as john abraham and abhishek bacchan kissed each other with a petite pretty piggy chops looking over indulgently in dostana on screen, a very poignant realisation hit home.
no , i aint talking of the homophobic gay bashing theme of the film . the three odd hours of the running time of dostanaconclusively divided the indian movie going populace. a new partition of the indian viewer reached its finale witht his latest offering form the brash brave bold new bollywood.
hindia cinema , or bollywood as we ever so lovingly christened it , has gone elitist in every sense of the word. a new wave has swept thru the film industry back home. technological advancements, new legitimate money, some good talent behind th escenes, and a sharp astute pr machinery have made the standard friday release a sleek svelte affair .( never mind the fact that much of the story telling is still appalingly immateurish and unoriginal, some habits die hard).
the advent of multiplexes add to this making a movie outing a very very ultra-glamorous event. you, me and the likes have neer had it so good. yet are we the only ones who watch the hindi film? ot by the fartherest leap of imagination. for there still exists outside the glitz and glam of the mall-multiplex, a huge chunk of an audience that still sees a hindi film at a single -screen dingy nondescript theatre .that expects a paisa-vassol entertainer of 3 hrs. that searches for a voice to speak out for its plight int he real world. that looks upto a hero who speaks their tongue ( and not hinglish ) and vanquishes the villians of their real lives , if only on reel.why do i feel that the mumbai dream machine has disowned them ?
with increasing upward mobility in a small percentage of indians and a real threat from hollywood ( in even in regional dubbed versions ) hindi films today cater exclusively to these handfull, who anyways look else where for entertainment and look down upon desi films.int he process bollywood has ceased to reflect the aspirations of those who actually made the heros and heroines demi gods on the roads. so while live-ins, gay couples, hi-flying fashion glamour worlds , futuristic sci-fi and superheor-wannabes form the crux of our stories on celluloid these past few years, hindi cinema no longer has the pan indian allure it once boasted of. the hero is a selfish rich guy, cozy in his state of the art perfect bubble ( just like much of the 200rs and up paying captive audience watching the hero) who has no idea watsoever of what life is like for the rickshaw puller whom he used to represent not so long ago. his interests concerns his everything are a world apart from the masses .
the only missing link of sorts between old and new bollywood perhaps is the heroine who still nothing mroe than an object of lust. yet even she no longer is coy about shedding clothes at the drop of a hat, alienating a considerable men with her in-ure-face sensuality.in such a case why is ti a surprise then to find the ravi kissens and manoj tiwari's take centre stage in the big league? the vacucm created by bollywood is being filled by its poor cousins from patna raipur ludhiana and the likes.as a cash rich bollywood confidently dispense off the mass viewer as an irritant , regional cinema of the commercial kind , led by the bhojpuri industry, has stpped in to provide the complete masala package in the lingo understood by and loved by the masses, depicting a life that bollywood hitherto celebrated.and with a ready audience fresh from the betrayal at the hands of hindi films, merrily has joined in th eparty at your nearest theatre hall.
but then , what happens to our good old hindi film? almost extinct i guess save a stray delightfully oldworld welcome to sajjanpur. indians , the majority that crowds outside a mall not inside it, have a new cousin in town to thealien english flick, thedesi hindi film! no matter how priyanka ties the saree , she can never be the desi girl of the common man on the road anymore.