Badrinath Bansal, a man from Jhansi (Uttar Pradesh, India), is an MCP, not by choice, but because of his upbringing led by his dominant father Ambernath Bansal. When he meets Vaidehi Trivedi, he believes he has found the ideal bride. But Vaidehi is an aspirational girl, from Kota (Rajasthan), trying to fight her way out of the male dominant world she has grown up in. She craves independence and an individual identity, something most small town Indian girls don’t have the luxury to dream off. For Badri, Vaidehi’s dreams are more conversations rather than a practical way of life, but he continues to entertain them just to woo her. Vaidehi is trying hard to be the son of her family, but is constantly bombarded with the realities of small town India, where for a woman, a happy married life is given more importance than a career. Badrinath Ki Dulhania is the story of these two opposites. Their interactions lead to humor, difference of opinions and conflicts, which are against the moral fabric of MCP’s in general. But ultimately it’s a film about understanding and realization. Badri understands that the role of women in society is very different from what he had grown up seeing and he comes to admire and appreciate their potential. Vaidehi realizes that Badri’s MCP attitude is not his, but a product of his upbringing and underneath it all lies a simple boy looking for love and true companionship. Here in lies the essence of the film.
