Dear Bollywood, it’s high time you combat the star syndrome and present us fresh stories BY SAEED NASAIR

At this juncture, a new formula appears to be emerging that’s not blatantly market driven, but isn’t experimental either. It’s a mixture of typical Bollywood sensibilities and new way of packaging things.

Tiger Zinda Hai shows up the epitome of formulation films.
There are two collections of viewers emerging in India, way more this year.

While superstars still enjoy the privilege to be, well, superstars, and a huge group of dedicated fans they have nurtured over the years roots for the kids. Then there are certainly others who are prepared to shed the same sum of money on movies with good content and without actors.

The next group doesn’t be concerned about the celebrity value of a film and whether it’ll be smart to spend Rs 250-300 over a ticket. In the ten weeks of 2017, the filmmakers have shown the determination to break away from the traditional attitude that only star-driven formulation films can make good money.

In fact, the contrary has happened. Aside from Golmaal Again, the majority of the other highly successful videos offered fresh uses. Be it Akshay Kumar’s Bathroom Ek Prem Katha or Jolly LLB 2, or even Varun Dhawan’s Badrinath Ki Dulhania, directors dared to leave the urban set-up and entered rural landscapes.

Then there are videos such as Bareilly Ki Barfi, Newton, Shubh Mangal Savdhan, Top secret Superstar and Hindi Medium which attempted to get the middle ground, a little of humour, a dash of crisis kind of movies.

As of this juncture, a fresh formula seems to be emerging that isn’t blatantly market motivated, but isn’t experimental either. From the blend of typical Bollywood sensibilities and new way of packaging things.

Hindi Medium was a good example of this combination. It experienced a message-oriented strategy, highlighted popular music and good actors. It’s a dangerous combination, but it’s in the usual bracket, this means it’s a better mixture prepared with the same ingredients.

In that respect, Irrfan Khan’s next Qarib Qarib Singlle is a far more audacious make an effort. Two middle-aged people go on a trip mutually to explore the opportunity of love in director Tanuja Chandra’s film, and it generally does not look ‘arty’. Actually, it’s vibrant and offered like any other love tale.

Tanuja Chandra, in a talk with HT, described how the report of Qarib Qarib Singlle had taken condition. She said, “My mother wrote the storyline. It had been a radio play, but we modified it to suit the medium. It’s a story of people like you and me, not about somebody who we’ve never observed in our lives.”

In the same interview, Irrfan said a very exceptional thing. He said, “I want to see films where men and women are not rivalling against one another. Both the genders have their own peculiarities.”

This statement attracts our attention to how Bollywood has been showing the gender jobs. A lot of the times, it’s about capturing the current pattern for the sake of some quick dollars rather than contributing profoundly to the ongoing debate.

Digging deep into it, in 2017, there aren’t many films that released pan-India and can be called experimental in true sense. Though there are motion pictures like Shlok Sharma’s Haraamkhor, Vikramaditya Motwane’s Trapped, Anshai Lal’s Phillauri, Shubhasish Bhutiani’s Mukti Bhawan, Amit Masurkar’s Newton, and several other films that broke the traditional mould this season but they are extremely few in figures. They weren’t pan-India releases either. In fact, most of these films received the heart in film celebrations circuits however, not of the masses.

Out of the, Newton does good business but the news from it being India’s Oscar accessibility added significantly to it.

If the number of such videos is not ten within an entire calendar year, despite producing most variety of films in the world, it’s probably not a good shape for diversity.

Shlok Sharma, the director of critically acclaimed Haraamkhor, who may have taken his new film Zoo with an iPhone, says, “In the event that you actually ask me, both of them can co-exist because, they both have their own specific audience. With that said, in 2017 we also saw a great deal of content- driven films attaining a wider audience. A lot of independent companies, not attached to the top studios, are also arriving ahead and are adding their rely upon the eye-sight of the content and character-driven motion pictures and film-makers. So times are changing.”

Sharma seems hopeful about the near future, but becoming ‘experimental’ in true sense continues to be a far-fetched idea in Bollywood.

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