Yash Chopra was due to return to directing after 7 years since Dil To Pagal Hai (1997).[4] After his son Aditya completed filming for Mohabbatein (2000), they started to look for a new script for Chopra's return as a director. None of the new scripts excited Chopra; he expressed his disdain at the new trend of the films of the time, stating, "I was tired of television promos. All the semi-clad girls look the same." Chopra stated he was as nervous of his return as he was while directing his debut Dhool Ka Phool (1959). He then finalized another script and began casting for roles.[5] Aditya then provided a narration of a few scenes of a new script, but conveyed that he would be unable to direct it. Chopra was interested and began to work on the new project.[5]
film hindi charokhan complet
While completing the film, Chopra and Aditya had a discussion about the film's title. Yeh Kahaan Aa Gaye Hum was one of the contenders for the title, but Veer-Zaara was ultimately chosen. Chopra said, "The film's lovers are not bothered with the strife around them. For them, love is the only religion."[5] The title Veer-Zaara was initially hinted to mislead audiences.[8] The film's titled was officially confirmed by Sanjeev Kohli, CEO of Yash Raj Films, who stated that the title was chosen after "much deliberation".[8] Chopra stated that he used to have constant arguments with Aditya while filming Veer-Zaara.[5]
Veer-Zaara was filmed entirely in sync sound. Khan stated that although he did not have to dub lines for the film separately, he did dub a few dialogues for the film.[28] Saif Ali Khan's palace in Pataudi served as Zaara's mansion.[29] A shoot was carried out in Punjab during a particular season, after which the indoor shooting was completed. Most of the filming was done in secrecy and no official announcements were made.[5] Initially planned to be filmed over a period of 102 days, the film's filming was completed in 72 days.[12] The film's reel length was 17757.61 ft (5412.52 m).[30]
Gopal feels that the film's dual time and use of old music was the reason for its appeal to masses and its commercial success.[35] She compares the last segment of the title song in which Zaara is shot to the climax of Mani Ratnam's Dil Se.. (1998); both films suggest that the lovers cannot be united.[35] She also feels that the extended ending with the song "Tere Liye" was for a realistic approach.[35] In her book Dreaming in Canadian: South Asian Youth, Bollywood, and Belonging, Faiza Hirji feels that cultural and religious differences were not acknowledged in the film, while noting Pakistani and Muslim traditions were highlighted.[37] She felt that the universality of the maternal habit was highlighted in a sequence between Zaara's mother and Veer.[37] She contrasts the love to Bombay (1995), where religion is an obstacle to love, which is not the case in Veer-Zaara.[37] Comparing the film with Gadar: Ek Prem Katha (2001), Rini Bhattacharya Mehta and Rajeshwari V. Pandharipande (authors of the book Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora) state that while Veer-Zaara manipulates the state's critique to make it appear "progressive" at first glance, Gadar does not.[38] Both Gadar and Veer-Zaara feature a double recovery; only that the latter adopts "similarly duplicitous modes of writing political structures as individual destined whose triumph over nation-state politics drives aground more completely any redemptive plot of neighborly understanding".[38] Bhattacharya agrees and also equates it with Gadar and others like Mother India (1957), where the "identity of the normative citizen" is established.[34]
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