The latest fad - the sequel craze has seized the entire Bollywood industry by a storm ushering in an array of sequels, with the original and follow-up standing shoulder-to-shoulder embarking on a tussle for fame. The current arrivals the Don, Umrao Jaan which were launched amidst much expectation following the success of Krrish, Lago Raho Munna Bhai, Phir Hera Pheri, Devdas to the other forthcoming releases Sholay, Dhoom 2, poses pertinent questions of how one responds to questions of 'fidelity' to the original and vouchsafe for the same.
A novel idea when transformed into a film the creativity and imagination account for the changes transpired bearing the imprint of the director and the screenplay writer. Sequels consider the question of replication along with the interest it has sustained to vibe with the hype it generated among the audience. Krrish following Koi Mil Gaya, Lage Raho Munna Bhai for Munna Bhai MBBS and Phir Hera Pheri for Hera Pheri probes the audience to make comparisons between the original and the replica, the prior cast and crew to the modern day heroes and heroines. Audience' expectations soar high with the state-of-the-art marketing and hoopla is raised even before the release of the film!
Dearth of ideas do not account for the train of sequels being released one after other, for on the contrary the novelty and freshness that films like Sholay had brought forth years back cannot be replaced by the replica. However one cannot overlook the idea of sequels probing into unexplored terrains of experience whereby films like Lage Raho Munna Bhai with its unique 'Gandhigirism' has revamped the entire concept of sequels proving to be equally good as the original. However films like Hathyar sequel to Vaastav and Hyderabad Blues 2 to the highly successful Hyderabad blues have failed to evoke any response let alone sustain the audience' interest.
Shahrukh Khan's Don competes with Amitabh's original to the extent of actors' histrionics and the Khan's acting talent put to real test. Khan phenomena has to take over the Bachchan essence which breathed life into "Don" rendering it an iconic image spanning years of ardent movie goers.
Directors resort to sequels as a safe bet on their production cost with the time tested stories being newly packaged and presented in the theatres amidst the pre-release controversies. The latest trend of extravagant locales, highly studded star cast, and time-honoured story line is the formula that engulfs the Bollywood film industry with directors toeing the line one after the other.
Duplication is the prime issue as far as the sequel story goes. Shahrukh in Devdas carried the remake onto an edging success with the superb storyline pepped up with the Khan charisma, the raving beauties Aishwarya and Madhuri Dixit as the lead heroines and opulently rich sets.
The recent splurge of sequels setting up new genres in Bollywood has taken the audience for a roller coaster ride down the memory lane. Classics like Sholay, Umrao Jaan have captivated the multitude of viewers with its scintillating freshness and superb star cast leaving an indelible imprint on the minds of the audience over the years and it remains a Herculean task for the new age directors to completely overcome the years of enduring and enlivening experience.
Sunday, June 22, 2008
The Fire Within
The creation of gender identities facilitates the understanding of the position of women in India. Gender is culturally constructed through cinema which depicts and captures the 'real lives' of women in the social and economic sphere, and some crucial categories like the tussle between tradition and modernity, oppression and liberation, etc.
Culture is the integrated pattern of human values, customary beliefs and practices of a social group. In India, traditional conception of womanhood is based on the purity of body and sexual life. Hindi cinema, with its own culture, customs, and language depicts this, with commercial cinema reinforcing and experimental cinema contesting this outlook. The harsh and orthodox rules of the society try to ensure that a woman is confined to the four walls of her home.
Kalpana Lajmi's Rudaali presenting an alienated, yet strong and sensitive 'rudaali' (mourner) without a peer, Shekhar Kapur's Bandit Queen portraying the emergence of a sexually abused woman as a dacoit leader and spokesperson of the dalits, Deepa Mehta's Fire exploring lesbian relations challenging the world where the very existence of woman is overlooked and even negated, and Jagmohan Mundhra's Bawandar picturing the evolution of a physically abused woman as a renowned political figure - all focus on the violation of physical space and human rights, misuse of religious freedom, rampant violence, and the mental and emotional traumas of women.
