Can’t Let Go: Personal Growth in “Aisha” Despite Daughter Bratty Rich

In I can’t let go we revisit the nostalgia around our favorite pop culture moments that have not aged well.


There are a lot of reasons not to love Aisha. The unbearable adaptation of Jane Austen’s world to a living dome in South Delhi; one-dimensional characters with little acting chops; superficial and narrative exchange; the patina of richness in each frame.

See, Aisha knows he fizzles out as he pursues the intricacies of an extremely interesting character. He is doomed to be judged as a reflection of his origin Emma and the world at Highbury. That, however, shouldn’t prevent us from recognizing the subtle gains the film makes along the way.

On the one hand, the film opens up a dazzling world of on-screen fashion. I say this with the wacky “Suno Aisha” air lingering in my mind, a visual of Sonam Kapoor coming out of his yellow Beetle, decked out in silver and lilac lehenga. A colleague concedes, expressing her love for the film: “The inaccessibility of wardrobe choices doesn’t even matter to me. The Chanel tweed skirt suit; the vintage Christian Lacroix two-piece when Aisha meets Dhruv; or the white ruffled dress at the polo match. It’s the second-hand thrill of looking at something beautiful and ambitious, like a work of art. The characters are as relevant to the story as Aisha’s wardrobe dominated by the luxury brand, a visual I don’t dispute.

It is also this fashion that makes Aisha a subject of criticism for many. Part is justified; the take-out of gorgeous dresses on the shades of a Emma-as the character does Aisha an average fit at best. My complaint concerns any objection that dismisses the film as a “chick-flick. “The subject of the film revolves around women, fashion and friendships; the presumption that these are naturally irrelevant matters and should be taken into account is demeaning and unfair. Aisha nitpicking clothing choices, identity and mistakes.

I realize that in defending Aisha, I am also protecting her mistakes. Jane Austen’s Emma is an “undisciplined sweetie with too many privileges and too little vocation.” But despite all the advantages granted to her, Emma is a restless creature who compensates for her desires and her loneliness by her preoccupation with playing Cupid, ”notes journalist Sukanya Verma in her description. Emma – Aisha – are imperfect people by all definition. Others for them are dispensable; they live in a cocoon of luxury and are shamelessly indulgent to themselves.

Yet, Emma’s essence has always been to present a complicated, complex character whose heart is in the right place, but she doesn’t know how to access it. Aisha knows this and understands it all too well. Sonam Kapoor’s Aisha has a narrow worldview, hosts her matchmaking, despises her friend Shefali’s “middle class” match, and neglects her best friend. Aisha’s ignorance and judgment are also familiar. Of course, “she didn’t know any better” is a lazy excuse for anyone.

We sympathize with her to find ourselves in her place and want to be better. Maybe what annoys people is that Aisha and others are living a life like this, and any experience of wealth and wealth is better to leave criticism than to accept that people like it. to concern. Aisha challenges to be inserted into a “good” and “bad” female role, who happens to be dressed from head to toe in privilege.

It’s the trip that Aisha takes to be nicer that becomes the whole point of the story. These may seem like simple resolutions (to make up with your best friend or make changes later), they are always important. Bashing the protagonist here derails any act of empathy and constructive growth. An appreciation of Aisha is incomplete without noting the presence of Abhay Deol. Deol is close to playing the ideal Knightley. There is the right amount of jokes, wisdom, and comfort.


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Moreover, an Indian equivalent of Highbury could not have been anywhere other than South Delhi. The aspirations of the upper middle class, the dizzying life of social obligations, the luxury of old money. This is a pre-Dil Dhadakne Do , dotted along the streets of New Friends or Defense Colony, illustrating the life of Gymkhana members and yoga classes. There is a hint of sincerity in portraying hypocrisies and personal concerns. Conversations and friendships aren’t just for the big screen. “It’s trashy, but it’s beautifully trashy. Almost like the food and the conversation at a long brunch in Delhi, ”journalist Kaveree Bamzai wrote.

Similar to the novel, the matchmaking craze signals status quo considerations too well. Aisha’s motivations for finding mates for people come from two things: keeping busy and conforming to the social obsession with marriage. The urban mating game echoes the social divide; the “small town girl” in the role of Shefali, who is looking for a husband, is not unimaginable. The realism is quite striking.

Aisha is a conscious component of Emma’s legacy. The origin story has a strong character that rejects any aspect of marriage. She is lost but sure of herself, confused but generous. It portrays a hypocritical society oblivious to its own prejudices but makes sure the viewer is aware of these prejudices. Aisha occupies a small place in this literary and cinematographic life, but respectable.

Finally, at the most visceral level, Aisha is comfortable. The succession of weddings, engagements, parties and trips makes it easy to get away, demanding very little of us. So while Aisha doesn’t count as the best adaptation, there are some elements that trump what Emma might have looked like in the early 2010s.

The movie is on hold, and on the watch list for days, we want an extra scoop of sartorial comfort. Aisha is not as “incapable” as you might think; we’re not letting him go just yet.

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About Bernice D. Brewer

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