priya's infertility from their conservative family. Raj meets Madhubala "Madhu", a prostitute, who agrees to carry Raj's baby in exchange for money. After some much-needed behavioral grooming and an image makeover, Madhu meets Priya—who is unaware of Madhu's background, and the three depart for Switzerland to carry out their plan.

Soon Madhu is pregnant with Raj's child, and he happily tells his family that Priya is expecting. Meanwhile, Raj's business partner Ajay Sharma begins to sexually harass Madhu and she decides to leave Switzerland, mistakenly believing that Raj told his friend that she is a prostitute. Eventually, Priya finds out about Madhu's past, but still believes that Madhu should carry their child, and she begs her to stay. Finally, Raj's friend assaults Madhu but Raj saves her. Overwhelmed by Raj's kindness, Madhu falls in love with him.

Raj's family suddenly arrives in Switzerland. While Priya reaches for pregnancy-simulating pillows, the family meet the heavily pregnant Madhu who is introduced to them as a friend staying with them while her husband is travelling for business. Raj's grandfather, Kailashnath and father Ranjit arrange a religious ceremony and ask Raj, Priya and Madhu to return with them to India.

The ceremony is very important so Priya sends Madhu as herself. An emotional Madhu becomes conflicted about giving up her child. Finding Madhu's room empty and the money dumped on the bed, a frantic Priya pursues her to the train station and slaps Madhu when she confesses that she loves Raj. By the time Raj gets there, Madhu has gone into premature labour. The doctor announces that either Madhu or the child can be saved, and Priya asks him to save Madhu. However, both mother and baby survive. Madhu gives the baby to Priya, who quickly settles into a hospital bed with "her" baby. Dr. Balraj Chopra tells Raj's family that Madhu's child was stillborn.

When Madhu is ready to leave, she promises Raj that she will not go back to prostitution. When he takes her to the airport he realizes that she loves him and kisses her forehead. Madhu leaves happily.

Cast

The cast is listed below:[4][5]

Production

Having released their latest film Baadshah in 1999, director duo Abbad-Mastan had almost completed Ajnabee by October that year, with Chori Chori Chupke Chupke being their next declared project.[6] The three leads, Salman Khan, Rani Mukerji and Preity Zinta, were cast together in their respective parts, having starred together in the romantic comedy Har Dil Jo Pyar Karega (2000).[6] Producer Nazim Rizvi clarified that the casting of the three actors happened before they signed for the latter.[7] Zinta was initially reluctant to play the part, but she eventually accepted it at the directors' persuasion and, to prepare for it, visited several bars and nightclubs at Mumbai's red-light areas to study the lingo and mannerisms of sex-workers.[8] Principal photography started in early 2000 and lasted two months in Switzerland.[9][10]

Initially scheduled to be released on 22 December 2000,[11] Chori Chori Chupke Chupke was delayed for a few months as producer Rizvi was arrested and the Central Bureau of Investigation seized its prints following speculations that it was funded by Chhota Shakeel of the Mumbai underworld, which resulted in well-publicised cases involving producer Bharat Shah.[12][13][14] The negatives were released on 12 February 2001 upon a judicial order.[15]

Themes

The film generated some controversy before and during its release for being one of the only Hindi films dealing with the taboo issue of surrogate childbirth, in addition to prostitution.[16][17] Surrogacy in the film is not achieved through artificial insemination but sexual intercourse, and author Aditya Bharadwaj argued that the film draws an analogy between surrogacy to prostitution.[18] Anupama Chopra of India Today described Zinta's character of Madhubala as a prostitute with a golden heart, as did academic Lucia Krämer.[19][20] Some of the scenes in the film were said to have been borrowed from Pretty Woman (1990) with the storyline inspired by the 1983 movie Doosri Dulhan by Lekh Tandon.[21] Krämer explained the similarities with Pretty Woman in that Chori Chori Chupke Chupke is "clearly different", with the replicated scenes being "merely one plot strand among many".[20]

Anindita Majumdar, author of the book Surrogacy (2018), wrote, "In popular Indian culture, surrogacy has come to be associated with the 2001 Hindi language film Chori Chori Chupke Chupke."[22] In a book published a year earlier, Transnational Commercial Surrogacy and the (Un)Making of Kin in India, Majumdar discussed the similarity between Chori Chori Chupke Chupke and Doosri Dulhan, describing the surrgoate mothers as "fallen women" who are first portrayed as aberrant women with no interest in motherhood, who gradually develop a sense of maternal instinct along the process of pregnancy.[23] According to author Daniel Grey, that Madhubala was a prostitute before becoming a surrogate "reinforces a stereotyped and erroneous popular association between the two roles that has contributed to considerable prejudice on the Subcontinent against women who act as surrogates."[24]