Women are often viewed as objects of desire, through the objectification of female body and the repression of female identity. The woman becomes an object and not the subject. Gender, race, class, ethnicity, religion, etc determine 'looking relations' and social divisions. The society shapes the identity of women according to established notions of patriarchal truth. The differences ingrained right from childhood are fostered throughout the woman's life.
Indian cinema has changed across the ages and women are identified as the harbingers of change. Women are now symbolic of the rage against the oppressiveness of patriarchy. The women once caught between the conflicting interests of passive femininity and regressive masculinity strive to achieve a stable sexual identity. Contemporary socially relevant films like Madhur Bhandarkar's Page Three, Revathi's Phir Milenge, Mahesh Manjrekar's Astitva, Prakash Jha's Mrityudand, Kalpana Lajmi's Daman, etc, portray women who strive to make a mark of their own in the domestic sphere as well as the public sphere. They no longer subscribe themselves to the harsh and oppressive patriarchal truths.
Gender shapes the identity of women and decides the institutions, customs and practices. Woman's empowerment and her need for space will become a reality in Indian society only through the depiction of her struggle to regain their selfhood and self-expression.
Culture is the integrated pattern of human values, customary beliefs and practices of a social group. In India, traditional conception of womanhood is based on the purity of body and sexual life. Hindi cinema, with its own culture, customs, and language depicts this, with commercial cinema reinforcing and experimental cinema contesting this outlook. The harsh and orthodox rules of the society try to ensure that a woman is confined to the four walls of her home.
Kalpana Lajmi's Rudaali presenting an alienated, yet strong and sensitive 'rudaali' (mourner) without a peer, Shekhar Kapur's Bandit Queen portraying the emergence of a sexually abused woman as a dacoit leader and spokesperson of the dalits, Deepa Mehta's Fire exploring lesbian relations challenging the world where the very existence of woman is overlooked and even negated, and Jagmohan Mundhra's Bawandar picturing the evolution of a physically abused woman as a renowned political figure - all focus on the violation of physical space and human rights, misuse of religious freedom, rampant violence, and the mental and emotional traumas of women.
Women are often viewed as objects of desire, through the objectification of female body and the repression of female identity. The woman becomes an object and not the subject. Gender, race, class, ethnicity, religion, etc determine 'looking relations' and social divisions. The society shapes the identity of women according to established notions of patriarchal truth. The differences ingrained right from childhood are fostered throughout the woman's life.
Indian cinema has changed across the ages and women are identified as the harbingers of change. Women are now symbolic of the rage against the oppressiveness of patriarchy. The women once caught between the conflicting interests of passive femininity and regressive masculinity strive to achieve a stable sexual identity. Contemporary socially relevant films like Madhur Bhandarkar's Page Three, Revathi's Phir Milenge, Mahesh Manjrekar's Astitva, Prakash Jha's Mrityudand, Kalpana Lajmi's Daman, etc, portray women who strive to make a mark of their own in the domestic sphere as well as the public sphere. They no longer subscribe themselves to the harsh and oppressive patriarchal truths.
Gender shapes the identity of women and decides the institutions, customs and practices. Woman's empowerment and her need for space will become a reality in Indian society only through the depiction of her struggle to regain their selfhood and self-expression.
Mega serials: Time Killers or Fillers?
Television serials an inseparable segment of every household is oft relapsing into a pitiable state of melodrama, 'all sound and fury, signifying nothing.' The innumerable number of serials endlessly repeats the same stories over and over again due to dearth of original and creative ideas. The plot is essentially the same, the underlying message is uniform - family unity, but the characters are persistently changed to impart a sense of freshness to the otherwise musty serials. The daily soaps drive you to the point of satiation wherein even the emotions are mere mock-up of the earlier ones.
Mega serials have been there for a long time tracing them back to the days of "Buniyaad" and "Hum Log" in the '80s on Doordarshan. Those serials profoundly realistic were indeed a mirror of the society, offering a slice of life in all its shades and hues. As years have passed by old ideas have made way for new trends, while the trend of mega serials have been further explored. Mega serials are virtually the order of the day be it in any language, Hindi, Malayalam, Tamil, etc.
