This paper analyzes Sooraj Barjatya’s Main Prem Ki Diwani Hoon as a cultural artifact that both reinforces and inadvertently subverts the conventional Bollywood romantic triangle. By examining the film’s treatment of mistaken identity, familial authority, and the trope of “Prem” as an idealized lover, the paper argues that the film’s critical failure stems from its refusal to reconcile its progressive premise (love based on authentic selfhood) with its regressive resolution (love as destiny and naming). The analysis draws on film theory, gender studies, and reception history.

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