Sociologist Steve Derné wrote in his book Globalization on the Ground: New Media and the Transformation of Culture, Class, and Gender in India that through the character of Madhubala, Chori Chori Chupke Chupke becomes one of the films which portray "excessively sexual, greedy women who are redeemed by being remade as consumers". Derné further credited the film with melding the stereotypical "heroine" and "vamp" roles of Hindi heroines in contrast to how they were portrayed in previous decades, describing Zinta as a "legitimate heroine" in the film.[25] S. Banaji, spoke of a "transformation in the 'moral' consciousness of the prostitute".[26] Bhawana Somaaya, while critical of the film's "regular packaging of commercial cliches", noted it for the unique portrayal of the wife, played by Mukerji, who is the sole decision maker in the family throughout the entre process of surragacy.[27]

Soundtrack

Chori Chori Chupke Chupke
Soundtrack album by
Anu Malik
Released2000
GenreFeature film soundtrack
Length51:41
LabelUniversal Music India
ProducerAnu Malik

The soundtrack to Chori Chori Chupke Chupke was composed by Anu Malik and the lyrics were written by Sameer.[4] It was released in 2000 by Universal Music India.[28] According to the Indian trade website Box Office India, with around 20,00,000 units sold, this film's soundtrack album was the year's sixth highest-selling.[29]

Chori Chori Chupke Chupke (Soundtrack from the Motion Picture)[28]
No.TitleSinger(s)Length
1."Chori Chori Chupke Chupke"Alka Yagnik, Babul Supriyo7:35
2."Dekhne Walon Ne"Udit Narayan, Alka Yagnik6:13
3."No. 1 Punjabi"Sonu Nigam, Jaspinder Narula7:12
4."Diwani Diwani"Anu Malik, Anaida5:26
5."Diwana Hai Yeh Man"Sonu Nigam, Alka Yagnik6:58
6."Love You Love You Bolo"Anu Malik, Alka Yagnik5:59
7."Mehandi Mehandi"Jaspinder Narula8:57
8."Dulhan Ghar Aayi" (Version 1)Jaspinder Narula1:41
9."Dulhan Ghar Aayi" (Version 2)Anu Malik1:40
Total length:51:41

Release

Chori Chori Chupke Chupke was released on 9 March 2001 after a one-year delay amid protests due to its alleged funding by the underworld.[30] Due to the controversy surrounding its delayed release, the film was expected to be a big success, with 325 prints sold before release.[31] The director duo held a special screening of the film two days prior to its release for the senior brass of Mumbai Police, to fulfull a promise made earlier in order to show that no objectionable content appeared in the film, as could have been projected.[32] Certified U (suitable for all age groups) by the Central Board of Film Certification,[33] it opened to a wide audience and emerged a commercial success and one of the highest-grossing films of 2001.[34][35] Still, despite a strong opening, the film gradually lost public interest; it eventually grossed ₹31 crore (US$3.9 million) against its ₹13 crore (US$1.6 million) budget, with additional $1.4 million earned overseas, making its worldwide gross in 2001 stand at ₹37.51 crore (US$4.7 million) (unadjusted for inflation).[3] Box Office India concluded its final commercial performance with the verdict "semi hit".[34]

In 2002, Chori Chori Chupke Chupke was one of 30 films screened at a three-month-long Bollywood event organised by the Swiss Government in Zürich.[36]

Critical reception

The film met with mostly mixed reviews, with critics praising the uniqueness of the film which dealt with the rarely touched subject of surrogacy but disliking the execution. Preity Zinta's performance in what was seen as an unconventional role was especially noted by a number of critics alike, with particular praise towards her portrayal of the gradual change her character goes through over the course of the story.[37][38] However, the duo of Salman Khan and Rani Mukerji faced some criticism, with certain reviewers considering them more of beauty fillers in the film and lamenting their underdeveloped roles. Film critic Sukanya Verma, who was left with "mixed emotions" for the film, noted Zinta's role as "the meatiest part of all", finding her transformation throughout the film "amazingly believable", but considered Mukerji to be "handicapped with a role that doesn't give her much scope besides weeping and sobbing" and stated Khan's performance lacked substance.[39]