Lately every television channel is flooded with mega serials of which most of them lack eminence, which their predecessors could easily boast of. Kyunki Saas Bhi Kabhi Bahu Thi, Kumkum - Ek Pyara Sa Bandhan, Kahaani Ghar Ghar Ki, Kahiin To Hoga, Kasdauti Zindagi Ke, Kesar, Kaisa Yeh Pyar Hai, ek Ladki Anjaani Si, Sindoor Tere Naam Ka, Mamta, Jab Love Hua, etc on star Plus, Sony Tv, Zee Tv and so forth to name a few. Many of them have been on air for many years, therein repeating the same story ad nauseum, similar to the adage of old wine in new bottles. The tracks run along the same line, history repeats till it virtually becomes predictable.
In Kyunki, Kahaani, Kasauti, Kumkum, and Kesar Tulsi, Parvati, Prerna, Kumkum and Kesar are the eternal crusaders of justice even after successive generation leaps, sacrificing everything for the sake of their family. Characters cross several scores of age, hardly appealing to our reason, whether life expectancy works wonders on television. Needless to say most of the serials flaunting the lifestyles of the wealthy are far removed from reality without bearing an inkling of similarity with the life of the common people who derive vicarious pleasure from the onscreen heroes and heroines. The time-tested formulae to retain the TRP rates are generation leaps, death of the lead heroes or heroines, their re-birth or even bringing them back negating their death, elaborate wedding ceremonies, etc.
It is for the audience, loyal admirers of mega serials to testify if the mega serials, are worth the pains they take to ardently watch them to extent of even graciously shedding tears of joy and sorrow as and when the situation demands.
Mega serials have been there for a long time tracing them back to the days of "Buniyaad" and "Hum Log" in the '80s on Doordarshan. Those serials profoundly realistic were indeed a mirror of the society, offering a slice of life in all its shades and hues. As years have passed by old ideas have made way for new trends, while the trend of mega serials have been further explored. Mega serials are virtually the order of the day be it in any language, Hindi, Malayalam, Tamil, etc.
Lately every television channel is flooded with mega serials of which most of them lack eminence, which their predecessors could easily boast of. Kyunki Saas Bhi Kabhi Bahu Thi, Kumkum - Ek Pyara Sa Bandhan, Kahaani Ghar Ghar Ki, Kahiin To Hoga, Kasdauti Zindagi Ke, Kesar, Kaisa Yeh Pyar Hai, ek Ladki Anjaani Si, Sindoor Tere Naam Ka, Mamta, Jab Love Hua, etc on star Plus, Sony Tv, Zee Tv and so forth to name a few. Many of them have been on air for many years, therein repeating the same story ad nauseum, similar to the adage of old wine in new bottles. The tracks run along the same line, history repeats till it virtually becomes predictable.
In Kyunki, Kahaani, Kasauti, Kumkum, and Kesar Tulsi, Parvati, Prerna, Kumkum and Kesar are the eternal crusaders of justice even after successive generation leaps, sacrificing everything for the sake of their family. Characters cross several scores of age, hardly appealing to our reason, whether life expectancy works wonders on television. Needless to say most of the serials flaunting the lifestyles of the wealthy are far removed from reality without bearing an inkling of similarity with the life of the common people who derive vicarious pleasure from the onscreen heroes and heroines. The time-tested formulae to retain the TRP rates are generation leaps, death of the lead heroes or heroines, their re-birth or even bringing them back negating their death, elaborate wedding ceremonies, etc.
It is for the audience, loyal admirers of mega serials to testify if the mega serials, are worth the pains they take to ardently watch them to extent of even graciously shedding tears of joy and sorrow as and when the situation demands.
Mega serials: Time Killers or Fillers?
Television serials an inseparable segment of every household is oft relapsing into a pitiable state of melodrama, 'all sound and fury, signifying nothing.' The innumerable number of serials endlessly repeats the same stories over and over again due to dearth of original and creative ideas. The plot is essentially the same, the underlying message is uniform - family unity, but the characters are persistently changed to impart a sense of freshness to the otherwise musty serials. The daily soaps drive you to the point of satiation wherein even the emotions are mere mock-up of the earlier ones.
