
Rishtey
2002

2002
Director
Talat Jani
Average Rating
No ratings yetSynopsis
Pinky alias Pooja Malhotra (Kareena Kapoor) and Karan (Tusshar Kapoor) are childhood sweethearts. During this time they exchange vows that they will live for each other only. They separate shortly after but they do not forget their vows. Pooja frantically searches for her sweetheart, but to no avail. She finally decides to write her own story in a the form of a love story. This story turns out to be very popular, and Pooja does get to meet Karan, only to find out that he has a girlfriend by the name of Seema.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film follows a traditional heterosexual romantic arc between Pooja and Karan. There is no evidence of non-cisnormative identities or narratives that critique heteronormativity.
Gender Representation
Pooja demonstrates agency by becoming a successful writer to find her lost love. However, her primary motivation remains tied to traditional romantic tropes and male counterparts.
Racial & Ethnic Diversity
The cast is ethnically homogeneous, reflecting a specific cultural identity within the Indian film industry. It does not utilize diverse ethnic blending in its character arcs.
Religious & Cultural Diversity
The story reinforces traditionalist values like loyalty, monogamy, and romantic destiny. It adheres to conventional social ideals rather than deconstructing established institutions.
Disability Representation
There are no visible or invisible disabilities integrated into the character arcs or used as central narrative drivers.
Strengths
Areas for Improvement
AI Analysis
Jeena Sirf Merre Liye is a standard early-2000s Bollywood melodrama centered on a conventional romantic rivalry. While the female lead shows professional initiative, the story's emotional core is strictly heteronormative. The film lacks intersectional depth, focusing instead on traditionalist ideals of destiny and lifelong vows. It functions as a culturally specific narrative without exploring diverse identities or social subversions. Ultimately, the production relies on established romantic tropes that prioritize traditional relationship structures over progressive representation.

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