1942: A Love Story, also known as 1942 A Love Story, is a 1994 Indian Hindi-language patriotic romantic drama film, directed by Vidhu Vinod Chopra. It stars Anil Kapoor, Manisha Koirala and Jackie Shroff, with Anupam Kher, Danny Denzongpa, Pran and Brian Glover. The film revolves around lovers Naren (Kapoor) and Rajjo (Koirala), who come from contrasting family backgrounds and depicts how their relationship is threatened owing to the outbreak of the Indian revolutionary movement.

The film's core plot was reported to be inspired by the 1992 Kannada-language film Mysore Mallige,[2] which itself was based on the 1942 work of same title by K. S. Narasimhaswamy.[3] The screenplay was jointly written by Sanjay Leela Bhansali, Kamna Chandra and Chopra. Binod Pradhan acted as the cinematographer while Renu Saluja edited the film. R. D. Burman composed the highly successful soundtrack with lyrics penned by Javed Akhtar. This was the last film work of R. D. Burman, who died before the release of the film. It was the first Indian film on Dolby Stereo.

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The film is set in 1942, when the British Raj was declining in power. It was a time when many Indian citizens were either working for the British regime or rallying in underground meetings and protests against them. In this atmosphere, Narendra Singh (Anil Kapoor) falls in love with Rajeshwari Pathak (Manisha Koirala). Their romance is shown developing in spite of the political and social unrest at the time.

Narendra's father, Diwan Hari Pratap Singh (Manohar Singh) is a loyal British employee working for the brutal British General Douglas (Brian Glover), who is infamous for tracking down and executing citizens who are believed to be revolutionaries. Rajeshwari's father, Raghuveer Pathak (Anupam Kher) is a revolutionary fighting against British rule, as he holds a grudge against Douglas for murdering his son. When Narendra asks Raghuveer for Rajeshwari's hand in marriage, Raghuveer becomes livid. However, Narendra declares that he is willing to sacrifice everything for Rajeshwari and convinces Raghuveer of his love for her. Raghuveer relents but tells Narendra to talk to his father first. When Narendra does so, Hari is angry that his son has chosen the daughter of a revolutionary, but he pretends that he will do anything for Narendra's happiness.

Vinod told me that he only makes dark films. I said I have a love story and asked him to listen to it. I read him two or three ideas and he liked one and asked me to develop it. After a year's hardship and constant quarrels and bickering, I finished the script and dialogues. Then one day Vinod called and said, 'I don't want a love story set in today's time. What if we take this story and set it in another era?'

Kamna Chandra, one of the script writers of the film, had gone to the United States to meet her daughters Tanuja and Anupama (whom Vidhu Vinod Chopra would later marry) as they were studying there. Having watched Chopra's film Parinda on video and being impressed with it, both of them asked their mother to write a story and approach him to direct it. Chandra had previously written Prem Rog and Chandni; both were love stories. She knew Chopra made "dark films", but decided to meet him.[4]

After returning, Chandra met Chopra at Natraj Studios. She made him listen to two or three of her ideas, among which he liked one and asked her to develop it. Chandra finished the script and dialogues by a year, until a day when Chopra himself called her and suggested that they should make a love story set in another era instead of the present time. This provoked Chandra, who could not sleep that night. However, she became excited in the next few days. Having grown up amidst the Indian freedom struggle, she decided to place the story at that time. This formed the core plot for 1942: A Love Story.[4]

1942: A Love Story was released on 15 April 1994.[9] It opened to positive reviews from critics, with praise drawn towards the cast performances, cinematography, and the soundtrack by R. D. Burman.[10] Amitabh Bachchan had attended the preview screening of the film and congratulated Chopra for his endeavour.[11]

Anil Kapoor is Naren Singh, a young rich innocent in love, whose life is turned upside down with the revolution. Anil is perfect for the part (along with his natural period fitting moustache), he understands the journey and is truly pure hearted in a way that we believe his intentions.

So yes, go watch this piece of commercial cinema with an artistic eye. The love story is realistic and sweet with all the drama befitting the times, you root for these two young innocents to be together even as the world becomes somewhat dark and misunderstandings come between them.

The producer of this film is Vidhu Vinod Chopra and the film is directed by his daughter Shelly Chopra Dhar, this is her first movie. So I truly wish this film will do well, it will certainly be a milestone in terms of LGBQT rights in India and in Indian cinema history. So, listen to the new track sung by Darshan Raval and Rochak Kohli, its truly beautiful.

