"Escapism"

I get it, the average indian needs an escape form his daily strife and so fueling the "escapist" Bollywood cinema that is now synonymous with India's film industry.

Walking into Kathi Roll on Poland Street this afternoon, I spent 10 mins of waiting time for my take-away, gazing at that iconic poster of Coolie. You know the one - Amitabh towers in the background, looking towards the sky, dressed in the classic red and white uniform, with a crow perched on one arm. Running all the way through the '80's, films such as this one, and others in the "angry one man" series or really any that preceded, going back to Guru Dutt, Shammi Kapoor, etc, typified the Indian approach to filmmaking which involved stretching reality almost to breaking point, but never beyond. Everyday situations, "reality" so to speak, were dramatised but our concept of reality based on everyday life, was the context.

Even as recently as Yash Chopra (arguably the founding father of "Bollywood") productions such as Chandni or those from the Madhuri Dixit era running through to Anjaam, this approach was upheld. Bollywood now however has broken it.

Let me start with defining this genre and then explaining what it is about it that irks me, and why the fact that it doesn't irk others, irks me even more.

As I mentioned above, Yash Chopra is unknowingly the father of the Bollywood genre which defines the bulk of mainstream film making. I say unknowingly because his films themselves I don't think fall into the category of bollywood filmmaking we see today, but he introduced the non violent romantic drama plot which has formed the blueprint that Karan Johar has knowing, or unknowlingly, adopted in his films. The difference is that Karan (and others) have broken that sense of reality that used to ground Indian films. The context within which their films are made are not based in the reality we experience everyday but a make believe world. The irksome point about this is that the film wants us to believe that this made up world is in fact our reality rather that simply being an abstract concept that the story is based in. It is intended to be a true representation of our lives but in being so far from that, to me it ends up being a mockery.

I'm pretty certain a few people disagree reading  this far already but stay with me for a few more sentences...

This attack is not aimed at "escapism" generally; it is bollywood's particular brand of it. Karan Johar, Sanjay Leela Bansali, etc all fall into the same caterogry and in my mind, fall foul of the same criticism. A film can be escapist - by definition of an art form, I think it inherently is, but when it is a misrepresentation of just a sloppy job that overlooks details, I cannot appreciate it. Lord of the Rings is escapist in the most obvious sense where a make believe world is created as the context for the story. But this world is not intended to be a representation of our everyday live. Take E.T. - the context is our everyday lives but the plot is entirely fictitious and pure fantasy. One of my favourtie films, as is for so many other. There is a distinction between what is intended to represent our daily reality and what is purely fictitious. Bollywood to me is the product of thoughtless filmmaking which doesnt clearly define for itself what it wants to be. It's simply sloppy.

I hail Farhan Akhtar as one of those Indian Filmmakers who have corrected this. Through both Rock On! or Oye Lucky Lucky Oye he has made films that once again have a clearly thought out presentation - what is meant to be reality with perhaps an unusual story line. Even the most passionate fan of Karan Johar's brand must acknowledge the difference between a film like Race and Gajni. The latter made by a very thoughtful, detailed oriented Aamir is the perfect, ultimate Bollywood film. Yet, we don't lose our sense of reality even though we manage to "escape". Stupidity, thoughtless and low standards are not necessary conditions of exploring fantasy.

I love Indian cinema but I don't agree with accepting sloppy filmmaking as a unique genre. It's purely an accident and it's frustrating that so many others in the audience accept poor standards of filmmaking.

That's what irks me, not escapist plots, just bad filmmakers.

Cinema - the third religion of India...

(religion and cricket being the first two)

The popular debate over the significance of Bollywood is perhaps one of those conversations that invariably ends unresolved. Blind faith in the magic of Karan Johar is either upheld or dismissed; there is no middle ground. Has Indian Cinema evolved to finer sophistication or has it taken itself so seriously that it fails to see its own embarrassment? In my opinion, both.

"Bollywood" - the unfortunate front face of Indian cinema, that brings to this art form international recognition and mass popularity, is in fact the strongest factor undermining its credibility. A friend of a non-Indian background remarked excitedly how much she enjoyed watching Bollywood for its songs and dances and girls jumping in and around trees...All publicity is not good publicity. The pure art and talent that seeps from this industry is to befound elsewhere - the increasingly mainstream "Art films". What Indian cinema has largely lacked through its history is capturing emotions and simple human stories, treating issues with sensitivity and creating plausible characters that have reasonable resemblance to real life. I feel that today we have a generation of film makers who have the ability to treat subjects with the intelligence and respect they deserve. Escapism has its place butshould not be an excuse for sloppy film making.  For the credibility of a maturing film industry, the ever growingpopularity of the so called Art films is pivotal. It saddens me that despite the presence of credible films, the mascot of our film industry is the 2-D, frivolous, song and dance routine masala movies.

I don't deny that there is a place for the escapism offered by this style. I do deny them any credibility as an art form. They ought to be recognised and acknowledged for what they are and nothing deeper. They provide relief from life's tribulations but life and art would progress without them. When patrons of this genre mislead themselves to believe that they deliver more integrity than in reality, we have a problem. Take the film Black, for instance. An incredibly pertinent issue especially within the context of Indian society is presented by film makerwho's forte lies in over the top sets picturised in palatial haveli's with Miss World overacting her emotions through head aching ballads. Sanjay Lila Bansali does Bollywood masala effortlessly but when he attempts to portray a sensitive issue like Alzheimer's, the focus of the film is no longer the main intended subject but rather the award winning costumes, sets of Anglo-Indian Simla and Impressionist's envy inducing use of colours and light.

Bollywood is popcorn and stall whistles. Indian cinema has far more to offer.

Let me not me not sound like imagination is forbidden and only film reflecting true life has meaning. It is the issue of plausibility that lies at the heart of the argument and the sacrifice of this intrinsic character insults the art and diminishes its worth. Plausibility not necessarily reality.

Shekhar Kapoor has captured the hearts of generations of Indians through Mr India. What made this unrealistic plot line last the ages and hold our love and respect for all these decades? plausibility. The characters are handled with dignity. The issues are treated thoughtfully. All this despite having its share of rolling in the hay andsaris drenched in the rain.

It is disappointing to observe the vast audiences who fail to appreciate the subtlety lacking in mass productions and who may have never appreciated the delicacy of Guru Dutt or the lyrics given life by R D Burman. 

Perhaps it is the audience to blame who fuel the fire of Karan Johar's following bringing to our screens mindless, recycled Bollywood. I only hope Karan is not under any misunderstandings about his creations and acknowledges them for the popcorn entertainment that they are.