The Voyage of a Ship named BOLLYWOOD

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The Voyage of a Ship named BOLLYWOOD

The room full of utter darkness and silence had turned into a   clamorous bunch of sounds, when, ‘RAJ’ the hero, had slammed the glass door so hard that it could have made the dead awake. The wolves in the front row start to howl and whistle on his unbeatable dance moves over the catchy tune of the movie title. Almost everyone sobbed over the death of his beloved friend and sweared over their ‘true friendship’. But, the climax had definitely made everyone stuck to their seats when ‘Raj’ fought with 20 men, single handedly and made even the brute father to give away his heart and his beautiful daughter to our hero ‘Raj’. The room was again filled with the of a sound of claps showing jubilance on the victory of true love. That’s the magic of ‘INDIAN CINEMA’, offering diverse emotions over sequels of actions, dance, love story, and friendship: some base ingredients of any Indian movie.

The “filmi” blood definitely runs through our veins, as Indian cinema has taken the first position in terms of annual film output in the world.

But the world of Indian cinema is not just confined to one interest, one person or any predictive story line; it seeks to capture the beauty of everything in completely peculiar way.  Indian directors have a thoughtful and a creative approach to depict   the reality of life and it’s fortitude to meet its basic needs, which has won over several hearts of the spell-bounded audiences. Even the ideal ‘Indian hero’ has been reconstructed all over again.

 FROM “MACHO” TO “CHOCOLATE BOY”

In the 40s, the Golden era of Bollywood industry,  was flourishing with some fine actors and international award winning films like  KAGAZ KE PHOOL of the bulky mustached Raj Kapoor, Mehboob khan’s MOTHER INDIA to the birth of “Anarkali” in Mughal-e- Azam  with some cherished songs for generations to come. The 50s era was dominantly under the charm of Dillip kumar for the audience singing to the melodies of the romantic hero, Rajesh Khanna and yodeling to the craziness of Dev Anand over the compositions of Kishor Kumar and R.D. Burman.The 70s and 80s belonged to the tall, “angry young man”, Amitabh Bachchan,who had energized the youth with his larger than life movies like Zanjeer, Deewar and Agneepath,the ‘inventor’ of bellbottoms and side burns with a majestic style and capability to tackle the rough and tough villains, who have given almost an heatstroke with their threatening appearances and the beast, “respect –taker” of  every fragile women. The 90’s belonged to the “lover boy “, king (“baadshah “) of romance, Sharukh khan. His charms and over –the –top boldness  was a style statement to every young boy going to college with a latent desire to find his ‘ perfect  Simran’ of dreams. From super –catchy tunes to the symphonies of romantic songs, Sharukh had made even the girls lose their mind over his charismatic personality. He had become so popular among the young generation that it even served to pose a threat to the experienced co-actors of his times, from the muscular, Sunny Deol to the dashing,  Ajay Devgan.

FROM DREADLY LOOTERA TO AN EVIL SCIENTIST

From Gabbar of Sholay to “kaal” of krishh 3, they all have made a significant entry, almost taking away the heart beats of all the spectators. They have appeared to be so dreadful and ruthless,that made even the mothers to warn their children each time they tried to do any mischief,by saying “ Soja beta, warna Gabbar aajyega” ( Sleep, my son, or else Gabbar will be after you ). Even the heroines were snatched off from their macho –mans, giving an unspoiled twist to every Hindi plot. The idea of the villain in Indian movies, has most appropriately taken inspiration from the clever, supreme and the father of all villains, RAAVAN. However, just like Ramayana, each story has concluded on a happy note, depicting the triumph of good over the evil. 

EVERGREEN BEAUTY TO AN UNCOVENTIONAL LUCY

 Over and  above everything was the transformation within  the women league, which has  glorified over the time, the “ evergreen’’ Hema Malini to the “Queen” of hearts, Kangana Ranawat, who have become the heartthrob of every Indian man and even won awards at the national level as well. Their grace, timeless beauty and their fashion sense which had been always cutting the edge, attempts to  inspire the Indian woman in every walk of life. From elegantly draped sarees to bellbottoms,miniskirts,tank tops and so on.. have been adopted as a trending fashion. The Indian heroines have been always admired for their flawless beauty and charm that makes the hero, fall for her every time. Thus, undoubtingly,  the  infamous Bollywood actress, Katrina Kaif, received an international acknowledgement as she became the face of ‘ Barbie’ for her incomparable looks and a perfect  template, to be idolized by women of all ages. To add the taste of reality to the superficial characters new Hindi movies  depict women to be shown with boldness in terms of carrying herself and celebrating womanhood. Movies like Kahaani, Queen, English Vinglish to NH10 are movies wherein the woman protagonist had stolen the show.