Mega serials have been there for a long time tracing them back to the days of "Buniyaad" and "Hum Log" in the '80s on Doordarshan. Those serials profoundly realistic were indeed a mirror of the society, offering a slice of life in all its shades and hues. As years have passed by old ideas have made way for new trends, while the trend of mega serials have been further explored. Mega serials are virtually the order of the day be it in any language, Hindi, Malayalam, Tamil, etc.
Lately every television channel is flooded with mega serials of which most of them lack eminence, which their predecessors could easily boast of. Kyunki Saas Bhi Kabhi Bahu Thi, Kumkum - Ek Pyara Sa Bandhan, Kahaani Ghar Ghar Ki, Kahiin To Hoga, Kasdauti Zindagi Ke, Kesar, Kaisa Yeh Pyar Hai, ek Ladki Anjaani Si, Sindoor Tere Naam Ka, Mamta, Jab Love Hua, etc on star Plus, Sony Tv, Zee Tv and so forth to name a few. Many of them have been on air for many years, therein repeating the same story ad nauseum, similar to the adage of old wine in new bottles. The tracks run along the same line, history repeats till it virtually becomes predictable.
In Kyunki, Kahaani, Kasauti, Kumkum, and Kesar Tulsi, Parvati, Prerna, Kumkum and Kesar are the eternal crusaders of justice even after successive generation leaps, sacrificing everything for the sake of their family. Characters cross several scores of age, hardly appealing to our reason, whether life expectancy works wonders on television. Needless to say most of the serials flaunting the lifestyles of the wealthy are far removed from reality without bearing an inkling of similarity with the life of the common people who derive vicarious pleasure from the onscreen heroes and heroines. The time-tested formulae to retain the TRP rates are generation leaps, death of the lead heroes or heroines, their re-birth or even bringing them back negating their death, elaborate wedding ceremonies, etc.
It is for the audience, loyal admirers of mega serials to testify if the mega serials, are worth the pains they take to ardently watch them to extent of even graciously shedding tears of joy and sorrow as and when the situation demands.
Mega serials have been there for a long time tracing them back to the days of "Buniyaad" and "Hum Log" in the '80s on Doordarshan. Those serials profoundly realistic were indeed a mirror of the society, offering a slice of life in all its shades and hues. As years have passed by old ideas have made way for new trends, while the trend of mega serials have been further explored. Mega serials are virtually the order of the day be it in any language, Hindi, Malayalam, Tamil, etc.
Lately every television channel is flooded with mega serials of which most of them lack eminence, which their predecessors could easily boast of. Kyunki Saas Bhi Kabhi Bahu Thi, Kumkum - Ek Pyara Sa Bandhan, Kahaani Ghar Ghar Ki, Kahiin To Hoga, Kasdauti Zindagi Ke, Kesar, Kaisa Yeh Pyar Hai, ek Ladki Anjaani Si, Sindoor Tere Naam Ka, Mamta, Jab Love Hua, etc on star Plus, Sony Tv, Zee Tv and so forth to name a few. Many of them have been on air for many years, therein repeating the same story ad nauseum, similar to the adage of old wine in new bottles. The tracks run along the same line, history repeats till it virtually becomes predictable.
In Kyunki, Kahaani, Kasauti, Kumkum, and Kesar Tulsi, Parvati, Prerna, Kumkum and Kesar are the eternal crusaders of justice even after successive generation leaps, sacrificing everything for the sake of their family. Characters cross several scores of age, hardly appealing to our reason, whether life expectancy works wonders on television. Needless to say most of the serials flaunting the lifestyles of the wealthy are far removed from reality without bearing an inkling of similarity with the life of the common people who derive vicarious pleasure from the onscreen heroes and heroines. The time-tested formulae to retain the TRP rates are generation leaps, death of the lead heroes or heroines, their re-birth or even bringing them back negating their death, elaborate wedding ceremonies, etc.
It is for the audience, loyal admirers of mega serials to testify if the mega serials, are worth the pains they take to ardently watch them to extent of even graciously shedding tears of joy and sorrow as and when the situation demands.
