imageries created by the film imageries such as the concept of family soaked in traditional values a son who proves to his wouldbe fatherinlaw that he is worthy of marrying his daughter by keeping his promise and a friend who has led astray and is blinded by materialism realises the importance of the role of friendship love and togetherness in creating happiness in ones life these imageries echoed the values represented by the ramayana and struck a chord with the viewers as a result maine pyaar kiya emerged as a sweeping hit of that year the success of sooraj barjatyas resulted in the second important development at rajshri productions it revived the production house which had been producing films that did not have much success at the box office and then a long interval of five years barjatya made his next film hum aapke hain kaun in 1995 these two films of sooraj barjatya are considered landmarks of hindi cinema of the 1990s it provided templates for future films of filmmakers such as aditya chopra and karan johar the philosophy of a hero winning the heart and affection of the father of the woman he loves and then marrying her instead of eloping with her depicted in dilwale dulhaniya le jayenge is a leaf straight out of the values championed by barjatyas maine pyaar kiya also the concept of how happiness of a family rests on mutual harmonious coexistence of everyone shown in hum aapke hain kaun can be seen in karan johars film kabhi khushi kabhi ghum hum apke hain kaun also brought back the audiences to the theatres it came at a time when audiences had shunned the theatres due to bad content and also because of their instant liking for cable television and watching films on video cassette recorder vcr rented from local video librariesthe epic fixation in subsequent years what remained fixed in barjatyas films is the concept of family loosely based on the values present in the ramayana his films would be made on the popular notions of the ramayana he would hardly explore the complex themes of the ramayana film scholars and culture critics often found his films too simplistic rachel dwyer professor of indian cultures and cinema university of london says the extended family is an ideal in india and sooraj barjatya presents a heightened form of this ideal she says barjatya uses what we could call a neotraditionalism in his films we see mostly the good side of families which includes elements of love support and kindness and little of their bad sides which includes abuse anger and disputes i would imagine these films are much more popular with conservative social groupsthe rising middle classes sanjay ranade associate professor department of journalism and communications university of mumbai delves deeper into the characters of the films and points out how ramayana plays a crucial role in his narratives he says a sooraj barjatya film is a classically a ramayana character there is ram