A THOUSAND WEEKS AND A HUNDRED REFERENCES

Cinema they say is a reflection of society but more than that, I think cinema becomes memorable and reflection itself when it leaves references for everyday life for not just some but an entire generation. In clinical terms (pun intended) we can call it the collective memory syndrome.

To help assist my readers I must explain the dictionary or literal meaning of that term. Collective memory refers to the shared pool of information held in the memories of two or more members of a group.  Every time someone says ‘ kitne addmi the’ the average mind jumps to the same interpretation and response that is if they are part of the specific group that share that collective memory.

To my through delight, a film that created a common pool of references in my youth about love, commitment, nationhood as well a European escapade was DDLJ. (Dilwale Dulhania Le Jayenge ..Precisely for readers beyond the group! Because everyone else will know what I mean!)

As DDLJ celebrates its 1000 weeks in the main corridors of Mumbai, I think of the many occasions when filmmakers tested my referencing of the many moments of DDLJ which have become a part of collective memory for the average Bollywood spectator.

The first visuals that come back to you are that of the train, the extending of the hand and the girl running towards it. I immediately come back to Chennai express and even Yeh Jawaani Hai Diwani when Bunny and Naina interact.

Dilwale Dulhania Le Jayenge released in 1995 and definition of love was never the same again to a generation of young urban Indians. From serene picturesque locales to a tale of epic romance, DDLJ narrated a fantasy that many Indian if had not experienced would be glad to ride through. Raj and Simran became cult characters and so did their iconic romance.

Soon after, people started to dream of having their own Raj(s) and Simran(s) in their life.  Reference Bachna e haseeno where Ranbir gets a share of RAJ’s fame by recreating the entire sequence for his on screen interest Mahi.

It is fascinating how audiences still connect to those images of DDLJ and extremely depressing when filmmakers bank of the collective memory in a non-creative kind of way.

A classic case is the film Humpty Sharma Ki Dulhania released in 2014 that not only shares similar title but also rehashes the entire premise of DDLJ. This film is a classic example of what a director should not attempt to do: bank all creativity to the imagination of the viewer alone and abdicate the responsibility to create probably another reference for epic romance in a different setting.

By the end of the film, one is left wondering on why one has gone through a surreal nauseating journey of DDLJ lest one loses the utopian touch of romance.

In any case DDLJ will remain one of the most talked about film for a long time. The celebrations are well deserved and one wonders what is the equivalent of the film for youngsters today..the so called GEN Y with all the gadgetry and machines which surround and influence their communication.

Wonder if they ever feel like saying ‘PALAT’! and Only my peers would know the subtext when I say “ jaa simran , jee le apni jindagi”!

1000 weeks and about two decades later, the film is still fresh in the collective memory of the genuine Bollywood audience. 

(you can also view this write up on LOKMARG.IN )

The irony of empowered women imagery in Hindi Cinema

Yesterday, I randomly happened to tune in to a show called PRIME GUPSHUP on a much reputed TV channel. The show is about talking to Film Directors in a informal style by a senior journalist.

The guest in this particular episode was the frank and vocal Farah Khan. I always move into contemplation when I hear a female director’s interview. Sometimes the content can be so casual and yet so reflective of cinema practices in India.

In Farah’s case, there were two bits I am still thinking about. One she said she never faced a gender bias in her work. The reason she quoted was that if you knew your job, the others just follow the gender doesn’t matter.

She is correct on some counts that in Mumbai or the erstwhile Bombay film industry, knowledge about your craft is the power you exercise and colleagues respect homework and skill on your craft. In terms of the acceptance of a female director, I am not so sure because if it was so easy, one would have ended up seeing many more female directors in yesteryears than today. We must not forget that a lot of them either are from film families or Married to film families……so That’s Debate No 1 as ARNAB puts it

The second remark was more volcanic. She commented on her representation of women and how in her films the actress is not just an actress waiting for a hero but also doping her job. In this specific case she mentioned MAIN HOON NA and Sushmita as a Teacher.

This is what got me really thoughtful. I was wondering which subject was Sushmita in charge of because I didn’t hear her speaking anything which displayed her teaching skills. I did though see her curves et all even within the drape. I was also thinking on Kiron Khers profession or was she only NASEERS wife. And the lovely AMRITA , I never heard of any mention of her subjects , her academic interests or her results.

The particular film being mentioned had all shades of the patriarchal view on women though with a revised modernistic approach. It is a pure rehash of the old norm of glamour girls and oomph

something that as a female cinema academician , I sincerely mind from the bottom of my gut.

Then why is her reference point so skewed. Is that because nobody will bell eh cat. Or is it that she genuinely believes this is what empowerment is, having greta bodies and enticing students in class. How was Sushmita used both as an actress and as that character in the case that the hero was set to achieve….i thought she was only arm candy …and that too ina  female directors film.

Compare it to an ENGLISH VINGLISH BY Gauri Shinde Or A Zindgai Na Milegei Dobaara of a ZOYA Akhtar, one would clearly get different results.

Anyways, I am still thinking and I am still not a ‘SOMEONE’ who will be interviewed on that show at least for some years….so I shall leave you with Debate No 2 . Are there enough women in Cinema who reflect skill on their own profession…think about it !