Padmaraj Nair of Screen, however, praised all the three leads; he noted Khan for his "understated" performance, argued that Mukerji is "at her best", and concurred with other reviewers about Zinta, calling her the film's "real scene-stealer" for having delivered "a stunning peformance". Nair was ambivalent towards the film, but ultimately commended the directors for having "done their best to bring a fair amount of conviction while putting it across on the screen".[40] Taran Adarsh from entertainment portal Bollywood Hungama was positive of the film, concluding it "lives up to the towering expectations thanks to the solid drama".[41] Times of India's Nikhat Kazmi found the film to be a "modern ode to the ancient Indian family", admiring its "overwhelming feel-goodness".[12] Ziya Us Salam of The Hindu noted the film's "loads of good music, beautiful locales, sweet smiles and lovely feel", and praised Zinta for putting "life into her character of Madhubala", while finding her less convincing in "mouthing the inanities used by the women of the street".[42]

Vinayak Chakravorty of Hindustan Times rated the film three stars, noted its resemblance to Doosri Dulhan and criticised it for occasionally coming across as "a veritable rerun of the stereotypes". Still, he noted Khan for playing against type and hailed Zinta's "admirable zest" as the "trumpcard of the film".[43] Dinesh Raheja of India Today was slightly critical of the film's lack of subtlety but believed the directors are "masters of pace and don't allow your attention to wander", and credited Zinta "who gives the film its electric charge".[44] Suman Tarafdar of Filmfare was particularly critical of the film, calling it "a film for anyone gullible enough to believe in fairy lands", and noting "the only slightly noteworthy performance" by Zinta.[45] M. Shamim who also wrote for The Hindu, appreciated the directors for not allowing "any moral issue to cloud the narrative" and filling "the screen with mesmerising charm and beauty of the lifestyle of a well-knit family", and noted Zinta for having "put her body and soul into the streetwalker's flaming-red dress."[17]

In a column about Zinta, published in an August 2001 issue of Screen magazine, Roshmila Bhattacharya asserted, "If Chori Chori Chupke Chupke found a following in conventional circles, it's thanks to Preity’s handling of yet another 'brave' role."[37] In a 2003 column for Sify about the portrayal of sex-workers in Hindi films, Subhash K. Jha wrote of Zinta that in spite of being "uncomfortable about using all the foul language ... Once she entered the zone of the rented womb Preity had a ball. This remains her best performance yet."[46]

Accolades

Award Category Recipient(s) and nominee(s) Result Ref.
Bollywood Movie Awards Most Sensational Actor Salman Khan Won [47]
Filmfare Awards Best Supporting Actress Preity Zinta Nominated [48]

References

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  2. ^ Joseph, Manu (25 December 2000). "Scenes of the Mafia". Outlook. Archived from the original on 15 October 2020. Retrieved 12 October 2020.
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  23. ^ Majumdar, Anindita (2017). Transnational Commercial Surrogacy and the (Un)Making of Kin in India. Oxford University Press. pp. 14–15. ISBN 978-0-19-909142-3.
  24. ^ Grey, Daniel (2017). Davis, Gayle; Loughran, Tracey (eds.). The Palgrave Handbook of Infertility in History: Approaches, Contexts and Perspectives. Springer. p. 249. ISBN 978-1-137-52080-7.
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  41. ^ Adarsh, Taran (8 March 2001). "Chori Chori Chupke Chupke Movie Review". Bollywood Hungama. Archived from the original on 15 October 2020. Retrieved 11 October 2020.
  42. ^ Us Salam, Ziya (16 March 2001). "Film review: Chori Chori Chupke Chupke". The Hindu. Archived from the original on 20 April 2008. Retrieved 21 July 2020.
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  44. ^ Raheja, Dinesh (2001). "Chori Chori Chupke Chupke — A Preity Show". India Today. Archived from the original on 9 April 2001. Retrieved 10 May 2020.
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  46. ^ K. Jha, Subhash (30 October 2003). "Playing the streetwalker". Sify. Archived from the original on 7 March 2004. Retrieved 11 October 2020.
  47. ^ "Winners of Bollywood Movie Awards". Bollywood Movie Awards. Archived from the original on 2 November 2013. Retrieved 12 October 2020.
  48. ^ "Preity Zinta: Awards & nominations". Bollywood Hungama. Archived from the original on 26 May 2008. Retrieved 12 October 2020.

External links

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