FROM “MEANING” TO PURE “MASALA”

However, being subject to a large number of audience, films are always perceived differently by sections of characterized watchers. Hence, the evolution of Bollywood is nothing but the change in the outlook of the spectators due to the growing need to be “modern” with time.Inspiring from the Hollywood action sequels  and boldness, the Indian audience has always expected more from Bollywood, to which the birth of several concepts like, “ MASALA” film and high budget films that are being shooted in foreign locales has taken place.

NOTE : A “masala” movie is the one which serves to provide action sequels, along with a romantic love story, groovy dance steps and a class-apart music album ( just the one described in the beginning) The “item numbers”   which were earlier considered as “taboo” now seem to be the ‘hit machine’ for every flick. Even the songs which earlier were composed in consideration to depict the “Indian values” are now no less than a senseless rhyming jingles, at large.

From all time loved songs of Kishor kumar,  India’s nightingale Lata mangeshkar, Jagjit Singh,Sadhana sangam and so many to named to the  new and fresh singers like Arijit Singh, and the  versatile playback singers like Sunidhi Chauhan, Sonu Nigam, Mohit Chauhan and many upcoming talents have taken over the Indian music industry.

Giving a new edge to the Indian music industry, is the famous rapper and composer, YO YO HONEY SINGH ( as he is famously known as ) in  a lead over Baadshah, Raftaar, A-bazz and  more.Pre-this era,Bollywood music which was dominantly Hindi lyrical songs is now being largely captured under the growing love for Punjabi songs and the meaningful “in-depth” Sufi rhythms. Yet, somewhere or the other, the bollywood music seems to lose it’s real essence in terms of explicit lyrics.

From ‘neele neele ambar par’ to ‘aaj blue hai paani’,  the words seem to just lose their point. Accepting the fact, such songs are the ‘party –breakers’ and under the ‘must play’ list of every disco and lounges, they sometimes seem to annoy a segmented crowd. Undenying the fact, vague words sung on raunchy tunes often seem to attract the young generation and also subject to controversies, which further adds to their popularity.

Angered over the song of Honey Singh, “ main balatkari”, which only later people had came to know that it had been not penned down by the rapper himself, had took huge publicity, in the backdrop of a recent case of gang rape. The ‘yo yo’ rapper had always took the center of the stage for his contentious compositions, but still manages to be a major ‘youth –lover’. He had also became the judge of a television show, first ever of its kind, “India ‘s Raw Star” attracting good TRP.

A “NEW”  AND POSITIVE CHANGE

From bollywood songs to the movie conceptualization, to the idolization of a ‘perfect man’ and the myths of a beautiful woman, all seem to be a journey of thousand miles proposing indiscriminate thoughts and inculcating assorted experiences.Each time the spectators enter the ‘dark room’ they come out with a mixed bag of emotions and learning the already learnt.  From the sense of sheer joy to inspiration, bollywood has evolved from being a source of entertainment to the voice of youth. Films like  RANG DE BASANTI, UDAAN, 3 IDIOTS, TAARE ZAMEEN PAR  and NO ONE KILLED JESSICA have encouraged the youth to stand up for their rights and making them aware of such incidents as well. Issues like child molestation, the ruthlessness of politics and medically diagnosed reading disorder, dyslexia and   rare genetic disorder, progeria ( in the movie ‘ PAA’) has actually made the audiences aware and be more sensitive to such issues which were earlier ignored by the society.

Perceptions to such novelties have always been grasped differently. To some this revolution is simply a characteristic of ‘modernization’ and boldness of expressions, but to others, this appears to be the growth of Indian cinema, globally. Which side holds the truth, or do they both complement each other is a tangled thought to give. As of now, nothing can be predicted just like that climax of a suspense thriller where the mystery is yet to be solved.  All what sounds rational is to sit and ‘watch’ what ‘the show’ promises, because “picture abhi baaki hai mere,dost” ( the show is not over yet, my friend). So let the ‘black room’ always be a box of surprise, waiting for the spectators to be astounded.

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