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Chori Chori Chupke Chupke
2001 film by Abbas-Mustan From Wikipedia, the free encyclopedia
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Chori Chori Chupke Chupke (transl. Secretly and Stealthily) is a 2001 Indian Hindi-language romantic drama film directed by Abbas–Mustan, with a screenplay by Javed Siddiqui and story by Neeraj Vora. Produced by Nazim Rizvi, the film stars Salman Khan, Rani Mukerji, and Preity Zinta, with music composed by Anu Malik and lyrics by Sameer. The narrative follows a wealthy married couple who, unable to conceive a child, hire a sex worker to serve as a surrogate mother, leading to emotional and social complications.
Inspired by the Hindi film Doosri Dulhan (1983), Chori Chori Chupke Chupke explores themes of surrogacy, societal taboo, and unconventional family structures. Principal photography took place in Switzerland and various locations in India. The film’s subject matter generated widespread attention, as it was one of the earliest mainstream Hindi films to address surrogacy—a subject rarely depicted in Indian cinema at the time.
Initially scheduled for release on 22 December 2000, the film was delayed following the arrest of its producer Nazim Rizvi and financier Bharat Shah. The Central Bureau of Investigation alleged connections between the film’s financing and Mumbai underworld figure Chhota Shakeel, leading to the temporary seizure of the film's prints. It was eventually released in March 2001.
The film received mixed-to-positive reviews from critics. While the direction and storyline attracted some criticism, Zinta’s performance as a prostitute-turned-surrogate mother received widespread acclaim and earned her a nomination for Best Supporting Actress at the 47th Filmfare Awards—the film’s sole nomination. Chori Chori Chupke Chupke emerged as a commercial success, ranking as the sixth highest-grossing Hindi film of the year. Over time, it has been regarded as a landmark film in Bollywood’s cinematic portrayal of surrogacy, and later inspired the Indian television series Dil Se Dil Tak (2017).
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Plot
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Raj Malhotra and Priya, members of affluent Indian families, meet at a wedding and fall in love. After marrying, Priya becomes pregnant but suffers a miscarriage, resulting in permanent infertility. On the advice of Dr. Balraj Chopra, the couple decides to have a child through surrogacy while concealing Priya's condition from Raj’s conservative family. Due to their social status and concern over media scrutiny, they forgo artificial insemination and opt for natural conception.
Raj contacts Madhubala "Madhu", a prostitute, who agrees to act as a surrogate mother in exchange for money. Following a transformation in her appearance and manners, Madhu is introduced to Priya—who is unaware of Madhu's background—and the three travel to Switzerland to maintain secrecy. Madhu becomes pregnant with Raj’s child, and Raj informs his family that Priya is expecting.
Complications arise when Raj's associate, Ajay Sharma, harasses Madhu, prompting her to leave Switzerland, believing Raj had revealed her past. Priya later learns the truth about Madhu’s background but convinces her to return and complete the pregnancy. After Raj protects Madhu from Ajay’s assault, she begins to develop feelings for him.
Unexpectedly, Raj's family arrives in Switzerland. Madhu is introduced as a friend whose husband is away on business, while Priya pretends to be pregnant using pillows. The family insists on holding a godbharai (baby shower) in India. To uphold the illusion, Madhu poses as Priya during the ceremony. Struggling with the emotional attachment to the unborn child, Madhu contemplates keeping the baby.
When Madhu goes into premature labor, Priya instructs the doctor to save Madhu if forced to choose between her and the child. Both survive, but Madhu ultimately decides to give the baby to Priya. Dr. Chopra tells Raj's family that Priya gave birth, while Madhu’s child was stillborn. Before leaving, Madhu assures Raj that she will abandon prostitution. As he drops her at the airport, he acknowledges her sacrifice with a parting gesture, and she departs contentedly.
