INDIA’S NEW AGE DIRECTORS

INDIA’S NEW AGE DIRECTORS

Dominated mostly by formula based films, the Bombay film industry focused mostly on the perceptions of the frontbencher’s audience. Reality-based themes paid little or no adherence at all. The art house cinema, which produced some of the most defining films at that period, could not match against the onslaught of the commercial medium. One could easily anticipate the usual cat and mouse game between the hero and the main antagonist. The audience only identified with such storyline. Any form of storytelling other than the formula based line proved to be a disaster attempt. To provide the basis for the seduction flavor and to add the various sexual innuendos, the female actors quite became raging sex symbols. This would enthrall the audience and excite them to the point of orgasm.

In the 90’s the invasion of the Khans did tried to change the themes and the styles. The industry began to pay some attention to quality, at least creating some chutzpah aiming at the hearts of the emerging middle-class. The frontbenchers could no longer dominate the scenario of movie viewing. With the rise of an emerging intellectual class, the directors became aware of the collective conscience and therefore the audience demanded better experience of viewing a movie. Still, some of the filmmakers did dubious jobs of lifting the main storyline from Hollywood movies. This indeed had a share of the market.

In the last years of the decade gone a new breed of directors emerged from the shadows of the anonymity. Foreign-born Indian directors made their foray in the Indian mainstream. They made their presence felt all together. Deepa Mehta’s Fire was an example of an independent venture, and the film rocked the nation. Anurag Kashyap’s ‘Paanch’ was a bold venture but the censor board never passed it because the film contained raw-violence, nevertheless it has since earned a cult status.
In 2001 Ashutosh Gowraiker, a small time actor of the last decade turned director rocked the Indian entertainment scene with his movie ‘Lagaan’, staring the self-proclaimed perfectionist of Bollywood Amir Khan. The film combined two primary aspects of the nation’s favorite past time-cricket and the usual song and dance routine. It was a smash hit and India’s official entry to the Academy Awards. The following year in 2002, Mira Nair directed ‘Monsoon Wedding’, a look at a typical Indian wedding circumstance. The film made in an aesthetic tone enthralled both the critics and the audience alike. It won the prestigious golden bear award at the Venice film festival.

In 2009, Anurag Kashyap achieved commercial success with his film Dev.D, a modern day take of the immortal love saga of Devdas. In the last decade, his film ‘Black Friday’ shocked the audience with his authentic depiction of the 1992 Bombay riots. Fearing political and religious backlash the courts banned the film. Nevertheless, the film became an instant masterpiece and won numerous accolades worldwide. His films if not commercially success makes it a point to enthrall the critics with his maverick style of telling a story.

In 2001, another director made its mark with a new age retelling of the story of friendship between three college friends. Farhan Akhtar’s ‘Dil Chahta Hai’ captivated the young generation with its honest and energetic style. Youths in the urban regions quickly followed their style and trends. Known for his youth centric topics, Farhan Akhtar is one most valuable directors of the post 90s decade.

Two years ago, a young director by the name of Dibakar Banerjee directed a small budget movie ‘Khosla Ka Ghosla’. A comical look into the land grabbing policies followed by the land sharks and the fight between an evil land shark and a motley group of middle class people.
It was a battle of wits against muscle flexing. The movie became an instant hit. His next venture, ‘Oye Lucky, Lucky Oye’ followed an unconventional story of a con artist.

In 2008, Abbas Tyrewalla made ‘Jane Tu Ya Jaane Na’, a fresh look at college love story. It achieved success and launched the careers of the two lead actors. In 2009, Zoya Akhtar, sister of director Farhan Akhtar directed ‘Luck By Chance’. In the later months, moviegoers became once again familiar with the famous spoof on western cowboys and south Indian clichés. ‘Quick Gun Murugan’ earned rave reviews because of its comic undertones. Its director Shashanka Ghose succeeded in making an offbeat comedy using the same old south Indian clichés.

In tryst with the new generation and its issues, the new age directors have come up with something more than the used and tried formulas. So gone are the days where one would get entertained by watching Jeetendra thrusting his hip against Sridevi or Jaya Prada in an orgasmic tone. The modern day cinemagoers expect more than simple gyrating moves, obsolete dialogues, stretch storylines and outdated portrayal of characters. The plethora of talent showing willing to take up difficult themes is a sure sign that sometimes change is a good thing.