Television: Shows Take Over Serials
Television is a multi-faceted medium, rapidly evolving and changing hues in tune with the times. Exploring the diverse possibilities, television as a communication platform offers a wide range of programmes ranging from the daily soaps, serials, game shows, reality shows, and cultural shows to proffer quality entertainment to the modern day audience for whom variety is virtually the spice of life.
In this modern age 'choice' is the watchword. While in the past serials reigned unrivalled, today there are a medley of programmes to choose from. Every channel be it Star Plus, Sony Tv, Zee Tv, Star One, etc has come up with a host of shows - game shows like Kaun Banega Crorepati (KBC), Deal Ya No Deal, Fear Factor, Bluff Master; reality shows like Big Boss, Shabaash India, cultural shows like Fame Gurukul, Indian Idol, Nach Baliye, Jodi Kamaal Ki, Boogie Woogie, The Great Indian Laughter Champions, India Zee Cinestars, Sa Re Ga Ma Pa, Business Baazigar, chat shows like Jeena Isi Ka Naam Hai, Rendezvous with Simi Garewal, Kiddy serials, Stage shows and Awards, etc.
While serials do thrive doing brisk business, a sense of monotony and satiation has crept in with the endless repetition of the same stories being packaged and re-presented again and again. The umpteen family stories revolving around age-old saas-bahu politics, revenge stories have left the audience urging for a change from the mundane stories lacking any sense. It is the dearth of novel ideas and style of presentation that has led to this crisis. Though serials also strive to sustain the suspense element, it is quite often an acknowledged fact that truth and goodness will prevail come what may, whereby the events are slowly manipulated along those lines. Whereas in game shows and reality shows the suspense builds up every moment, tension rises, and success and failure remains unpredictable, even though there are controversies regarding manipulation.
Television shows also bear an inkling of reality from which the daily soaps are far removed, added to which the style of presentation enhances its value. Mostly producers rope in the leading stars of bollywood Amitabh Bachchan, Shahrukh Khan, R. Madhavan, Mandira Bedi, Malaika Arora Khan, etc to capture the audience' attention.
The cultural programmes showcase a hodge-podge of music, dance and other art forms, which stimulate the sense perceptions of the audience along with the results, which declare the winners of the shows. To arouse the interest celebrities participate in these contests and even notch up small skits leaving the audience laughing away to glory. Laughter competitions and kiddy shows also have a loyal audience devoid of any age barriers. Chat shows are the real intellectual and emotional stimulants.
Complacent times have changed, and no longer do the spectators mutely accept anything or everything offered to them when choice is immense. Competition demands originality and freshness with every programme vying for maximum viewership and popularity.
In this modern age 'choice' is the watchword. While in the past serials reigned unrivalled, today there are a medley of programmes to choose from. Every channel be it Star Plus, Sony Tv, Zee Tv, Star One, etc has come up with a host of shows - game shows like Kaun Banega Crorepati (KBC), Deal Ya No Deal, Fear Factor, Bluff Master; reality shows like Big Boss, Shabaash India, cultural shows like Fame Gurukul, Indian Idol, Nach Baliye, Jodi Kamaal Ki, Boogie Woogie, The Great Indian Laughter Champions, India Zee Cinestars, Sa Re Ga Ma Pa, Business Baazigar, chat shows like Jeena Isi Ka Naam Hai, Rendezvous with Simi Garewal, Kiddy serials, Stage shows and Awards, etc.
While serials do thrive doing brisk business, a sense of monotony and satiation has crept in with the endless repetition of the same stories being packaged and re-presented again and again. The umpteen family stories revolving around age-old saas-bahu politics, revenge stories have left the audience urging for a change from the mundane stories lacking any sense. It is the dearth of novel ideas and style of presentation that has led to this crisis. Though serials also strive to sustain the suspense element, it is quite often an acknowledged fact that truth and goodness will prevail come what may, whereby the events are slowly manipulated along those lines. Whereas in game shows and reality shows the suspense builds up every moment, tension rises, and success and failure remains unpredictable, even though there are controversies regarding manipulation.
