A few days before I finally saw “Saiyaara” on its Netflix Debut, I had the privilege of seeing “Dilwale Dulhania Le Jayenge” for the first time in theaters. The decisive Hindi film Romance (directed by Aditya Chopra, who produced “Saiyaara”) is still distinguished for all reasons it did 30 years ago, the same reasons that have held the screening for glorious crowds for so long.
But something else. The shy girl, Ruffian guy. As Vaani (aneet Padda) Sat down with krish (ahaan panday) in mohit suri’s “saiyaara” and ash not to smoke or swear, my mind flashed to raj (shah rukh khan) and simran (kajol) in the kids where hee balks at the sight of the sight of the sight of Warm. The women are simple, innocent in need of protection; The men are wild, free and inevitably drawn to the righteous way to love these women.
Now Vaani Batra is almost definitely clinically depressed, and that is not her fault. Her fiancee dumped her via telephone calls while she was waiting for him at the court six months before and met Krish – even less to work with him, binding with him – causes some kind of system overload. I will protect the big twist that I managed to avoid for three months, which gives the movie its emotional strength depending on who you ask (not me!).
“Saiyaara” debuted in American theaters on July 18 and quickly became the second highest Indian film 2025 and the highest Great Indian Romantic film ever (A statistics It will with the reservation classify “Kabir Singh” as a romantic movie). Indian movies usually stay in American theaters for a week or two, but a month later “Saiyaara” still played several times daily on the Times Square AMC Empire Theater, an indicator of Smash Hit success.
Online, “Saiyaara” took over the Bollywood algorithm on any platform. From remixes to memes to emotional fan reactions, the film claimed a hard loyal and especially young audience that has undoubtedly not linked to anything so strong in several years.
The reality is that Commercial Hindi Cinema has set a shockingly low bar over the past decade; Action movies that earn a great deal at the checkout but offer nothing new or remarkable, New Age romance that takes romance from romance; And launch after the launch of the next generation of performing talent that never lives up to its inheritance and still remains. There are heights – as Three Shah Rukh Khan movies in a year, “Rocky Aur Rani Kii Prem Kahaani,” – But they arrive in the midst of falling lowness (I will not name them, but at least the memes were fun).
In this context, almost everything about “Saiyaara” is refreshing. There is a real story seen from beginning to end (thanks to the source material: South Korea’s “A Moment to Remember”)-Krish’s music career, Vaani’s return to themselves and the road they are moving forward and a solid soundtrack from Mithoon, Tanishk Bagchi, Faheem Abdullah, Seches, SACET NIZAMI, VISCHAVI, VISCHAK, SACH, VISCHAK, SACH, SACH, VISCHAN NICH, SACH, VISCHAK, SACH, SACH, VISCHAN NICHA. Rishhabh. Vikas Sivaraman’s cinematography tries its best to avoid the overexposed, air brushed appearance of its contemporaries. Panday plays a compelling skewed tortured artist together with Padda’s fighters, and most of the screen time is devoted to their mating instead of introducing tertiary surplus.
But to see “Saiyaara” is celebrated when the savior of the industry did not inspire me as it is intended to. Theater presence in India is examined as in the states, with more and more old films being submitted to increase ticket sales. The same issues continue to rise. Will they ever make movies as they used to? Has social media destroyed the audience’s commitment? Have we lost a breed of star? As Hindi films and global film search after response, “Saiyaara” is just a piece of the puzzle – and hopefully a guiding light from dark times.
“Saiyaara” now flows on Netflix.
