Sonam Kapoor with that dove perched on her head in Delhi 6 beautifully epitomises that free-flying spirit which our cinema has adopted.
Sonam, is all set to play a Delhi-centric high-society version of Jane Austen Emma in her papa’s production. Anil and Sonam are a part of the new-age cinema. We want a change. And we want it fast. But when it stares us in the face we grimace and turn away. I’ve come to realise our industry is essentially a breeding-ground for meanness. Hours after Delhi 6 was screened for the first time the kill-the-film campaign had started. Thank God for the SMS service.
Abhishek Bcahchan is gradually honing his skills to become the only leading man who doesn’t need to act with his muscles. A lot of the hostility to Abhishek comes from the fact that he doesn’t open his bedroom doors for news-hounds and his shirt and pants buttons for the television cameras.
What was it about Rakeysh Omprakash Mehra’s film that the audiences didn’t like? A unique storytelling device where the punctuation marks were entirely done away with? I remember sitting next to a director, who was SMSing fractically, at the premiere of Saawariya. Later I came to know what message his friends were getting. “F...k all film”. That was the SMS sent from the premiere.
The brave breed will continue to plough uncharted soil. Even Karan Johar a hardcore masalawala from Mumbai’s dreamland is looking into the deep end. Outwardly as different as creatively possible, Luck By Chance and Dev D had a lot in common. We heard Anurag say that Luck By Chance was the best debut film he had seen in the last ten years. Dil Chahta Hai was a cult film, But it reminded us of Joel Schumacher’s St Elmo’s Fire. We all tend to careen over with ecstasy when something even slightly out of the way comes our way.
Most Hindi films that have made a lingering impact in the past six decades have echoed earlier works. Mother India was like The Good Earth. Anand reminded us of It’s A Wonderful Life. Bobby was Romeo and Juliet. Hum Aapke Hain Koun was cannibalised from Nadiya Ke Paar and Rab Ne Bana Di Jodi echoed Satyajit Ray’s Apur Sansar and Hrishikesh Mukherjee’s obsolete Biswajeet-Mala Sinha starrer Pyar Ka Sapna. I think Delhi 6 is one of the coolest and most compelling clutter-breakers in recent times. Originality is not an overrated virtue. It’s just something most filmmakers don’t have access to.
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