Indian Cinema: Part III

Angry Young Man: By the 1970s, a strong sense of cynicism has crept into the soul of the nation and by extension, into Hindi-cinema. As a consequence, the violent action-packed thriller was born and the song and dance-laced romantic capers of the 1960s lost ground at the box-office. India entered a phase of intense political instability, economic uncertainty and social dislocation. Right through the 1970s and 1980s, Hindi films were about heroes and anti-heroes who took on the system, bent the rules as and when it suited them and, in the end, emerge triumphant. The rise of Amitabh Bachchan to superstardom during the 1970’s must be seen in the context of the anger that was brewing in society. He was the antithesis of the conventional Hindi film hero, starting his career in low-key films such as Saat Hindustani and Anand. He was not particularly handsome; he was gangly and awkwardly loose-limbed. However his height, sonorous voice, and piercing eyes came to epitomise the angry young man’s quest for revenge and injustice. Emerging as the onscreen nemesis of wrongdoers, Bachchan attained cult status.

QSQT and MPK: These films heralded the portrayal of perfect romanticism in Indian cinema. These movies showed a significant deviation from the popular stories from the previous decade in which the hero of the film had an objective, which used to be either seeking vengeance, reinstate family honour, restoring law and order in his country, more often than not love played second fiddle in the story. After these movies, Love became the new purpose the hero wants to sacrifice his life for. It was as if a tired nation, exhausted by all the political ferment, seething anger, and forced self-reflection, turned to the rejuvenation of youth – of new stars, new directors.

Designer-Cinema: By the mid-1990’s, a new phalanx of directors who were ready to embrace global influences, establish their credentials as exceptional craftsmen. Aditya Chopra, Karan Johar, Sooraj Barjatya spearheaded the charge of the youth brigade. They shunned the blind, all-out Hollywood fixation of their predecessors. Instead they invented a median mode of filmmaking and storytelling, and authored some of the decade’s biggest box office hits – Hum Aapke Hai Kaun, Dilwale Dulhania le Jayenge and Kuch Kuch Hota Hai. These Superhits inaugurated the age of the designer film – a carefully packaged and branded products in which every little visual and physical detail, from the components that make up the backdrop to the attire and accessories of the stars, is of utmost importance. In the unapologetically consumerist times that we live in, that is what matters. Also the burgeoning Indian Diaspora discovered the slick new face of celluloid potboilers from back home.

Multiplex-Cinema: The concept of a universal, all-India hit took a backseat once an emerging tribe of anti-formula filmmakers discovered that they could target their films at a niche audience without having to make too big a compromise on the size of their production budgets. This happens primarily because the sale of a film’s music and overseas distribution rights emerged as principal sources of revenue. Consequently a first time director like Farhan Akhtar could conceive of a film as refreshingly different from the general run of Bollywood potboilers as Dil Chahta hai. Multiplex cinema has given fresh directors and actors, the opportunity to explore different themes. Bheja Fry, Khosla ka Ghosla,Iiqbal and Mithya are some of the key examples. Multiplex cinema often depends on content rather than star-power to pull in audiences. Clearly mature, discerning lovers of popular Hindi films never had it so good.