|This, by the way, is pretty much how Amar sees himself.|
|I put this on twitter and asked "Most unnecessary filmi dialogue of all time?" "Yes," said all of twitter.|
Maa also has a big effect on the Major, who sees in her his beloved but deceased sister, so much that he starts crying the first time he meets her. I didn't catch whether the Major flat out tells Neeta that she should stay with any family that Maa has any involvement in, and I think the film implies that Neeta's change of heart towards Amar is of her own volition in reaction to the picture of adult relationships that Maa paints.
I, of course, think the Major's initial reaction to the Neeta-Amar pairing is correct, that they are just too different for this relationship to be sustained without a huge amount of work—and let's be honest, it's Neeta who will do all the changing, perhaps because she's the woman, perhaps because she's less traditional, or maybe just because her husband is too childish to do the work required for significant alteration or compromise.
The highlight of the film, especially if you've already seen Abhinetri (or Jab Jab Phool Khile, for that matter), is a an angry but very fab dance by Amar, who flies into a rage after his friends tease him at a nightclub about singing hymns instead of dancing to the groovy tunes. It's a very modern dance of a very deeply held conservativism. I don't know what Amar thinks he's proving, but I do know that watching Jeetendra do these moves, among backup dancers in these clothes, in this superb nightclub set, is a joy. He twists, shimmies, and flings his partner over his head.