@ V_S VB's USP'a adhu thane also market dictates..who would sit through a movie about colliers in Jharkhand..would that be cool enough for Khansahebs to star in it :huh:
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@ V_S VB's USP'a adhu thane also market dictates..who would sit through a movie about colliers in Jharkhand..would that be cool enough for Khansahebs to star in it :huh:
I don't think it is just about not wanting to be cool etc.Quote:
Originally Posted by wizzy
Bhojpuri, Maithili ellAm eppadi dhilli-la puriyin?
enakku OraLavukku sumArA generic Hindi puriyum. I didn't understand many lines in Omkara, OLLO (panchaap portions).
Older nawabi Urdu I can't understand. A movie set in Lucknow will have to sound like that. Will it 'run' in the metros. Subtitle pOdungO! Subtitle pOdungO!
Paan Singh Tomar paartheengaLA. How it was? Authentic AND understandable?
wizzy, I agree. I am not saying every movie should be like that. atleast one in 10 movies or 25 movies? This aspect is totally shutdown now from bollywood, that was my biggest concern. We also have super star movies just like their khan's movies, but we also have other movies, which is not there at all in bollywood. Shouldn't they have responsibility to show Indian soul once in a while? or am I expecting too much? :smile:
Very good point P_R. I desperately want to see movies set in rural backdrop, so that we get to see their culture and tradition. All we get is Players and Jodi Breakers. Last such films I enjoyed was Harischandrachi factory (marati, would not count as bollywood) and Peepli Live, very rare ones.
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I think bollywood has stopped even showing Mumbai / Dhilli kind of lifestyles quite sometime back. In the last few years, about 75% of indhi movies I saw had some NRI thingy or other :shock: And very less showing of Indian outdoors (even if things supposedly happen in India, they deliberately show London streets / EU parks / golf courses etc, for e.g.)
So much for naivetivity :-)
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Not like that. They have been doing many movies with the local flavour.Quote:
Originally Posted by V_S
Paan Singh Tomar, Ishqiya, Omkara, Sehar - ellAm vandhukittu dhaan irukku.
Prakash Jha makes many movies set in Bihar - Apaharan, Gangaajal being the more famous ones. (they aren't as "rooted" as you would like - but gives an idea of what is possible even in the mainstream).
So many Dilli movies in the last few years (i.e. out of the South Mumbai/Switzerland comfort zone) - Khosla ka Ghosla, Baand BajA baaraat, Oye Lucky Lucky Oye, Do dooni chaar etc.
Even in Mumbai - you have the JTYJN/WakeupSit and the Mumbai meri jaans. LBC and Rock-on - which are very conscious about their settings when the story unfolds.
And there are many small good movies too. Wonders like Rajat Kapur's Mithya or nice time-passers like Hulla, Raat Gayi baat gayi, dasvidaniya etc. These are 'truer' than Rahul-Pooja Mumbai of the 90s.
So overall, avinga nallAvE maindain paNRaainga.
Epdiya intha maathiri type panni thaLLuReenga :)
P_R our stars can afford to act with a dirty shirt and Khans/Kapoors don't have that luxury enbathu ennoda karuthu..until Khans/Kapoors embrace that culture no chance of rural movies happening in mainstream..Bhojpuri kittathatta namma Kannada industry mathiri..no one cares..Sister Nagma being a major star says a lot about their pedigree ;-)
lagAn?Quote:
Originally Posted by wizzy
now, the flip-side is our biggies (KH/RK & the next level fellows) currently can't do kOvaNam roles either :oops: ellAm worldwide market paththi kavalaippada ArambichchuttAnga...terrorism / cruise / swiss bank / robotics - only topics like these will become sellubadi it appears. Can't expect 'ammA enRazhaikkAdha' kinds anymore from biggies.
venkkiram, I think this is precisely the problem. The moment we hear "commercial," we think of things that were incongruent, did not cohere with the overall narrative flow, stuck out like a sore thumb, etc. (How well placed this particular song is, is a different debate. Here let me just assume it is indeed misplaced.) The larger point one misses is the commercial aspects of the film itself, the film as a whole.Quote:
Originally Posted by venkkiram
There are many things that make Hey! Ram a commercial venture as a whole:
* An eventful life with many coincidences (seemingly everyman protagonist getting in touch with many influential people ranging from the Maharaja to Gandhi himself (!), chance meetings with old friends and so on), generally a thick plot that is characteristic of Indian commercial cinema.
* A mythical narrative in which the protagonist is taken across the length and breadth of India thus attempting to cover the historic event in its totality. (A more realistic film would have been set in just one of the regions affected during the partition.)
* The two love angles that are key to the plot and Saket's transitions.
* The Hindu-Muslim friendship angle that is again a classic trope and key to Saket's change of heart.
* And the most important of all, the very idiom of the film. Where the last hour involving an attempt to kill Gandhi operates as a thriller (!), usage of songs in general a pronounced score to express various emotions, the transitions of time etc., hero's physical transformations.
idhellAm nAn yOsichchu solREn. As a writer-director who's been (involved in) making commercial films for several years, Kamal-ukku idhu dhAn instinctive-AvE varum.