In 2012, I encourage every film buff to sign a pact that reads “watch each Ranbir Kapoor film.” The least one can expect is to see an acting talent that’s terrific, effortless and convincing. He is probably the one who was rightly crowned ‘promising debut’ for a film that was a disaster (I haven’t seen ‘Sawaariya’ yet, it appears just too dark blue). As far as credibility goes, he is one actor who doesn’t disappoint. Recently I heard ‘Wake Up Sid’ was a box office failure and I am still stunned (of course, I haven’t made an effort to validate the statistics on box office success). To me, it was one of the finest films made in Hindi Cinema: pure, unadulterated modern day sensibilities minus masala and drama.
Then, I wonder, in a country like India box office success (BOS) may have very little to do with ‘artistic brilliance’ of a film. BOS is a measure of mass appeal items including masala, item number, larger than life heroic personas (read Chulbul Pandey, Singham) among others that connect to a majority of a billion population. With this itemized checklist a visionary director (and producer) loops in the youth wanting to be the real life hero in the streets, kids humming and dancing to ‘Sheila ki jawani’ and an entertainer for the overworked working class during the week. However, I think there are films, that apart from the business of money, give a visual dimension to a story. A story that exists as is, unadulterated with the idea that the end result is expected to derive revenue. I, of course, have no means to substantiate but I wonder how many in my favorite list (Wake Up Sid, Fire, Mrityudand, Virasat, Hum Dil De Chuke Sanam, Jaane Tu ya Jaane na among others) were actually made with ‘revenue’ as the end target? Some may have big names in the actor fraternity but the actor is only complimentary to the artistic dimension of the movie.
Recently, I find a majority of the movies have become more of marketing and money. Some like “I hate love storys” attempt to connect to the 20 something audience who are probably untouched with the perception of love. A story like that comfortably sits on a rating of three starrer - thanks to the chocolate hero, the heroine with a flashing smile (probably the only thing she knows to do) when the rating should rightly be credited to the designer clothes she wears, the art direction (read sets) and cinematography (read fancy, foreign locales). Not that anything is wrong with making money or marketing, but when it comes to performances art and acting stands out. Recalling the remake of ‘Stepmom’, ‘We are family’ probably made all the money it was expected to, but to an audience that connects to both the “woods”, Kareena fails miserably to Julia. Three straight sets, 40-love (that is if women decided to play five in the first place). And who the eff was the director who eff-ed the film? The direction was a nightmare!
Okay. Now, I have been slightly off tracked, so back to Rockstar and here’s why it stands out. Everybody loves Jordan (Ranbir), to begin with. Same sensitive chocolate boy who befriends the most beautiful girl in college. Chocolate boy transforms into a stubled, rugged boy who encounters tryst with lust. Further metamorphosis into a wild rockstar who has his heart where it belongs, wrapped and treasured with his only lady love. The fact that she is married is secondary. Jordan’s bohemian appearance is very eastern influence. I don’t get the songs but that’s my bad. The debut heroine does the best that’s expected of her, in this case ‘stay pretty throughout the film’ (for some reason, Madhubala made a fleeting one minute memory ride). For a debutant, her act is decent. However, all the first timers can take a lesson or two from Deepika in OSO. Sensational screen presence, blew me away. Plus if the writer and director do their job well, an unrequited love story (remember the end scene with Shiny Ahuja behind bars - no pun intended - with Kangana Ranaut in Gangster?) connects deeper than a Anjali-Rahul (KKHH) convenient timing.
A personal request to the directors. When your actress in the main lead is whoring around inspite of being married avoid dialogues to the effect of “ye galat hain” translates as “this is wrong”. Remember Mallika Sherawat in Murder? Either they learn to control and overcome their urges or simply understand that we, the audience, are adults. We understand women have desires too and they have a right to be erotically aroused (read horny).
All in all, a decent movie to watch once. Better among any contenders in the recent quarter. It reminded me a little of Notebook - youthful and passionate. However, I would probably watch Notebook thrice in a lifetime; Rockstar, for now, I can only do once.
