VATSAL VERMA EXPLORES THE GREY AREAS OF THE LATEST TREND OF alt145 REALISTIC CINEMAalt39IN BOLLYWOOD.
Not very long ago, watching a Hindi film would predominantly mean watching a three hour long melodrama unfold, with every other
movie being woven around stereotypical themes of romance amidst resentful parents and love triangles or family sagas with generous amount of martyrs and long- lost siblings, peppering the plot. A film, somehow, seemed to be fractional without a hero, a heroine and not to forget, a much needed crafty villain.
However, everyone seemed to appreciate them as they allowed one to dwell on simple entertain ment and leisurely relish the experience of watching a movie. In fact, even today we fondly remember those movies as well as our ‘heroes’, ‘heroines’and ‘villains’. Fortunately or unfortunately, since then, there has been a marked shift in Hindi cinema, Bollywood to put it more precisely. From cinematography to choreography, acting to animation, production to promotion, each section involved in filmmaking has undergone a tremendous melioration. Although thats not the central pillar of discussion here, it would be worthwhile to note this trend.
Leaving aside all that, another emerging pillar which has captured the attention of many avid cinemagoers and readers is the blossoming trend among our moviemakers to make films based on alt145 real lifealt39stories or incidents.
From rape murders and mayhem to the trigger happy dons and from power hungry politicians to controversial characters and criminals, all have sauntered into the celluloid with equal ease and surprisingly left the cash register clinking.
Be it a political thriller on the atrocious murder of Delhi based Jessica Lall and her sisters inexorable struggle to get justice for her slain sister or a biopic on sensuous south Indian actress alt145 Silk Smithaalt39, the big screen offers it all.
From Anurag Kashyaps alt145 Black Fridayalt39centered on 1993 serial bomb blasts in Mumbai and Jag Mundhras alt145 Shoot on Sightalt39based on Operation Kratos, the police ” shoot- to- kill” policy applied to suspected suicide- bombers after the 2005 London bombings, to Apoorva Lakhias alt145 Shootout at Lokhandwalaalt39which was based upon the 1991 Lokhandwala Complex shootout, a real- life gun battle between gangsters and Mumbai Police, one can safely presume that terrorist attacks seems to be the alt145 blue- eyed boyalt39of Bollywood Directors.
Even the underworld hasnalt39t been relinquished with movies like alt145 Once Upon A Time In Mumbaaialt39echoing the lives of the real gangsters Haji Mastan and Dawood Ibrahim. The film, very skillfully, depicts the evolution of the Mumbai underworld, from felony and smuggling in its early stages to its connection with international terrorism in recent times.
Apart from them, we had alt145 Not A Love Storyalt39inspired by the grisly murder of Neeraj Grover that led to the arrest of Emile Jerome, Maria Susairaj; and Dibakar Banerjees alt145 Oye Lucky Lucky Oyealt39on real life tomfoolery of infamous Bunty chor.
But question that might click many is whether the trend is desirable or deplorable? Well, Terri Windling, the famous American editor, artist, essayist, and author of books for both children and adults, said alt145 Filmmaking can be a fine artalt39. Indeed. Even people from the Indian film fraternity have, very often, placed on records that making movies is more of an artists work, a craft for museums than merely being a task of combining cast and crew together.
In this cinematic age, where the focus is rapidly shifting from the work of pure fiction to visual adaptations of contended happenings and characters, it will not be incorrect to say that filmmaking as an art of unleashing creativity has lost its allure.
Artists drawing inspiration from real people and events is scarcely a new phenomenon but when the entire film is made as a replica, somehow, originality loses its justification because down the line, true