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Cast
The cast is listed below:[4][5]
- Salman Khan as Raj Malhotra
- Rani Mukerji as Priya Malhotra
- Preity Zinta as Madhubala Singh "Madhu"
- Farida Jalal as Asha Malhotra
- Dalip Tahil as Ranjit Kumar Malhotra
- Johnny Lever as Pappu Bhai
- Amrish Puri as Kailashnath Malhotra
- Prem Chopra as Dr. Balraj Chopra
- Apara Mehta as a prostitute
- Ruby Bhatia as a news reporter
- Deepti Bhatnagar as a dancer in the song "Mehendi"
- Adi Irani as Ajay Sharma
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Production
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Development
Director duo Abbas–Mustan announced Chori Chori Chupke Chupke as their next project in October 1999, while nearing completion of their thriller Ajnabee (2001).[6] The film reunited Salman Khan, Rani Mukerji, and Preity Zinta, who had previously appeared together in Har Dil Jo Pyar Karega (2000).[6] Producer Nazim Rizvi later clarified that the casting of the three leads had been finalized prior to their commitment to that film.[7]
Casting
Salman Khan, Rani Mukerji, and Preity Zinta were cast in lead roles, with Khan portraying Raj, Mukerji as Priya, and Zinta as Madhubala. The three actors were paid ₹1.5 crore, ₹24 lakh, and ₹25 lakh respectively (unadjusted for inflation).[8] Zinta initially hesitated to accept the role of a prostitute, expressing doubts about her suitability for the character. However, after persuasion from the directors, she agreed to take on the part.[7][9] To prepare for the role, Zinta conducted research by visiting bars and nightclubs in Mumbai’s red-light areas to observe the speech and mannerisms of sex workers.[10]
Shah Rukh Khan was initially approached to play the role of Raj Malhotra, following his earlier collaborations with Abbas–Mustan in Baazigar (1993) and Baadshah (1999). However, he declined due to scheduling conflicts, and the role eventually went to Salman Khan.[9]
Filming
Chori Chori Chupke Chupke was produced on a budget of ₹13 crore (equivalent to ₹52 crore or US$6.1 million in 2023).[2] Principal photography began in early 2000 and was completed over two months.[4][9] Cinematography was handled by Thomas A. Xavier, with location shooting conducted in Mahabaleshwar and Switzerland.[11][12] The film was edited by Hussain A. Burmawala, while the background score was composed by Surendra Sodhi.[4][13]
Themes and influence
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Chori Chori Chupke Chupke attracted attention for its exploration of surrogacy and prostitution—two subjects rarely addressed in mainstream Hindi cinema at the time of its release. The film's depiction of surrogacy, achieved through sexual intercourse rather than artificial insemination, sparked discussions about the portrayal of women and reproductive choices in Indian popular culture.[14][15] Scholar Aditya Bharadwaj argued that the film draws an implicit analogy between surrogacy and prostitution, reinforcing prevailing taboos surrounding both practices.[16]
In her 2018 book Surrogacy, author Anindita Majumdar noted that the film played a significant role in shaping public perception of surrogacy in India, writing, "In popular Indian culture, surrogacy has come to be associated with the 2001 Hindi language film Chori Chori Chupke Chupke."[17] Historian Daniel Grey similarly observed that the film's portrayal of Madhubala—a sex worker who becomes a surrogate—helped solidify a “stereotyped and erroneous” association between prostitution and surrogacy, contributing to societal prejudice against surrogate mothers in the Indian context.[18]
Some critics and scholars drew comparisons between Chori Chori Chupke Chupke and earlier works. According to The Hindu, the film borrowed select scenes from Pretty Woman (1990) and shared thematic similarities with Doosri Dulhan (1983).[19] Academic Lucia Krämer acknowledged visual parallels to Pretty Woman, but argued that they were limited to a single subplot and that the overall narrative diverged significantly.[20] In her 2017 book Transnational Commercial Surrogacy and the (Un)Making of Kin in India, Majumdar analyzed both Chori Chori Chupke Chupke and Doosri Dulhan, noting that surrogate characters in both films begin as "fallen women" uninterested in motherhood, only to develop maternal instincts over the course of their pregnancies.[21]