1942: A Love Story, released in 1994, was directed by Vidhu Vinod Chopra. It stars Anil Kapoor, Manisha Koirala, Jackie Shroff, Anupam Kher, Danny Denzongpa, and Pran. While RD Burman composed music for the film, the lyrics were penned by Javed Akhtar. This was the last project of RD Burman, who died before the release of the film.

While the backdrop of the film was the Quit India Movement that took place five years before India gained Independence from British rule, a tender love story dominated the forefront. The tone of the first half was starkly different from the second one as the love story between Naren Singh (Anil Kapoor), the son of an Indian leader (who doubled up as a faithful slave of the British), and Rajeshwari Pathak (Manisha Koirala), the daughter of an Indian freedom fighter (Anupam Kher), evolved into an action-oriented, thrilling chapter of the freedom struggle.

Bhansali strikes a perfect balance between the rehearsed appeal of the setting and the spontaneity of their love, a combination that became his strength in his directorials. Farah follows it up with an impromptu ball dance sequence involving the lead pair, once again blending choreographed steps with the organic meet-cute interactions of Anil and Manisha.

Vidhu Vinod Chopra's 1942: A Love Story is arguably one of Anil Kapoor's best films and recently, the actor told news agency IANS that he almost didn't do the film because he thought he was not a 'romantic' hero. Anil Kapoor said that he even suggested Aamir Khan and Bobby Deol's names for the lead role but the filmmakers convinced him otherwise. Anil Kapoor told IANS: "1942: A Love Story was the only love story I did. I was very uncomfortable. Initially, I refused to do the film. I told them clearly that I wouldn't be able to do such a role... I even suggested Aamir Khan and Bobby Deol for the role. I asked them, 'From which angle do I look romantic?' I was already a father of three kids at that time. But they convinced me."

1942: A Love Story was set against the backdrop of India's freedom movement. Anil Kapoor played the role of Naren Singh, son of an employee of the British Raj, who falls in love with Rajjo (played by Manisha Koirala), daughter of a revolutionary, who was also a part of the freedom movement.

The retro movie of the 90s was 1942: A Love Story. It's fantasy 1942 so a fidelity to the period is not required. All it needed to do was prettily evoke an imagined pre-Independence India, which it did (the costume designer was Bhanu Athaiya). So for Rajjo it is lace edged saris and blouses, salwar-kameez & ribbons (though I can't help thinking 1942 = hair down, not tied up with ribbons like the 50s). For Naren, initially an Anglophile, it's western attire including suspenders and a tweed cap (what no fedoras or trilbies?!).

1942: A Love Story is undoubtedly one of the finest films in Anil Kapoor's career. The 1994 release, directed by Vidhu Vinod Chopra, is still remembered for the unforgettable romantic songs RD Burman composed for the film.

"1942: A Love Story was the only love story I did. I was very uncomfortable. Initially, I refused to do the film. I told them clearly that I wouldn't be able to do such a role," he recalled. View this post on Instagram A post shared by (@manishakoiralafanclub) on Mar 14, 2019 at 10:45pm PDT

The love story, which must be part of any novel, is rather unusual. Two people, both of whom were denied many things in their early lives, evolve before you through their love and hate and make their contribution to the cause of freedom.

Olivia Cockett's diary fulfils these dual functions in part because it was written for a public audience. In 1939, the social research group Mass-Observation, [End Page 573] which had been founded in 1937, sent out requests for people of all over Britain to write and send in monthly war diaries, to be read by the group as a gauge of wartime experiences and opinions, and to be archived for further study. Olivia Cockett's detailed three-year diary written between August 1939 and October 1942 is unusual is its length, its literary quality, and its level of detail and openness. In addition to his transcription of these handwritten diaries, Malcolmson has also included her responses to some of Mass-Observation's more specific questionnaires, called 'Directive Replies,' as well as extracts from her fascinating dream diaries, also held by Mass-Observation. Malcolmson has also incorporated excerpts from her three personal diaries which predate 1940, to illustrate the history of her love affair with the married William Hole.

Olivia Cockett's writing is vibrant and engaging, the work of someone who enjoyed putting pen to paper. 'To me, the apt word adds to any experience. Adds positively. I mean, it heightens joys and lessens sorrows,' she wrote in her private diary in July 1939. Her diary was thus meant to record her individual wartime experiences, and also to enhance them. She wrote openly and honestly about her observations and those of her family and lover. She writes of her physical, emotional, and intellectual reactions to the new dangers of war. She writes, as Malcolmson points out, not only of the facts, but of the feelings of wartime, revealing how public and private experiences were closely entangled, and narrating a life in which the mundane details of often-disrupted daily routines were set against the prospect of violent death from German bombers. 0852c4b9a8

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