Adding a little more emphasis on “marketing and money” vis-a-vis “artistic brilliance”, “3 idiots” and “Taare Zameen par”, although significantly overlap on both counts, I suppose the latter was an end product of a story to be told. The prior was a brilliant, choreographed effort to connect to a majority of the audience.
Then, I wonder, in a country like India box office success (BOS) may have very little to do with ‘artistic brilliance’ of a film. BOS is a measure of mass appeal items including masala, item number, larger than life heroic personas (read Chulbul Pandey, Singham) among others that connect to a majority of a billion population. With this itemized checklist a visionary director (and producer) loops in the youth wanting to be the real life hero in the streets, kids humming and dancing to ‘Sheila ki jawani’ and an entertainer for the overworked working class during the week. However, I think there are films, that apart from the business of money, give a visual dimension to a story. A story that exists as is, unadulterated with the idea that the end result is expected to derive revenue. I, of course, have no means to substantiate but I wonder how many in my favorite list (Wake Up Sid, Fire, Mrityudand, Virasat, Hum Dil De Chuke Sanam, Jaane Tu ya Jaane na among others) were actually made with ‘revenue’ as the end target? Some may have big names in the actor fraternity but the actor is only complimentary to the artistic dimension of the movie.
Recently, I find a majority of the movies have become more of marketing and money. Some like “I hate love storys” attempt to connect to the 20 something audience who are probably untouched with the perception of love. A story like that comfortably sits on a rating of three starrer - thanks to the chocolate hero, the heroine with a flashing smile (probably the only thing she knows to do) when the rating should rightly be credited to the designer clothes she wears, the art direction (read sets) and cinematography (read fancy, foreign locales). Not that anything is wrong with making money or marketing, but when it comes to performances art and acting stands out. Recalling the remake of ‘Stepmom’, ‘We are family’ probably made all the money it was expected to, but to an audience that connects to both the “woods”, Kareena fails miserably to Julia. Three straight sets, 40-love (that is if women decided to play five in the first place). And who the eff was the director who eff-ed the film? The direction was a nightmare!
Okay. Now, I have been slightly off tracked, so back to Rockstar and here’s why it stands out. Everybody loves Jordan (Ranbir), to begin with. Same sensitive chocolate boy who befriends the most beautiful girl in college. Chocolate boy transforms into a stubled, rugged boy who encounters tryst with lust. Further metamorphosis into a wild rockstar who has his heart where it belongs, wrapped and treasured with his only lady love. The fact that she is married is secondary. Jordan’s bohemian appearance is very eastern influence. I don’t get the songs but that’s my bad. The debut heroine does the best that’s expected of her, in this case ‘stay pretty throughout the film’ (for some reason, Madhubala made a fleeting one minute memory ride). For a debutant, her act is decent. However, all the first timers can take a lesson or two from Deepika in OSO. Sensational screen presence, blew me away. Plus if the writer and director do their job well, an unrequited love story (remember the end scene with Shiny Ahuja behind bars - no pun intended - with Kangana Ranaut in Gangster?) connects deeper than a Anjali-Rahul (KKHH) convenient timing.
A personal request to the directors. When your actress in the main lead is whoring around inspite of being married avoid dialogues to the effect of “ye galat hain” translates as “this is wrong”. Remember Mallika Sherawat in Murder? Either they learn to control and overcome their urges or simply understand that we, the audience, are adults. We understand women have desires too and they have a right to be erotically aroused (read horny).
All in all, a decent movie to watch once. Better among any contenders in the recent quarter. It reminded me a little of Notebook - youthful and passionate. However, I would probably watch Notebook thrice in a lifetime; Rockstar, for now, I can only do once.
Adding a little more emphasis on “marketing and money” vis-a-vis “artistic brilliance”, “3 idiots” and “Taare Zameen par”, although significantly overlap on both counts, I suppose the latter was an end product of a story to be told. The prior was a brilliant, choreographed effort to connect to a majority of the audience.