Zinta’s character of Madhubala was described by Anupama Chopra and Krämer as a "hooker with a heart of gold"—a recurring trope in popular cinema.[22][20] Sociologist Steve Derné argued that the film portrays Madhubala as a hypersexual and materialistic woman who is ultimately "redeemed" through transformation into a consumer and maternal figure. He credited the film with blending the archetypal roles of “heroine” and “vamp” in Hindi cinema, positioning Zinta as a “legitimate heroine.”[23] Scholar S. Banaji observed a shift in the film’s moral framing of the prostitute character, reflecting a broader evolution in Hindi film narratives.[24]
Film critic Bhawana Somaaya, while critical of the film's commercial elements, praised its portrayal of Priya (Rani Mukerji), noting that she was uniquely positioned as the decision-maker in the surrogacy arrangement—an uncommon depiction for female characters in mainstream Hindi films of the period.[25]
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Soundtrack
The soundtrack for Chori Chori Chupke Chupke was composed by Anu Malik, with lyrics written by Sameer.[4] The album was released on 13 October 2000 by Universal Music India.[26]
According to the trade website Box Office India, the soundtrack sold approximately two million units, making it the sixth highest-selling Hindi film music album of the year.[27]
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Release
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Chori Chori Chupke Chupke was initially scheduled for theatrical release on 22 December 2000.[28] However, the release was delayed following the arrest of producer Nazim Rizvi in December 2000 and financier Bharat Shah in January 2001. Both were charged with obtaining funding from Mumbai underworld figure Chhota Shakeel and allegedly coercing prominent actors, including Salman Khan, to participate in the film, with the intent of sharing profits with Shakeel.[28][29][30] Rizvi had reportedly been under police surveillance for several months, and the Central Bureau of Investigation (CBI) seized the film's prints, which were subsequently held by a court receiver.[31]
On 12 February 2001, the film’s negatives were released by judicial order, with all profits mandated to be deposited with the Maharashtra state government.[32][29] Rizvi and Shah remained in custody at the time of the film’s release on 9 March 2001.[29] The opening credits included a note of gratitude to the Special Court (MCOCA), Crime Branch, Mumbai Police, and the court receiver “without whose untiring efforts and good office this picture would never have been made.”[30]
The film's release was met with protests related to its alleged underworld financing.[33] Nevertheless, widespread publicity and controversy generated high anticipation, with 325 prints sold in advance of release.[34] Two days before the theatrical opening, Abbas–Mustan held a special screening for senior officials of the Mumbai Police to demonstrate that the film contained no objectionable content.[35]
Certified "U" (universal) by the Central Board of Film Certification,[36] Chori Chori Chupke Chupke opened to a wide theatrical rollout across India.
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Reception
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Box office
Despite the controversies, Chori Chori Chupke Chupke emerged as one of the highest-grossing Hindi films of 2001.[37][38] While it opened to strong box office numbers, interest declined in subsequent weeks. Domestically, the film grossed approximately ₹31 crore (US$3.7 million) against a production budget of ₹13 crore (US$1.5 million). Overseas, it earned an additional US$1.4 million, bringing the worldwide gross to ₹37.51 crore (equivalent to ₹149 crore or US$18 million in 2023).[3]
Box Office India ultimately classified the film’s commercial performance as a “semi hit.”[37]
Critical reception
Chori Chori Chupke Chupke received mixed-to-positive reviews from critics. The film was noted for its attempt to tackle surrogacy—an unconventional subject in Hindi cinema at the time—but faced criticism for its melodramatic treatment and narrative execution. However, widespread praise was directed toward Preity Zinta's performance as Madhubala in what was considered a bold and atypical role, with several reviewers highlighting her as the film's standout element.[39][40]
