todays filmmakers have to produce a narrative which is a cross between old style and the video game logic if you look at the horse carriage scene in the film it is straight out a video game it is reminiscent of a video game and you know it does not fit barjatya has not been true to his form but he has to do it otherwise his film would not have audience and the compulsion was because of salman khan salman can pull off a game narrative which aamir khan cannot pull off he adds if you look at chariot falling scene the audience is taken inside the scene you almost get the feeling that if you press the right button you can change the scene and that is strictly comes in the game narrative so it for those audiences who may not find the ramayana links in his story quite naturally due to these elements the film has not received a thumping response critics and longestablished barjatya admirers piyush roy film historian at university of edinburgh says barjatyas films have definitely come downhill from being authentic takes and insights on marriages and marriage processes festivals and ritual ceremonies of big joint family owned business enterprises like his own that he draws a lot from by his own admission to increasingly being a formulaic caricature of a happy family especially in prem ratan dhan payo thats packed with too many characters which are too fantastical to be relatable kabir khan also portrayed a too good to be true dogooder superman samaritan in bajrangi bhaijaan but his characterisation was believable that consistency was lacking in prem and his royal lookalike he adds barjatya has had a firm grip on the genre for most times until vivah with hum aapke hain kaun taking the cake but that is also because of a lucid screenplay that won him a filmfare award the writing in prem ratan dhan payo is a letdown with the screenplay doing little towards highlighting character development or motivations so in a way its not the great indian family but a bad writing team that i guess has let down barjatya this time another important development that questions the relevance of barjatya films is the acceptance of more realistic narratives where family is at the centre films such as titli piku drishyam talvar haider and dil dhadkne do are a few films where family is at the centre and which have shown fairly realistic and relatable side of present indian families mythologist devdutt pattanaik points out the audience today seeks depth and complexity as it is exposed to more narratives thanks to the internet and media he says rajshri productions seems to have stagnated in my personal view given these factors how relevant can barjatyas brand of filmmaking be in todays times an answer to this question can be found in the insightful essay by poet and scholar a k ramnujan is there an indian way of thinking in the