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A coy bride, an awkward groom, a glass of kesar milk, and rambunctious relatives outside with their ears glued to the closed door – this is how a suhaag raat scene unfolded in Hindi films. But which was the last movie in which you saw a shy dulhan sitting on a bed of roses?
There’s a scene in Patni Patni Aur Woh (1978), right after Sanjeev Kapoor and Vidya Sinha get married. Both the bride and the groom are given instructions for the big night by their respective circle of friends. The bride is told to simultaneously be shy and play hard to get; the groom is trained to seduce his new wife. Once he is pushed inside the bedroom by his giddy friends, he tries wooing the dulhan with a rose and lines of poetry. This turns out, rather comically, to be a flop idea. Bereft of options, they then sit next to each other, come closer slowly, and consummate their marriage in an oddly rehearsed manner.
This is exactly how every suhaag raat scene – the night when the bride and groom are alone with each other in a room for the first time – plays out in Hindi films. A coy bride, an awkward groom, a bed bedecked with rose petals, a glass of kesar milk inside, and rambunctious relatives and friends outside with their ears glued to the closed door ready to recognise any movement or noise. This trope is littered across countless Hindi films – every shaadi scene is followed by a suhaag raat one. The anticipation and the thrill is best captured in the lyrics of Roja’s “Rukmani Rukmani”: Shaadi ki baat kya kya hua?
In a culture where the silence around sex becomes the unintended noise around it, it is Hindi cinema’s suhaag raat scenes, that for long acknowledged sex as a need. The collective curiosity of a society when it came to unpacking matters of desire also led to filmmakers leveraging on the idea of inserting such scenes to cater to repressed hormones. This meant that these interpretations were often unrealistic and ill-equipped with giving a reference point for how matters of sex actually unfolded in real life. Most films were guilty of dressing these scenes as a way for audiences to derive satisfaction from having their secret fantasies played out on the big screen.
There were of course a few exceptions. In Kabhie Kabhie (1976), the bride painfully sings out the words written by her ex-lover, even as her oblivious husband gets down to removing her jewellery piece by piece. In Hum Dil De Chuke Sanam (1999), the bride is lovelorn, cold, and bitter, lying on the bed next to a man she doesn’t want to be married to. She visibly flinches at his touch even as she offers him her body although she yearns for someone else. In Naseeb Apna Apna (1986), we have an unwilling groom – a city boy forced to marry a village girl – who throws the glass of milk that bride offers him on the floor.
A coy bride, an awkward groom, a glass of kesar milk, and rambunctious relatives outside with their ears glued to the closed door – this is how a suhaag raat scene unfolded in Hindi films. But which was the last movie in which you saw a shy dulhan sitting on a bed of roses?
There’s a scene in Patni Patni Aur Woh (1978), right after Sanjeev Kapoor and Vidya Sinha get married. Both the bride and the groom are given instructions for the big night by their respective circle of friends. The bride is told to simultaneously be shy and play hard to get; the groom is trained to seduce his new wife. Once he is pushed inside the bedroom by his giddy friends, he tries wooing the dulhan with a rose and lines of poetry. This turns out, rather comically, to be a flop idea. Bereft of options, they then sit next to each other, come closer slowly, and consummate their marriage in an oddly rehearsed manner.
This is exactly how every suhaag raat scene – the night when the bride and groom are alone with each other in a room for the first time – plays out in Hindi films. A coy bride, an awkward groom, a bed bedecked with rose petals, a glass of kesar milk inside, and rambunctious relatives and friends outside with their ears glued to the closed door ready to recognise any movement or noise. This trope is littered across countless Hindi films – every shaadi scene is followed by a suhaag raat one. The anticipation and the thrill is best captured in the lyrics of Roja’s “Rukmani Rukmani”: Shaadi ki baat kya kya hua?
In a culture where the silence around sex becomes the unintended noise around it, it is Hindi cinema’s suhaag raat scenes, that for long acknowledged sex as a need. The collective curiosity of a society when it came to unpacking matters of desire also led to filmmakers leveraging on the idea of inserting such scenes to cater to repressed hormones. This meant that these interpretations were often unrealistic and ill-equipped with giving a reference point for how matters of sex actually unfolded in real life. Most films were guilty of dressing these scenes as a way for audiences to derive satisfaction from having their secret fantasies played out on the big screen.
There were of course a few exceptions. In Kabhie Kabhie (1976), the bride painfully sings out the words written by her ex-lover, even as her oblivious husband gets down to removing her jewellery piece by piece. In Hum Dil De Chuke Sanam (1999), the bride is lovelorn, cold, and bitter, lying on the bed next to a man she doesn’t want to be married to. She visibly flinches at his touch even as she offers him her body although she yearns for someone else. In Naseeb Apna Apna (1986), we have an unwilling groom – a city boy forced to marry a village girl – who throws the glass of milk that bride offers him on the floor.