Sukanya Verma of Rediff.com called her role "the meatiest part of all" and described her character arc as "amazingly believable," though she expressed mixed feelings about the film overall.[41] Screen critic Padmaraj Nair referred to Zinta as the "real scene-stealer" and commended her for delivering "a stunning performance".[42] Vinayak Chakravorty of Hindustan Times praised Zinta’s "admirable zest", calling her the film's "trumpcard",[43] while Dinesh Raheja of India Today credited her with giving the film "its electric charge".[44] Nikhat Kazmi of The Times of India noted that Zinta "keeps the adrenalin gushing" and delivers "riveting moments" that "show flashes of a fine performance".[45]
Some critics, however, expressed reservations about certain aspects of Zinta's portrayal. Ziya Us Salam of The Hindu appreciated her ability to "put life into her character", though he found her less convincing when delivering street vernacular.[46] M. Shamim, also writing for The Hindu, observed that Zinta "put her body and soul into the streetwalker's flaming-red dress".[15]
In contrast, Salman Khan and Rani Mukerji received more mixed responses. Verma criticized their characters as underdeveloped, stating that Mukerji was "handicapped with a role that doesn't give her much scope besides weeping" and that Khan’s performance lacked depth.[41] Raheja felt that Khan was "overtly subdued" and that Mukerji’s role lacked sufficient emotional layering.[43] Kazmi described their characters as lacking complexity, writing that Zinta’s portrayal offered a refreshing break in a film "dominated by an ever-say-cheese and forever understanding Rani and an unruffled, mumbling Salman."[45] However, Nair was more favorable, describing Khan as "understated" and asserting that Mukerji was "at her best".[42]
Taran Adarsh of Bollywood Hungama offered a positive review, praising the film’s drama and concluding that it "lives up to the towering expectations".[47] Several reviewers appreciated the film’s portrayal of family values and traditional settings. Kazmi referred to it as a "modern ode to the ancient Indian family" and highlighted its "overwhelming feel-goodness".[29] Us Salam and Shamim both remarked on the film’s emotional tone, scenic visuals, and its portrayal of a "well-knit family", with Shamim commending the filmmakers for avoiding overt moral messaging.[45][15]
Less favorable critiques focused on the film’s reliance on stereotypes and lack of subtlety. Verma called the story's presentation "absurd",[15] while Chakravorty criticized its thematic overlap with Doosri Dulhan (1983), describing it as "a veritable rerun of the stereotypes".[41] Nair noted tonal inconsistency, stating that the film alternated between promoting "desi culture" and resorting to "cheap gimmicks" but acknowledged the directors' success in delivering an "engrossing" second half.[42] Raheja echoed similar concerns, describing the film as lacking nuance, though he praised its pacing.[44] Suman Tarafdar of Filmfare offered a more negative perspective, labeling the film "saccharine" and calling it "a film for anyone gullible enough to believe in fairy lands", with Zinta providing "the only slightly noteworthy performance".[48]
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Accolades
At the 47th Filmfare Awards, Preity Zinta received a nomination for Best Supporting Actress, the film’s only nomination.[49]
Salman Khan won Most Sensational Actor at the Bollywood Movie Awards.[50]
Legacy
Chori Chori Chupke Chupke has often been associated with the popularisation of surrogacy in Indian cinema and remains one of the earliest mainstream Hindi films to address the topic.[17] Since its release, the film has been screened at various international events. In 2002, it was featured as one of 30 films in a three-month-long Bollywood retrospective organised by the Swiss Government in Zürich.[51] It was later showcased at the 2005 Independent South Asian Film Festival in Seattle and the 2012 Fiji Film Festival.[52][53]
Preity Zinta’s performance as Madhubala has been widely regarded as a significant moment in her career. In an August 2001 column for Screen, Roshmila Bhattacharya credited the film’s appeal among traditional audiences to Zinta’s portrayal of a complex and unconventional role.[39] Writing for Sify in 2003, Subhash K. Jha described her performance as "her best yet", noting her commitment to the role despite initial discomfort with its bold elements.[54] A Stardust profile published the same year praised Zinta’s performance, highlighting her ability to balance emotional depth with her characteristic vivacity in the film’s early scenes.[55]
References
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External links
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