"Mohabbatein", Aditya Chopra's second film, came 5 years after his phenomenal directional debut "Dilwale Dulhania Le Jayenge" [1995]. An avid student of film and an adept of film production, Aditya Chopra (son of Bollywood film legend Yash Chopra) is the most technically capable and historically conscious film maker in the Hindi Film Industry. Along with his father Yash (whom he worked as an assistant director) and Karan Johar (who has worked as an assistant for Aditya) Aditya Chopra has directed some of the most important and popular films to come out of Bollywood in the past decade. The films of these three directors carry on a visual style pioneered by Yash Chopra, that has been called the aesthetic of glamorous realism, and is more commonly known as "the Yash Chopra style".

There are many interesting things going on from a filmic perspective in "Mohabbatein". Technically the film is a revelation, a call to a higher benchmark in production values and it marked a turning point as such. No Bollywood movie before "Mohabbatein" was so professionally crafted, without a break in continuity, that so plagues Bollywood films, in part because of the erratic shooting 'schedule' style involved in the industries mode of production. "Mohabbatein" also has technical themes and motifs that are an elaboration of symbolic touches, such as clothing themes for characters, pioneered by Yash Chopra. One of these technical symbolic motifs is the use of circular camera work and circular architecture to denote destiny and desire. One example of this technical symbolism can be seen at this link where the circular motif is examined shot by shot.

The Circular 'Whirlwind' of Emotion