She runs from home, symbolically losing her burqa, as they both declare their love for each other.
This is the story of a half Italian, the wonderfully named Sameer Rossellini (Salman Khan), who comes to a lavish palace in India where he falls in love with his teacher’s daughter Nandini (Aishwarya Rai).
The film uses songs composed but never used by the late Madan Mohan, mostly sung by Lata Mangeshkar, which give an older feeling to the film.
Their dramatisation in the film shows Chopra’s skill with film and music, perhaps the finest example being ‘Tere Liye’/‘For You’, about being willing to sacrifice for love, and ‘Dekh Lo’/‘Look’, another song about how love can overcome difficulties.
Among all the fun are wonderful romantic songs, such as ‘Tujhe Dekha’/‘When I Saw You’.
However, the changing views of romance in Dilwale Dulhania Le Jayenge (known as DDLJ) include Simran’s father’s view, that marriages are arranged by family elders and love will follow.
This romcom was much loved for superstar Kareena Kapoor’s depiction of a stereotypically feisty Punjabi girl, Geet Dhillon, who meets Aditya (Shahid Kapoor) on a train and forcefully persuades him to come to meet her family.
Her incessant talking and optimism initially irritate Aditya, but he eventually falls in love with her.
The songs of sorrow (‘dard bhare geet’) produce longing that was celebrated in Indian aesthetic theory as ‘vipralambha shringara’ – love in separation. It is no coincidence that Shah Rukh Khan, the biggest romantic hero of the last 20 years, weeps beautifully and often.
Their romance forms the first half of this film, but it is the second romance that is the truly moving one: Nandini has an arranged marriage to Vanraj (Ajay Devgan), who fell in love with her when he saw her singing ‘Nimbuda’/‘Lemon’.
He does not sleep with her after marriage, when he realises she does not love him.
However, after six years, they are faced with rising intolerance between the communities and their family becomes under threat.
Bombay has an immensely successful soundtrack by A. Rahman, with songs like ‘Humma Humma’, which accompanies their search for romance in the city, and the searingly beautiful love song ‘Tu Hi Re’/‘Only You’ when Shekhar calls Shaila to him as he waits for her in a ruined coastal fort.
Hindi cinema’s genres are very loosely defined, with almost all films having a central romantic theme.