Television shows also bear an inkling of reality from which the daily soaps are far removed, added to which the style of presentation enhances its value. Mostly producers rope in the leading stars of bollywood Amitabh Bachchan, Shahrukh Khan, R. Madhavan, Mandira Bedi, Malaika Arora Khan, etc to capture the audience' attention.
The cultural programmes showcase a hodge-podge of music, dance and other art forms, which stimulate the sense perceptions of the audience along with the results, which declare the winners of the shows. To arouse the interest celebrities participate in these contests and even notch up small skits leaving the audience laughing away to glory. Laughter competitions and kiddy shows also have a loyal audience devoid of any age barriers. Chat shows are the real intellectual and emotional stimulants.
Complacent times have changed, and no longer do the spectators mutely accept anything or everything offered to them when choice is immense. Competition demands originality and freshness with every programme vying for maximum viewership and popularity.
Viranis, Aggarwals, Kapoors...Rule
Viranis, Aggarwals, Kapoors, Goyenkas, Wadhwas, Bajajs, Basus, Khandelwals, Walias, Rathores and many more rule the small screen with the rich gharanas and kutumbs being projected. One cannot escape without noticing how the story mostly revolves around the lives of the wealthy. The politics behind the entire action is centered on trifling familial issues - the mother-in-law and daughter-in-law bickering, father-son clash of views, the grandparents-grandchildren generation gap, sister-in-law naggings, scuffle for wealth and power, sibling rivalry, etc which eventually culminate in the family break-up.
Television is evolving quickly wherein new genres (thrillers, kiddy serials, comedies, etc) are quickly catching up but the lure of daily soaps, the mega serials is immense. Some of the popular shows on Star Plus "Kyunki Saas Bhi Kabhi Bahu Thi", "Kasauti Zindagi Ke", "Kahaani Ghar Ghar Ki", "Saarthi", "Kumkum-Ek Pyaara Sa Bandhan", "Karam Apna Apna", Sony Tv "Kulvadhu", and Zee Tv "Kasam Se", "Saath Phere" focus on the opulent lifestyles of the rich. These serials flaunt the living styles of the rich who mint money and spend them lavishly.
The settings, costumes and make-up are just as interesting as the drama and the events that ensue. The palatial mansions, cars, dazzling lights and spacious rooms are breath-taking so also the custom-made costumes, designer jewellery and other accessories. Ramola Sikand's bindis and jewellery in "Kahiin Kisi Roz" were a rage among the viewers who ardently aped her style of dressing. Much time and energy is devoted to flawlessly depict their lavish styles of living.
It has become the style statement of the age to portray the lifestyles of the rich to the extreme extent of neglecting reality based issues and common man's plight. What goes unnoticed is that these serials cater to the proliferating demands among the audience who derive vicarious pleasure from these daily soaps. The presumption runs that common man bogged down with his daily life would hardly like to wallow in more miseries. They tend to internalize the values and the customs projected onto the screen. The concerns are widely different The lavish parties, opulent weddings, birthday bashes, and other ceremonies are indeed sights that tickle the senses of the common people, though reality is left far behind.
One can rarely come across an inkling of reality for sometimes the ideas are far-fetched and far too practical. The kutumbs also propagate the idea of a joint family where generations live under the same roof. The modern-day audience who come from nuclear households readily accepts the notion of an extended family.
The mega serials bring to life a dream sequence onto the small screen embodying our hidden desires. Time-tested formulas and rehashed stories ensure a captive audience devoid of any receptivity quaintly responds.
Television is evolving quickly wherein new genres (thrillers, kiddy serials, comedies, etc) are quickly catching up but the lure of daily soaps, the mega serials is immense. Some of the popular shows on Star Plus "Kyunki Saas Bhi Kabhi Bahu Thi", "Kasauti Zindagi Ke", "Kahaani Ghar Ghar Ki", "Saarthi", "Kumkum-Ek Pyaara Sa Bandhan", "Karam Apna Apna", Sony Tv "Kulvadhu", and Zee Tv "Kasam Se", "Saath Phere" focus on the opulent lifestyles of the rich. These serials flaunt the living styles of the rich who mint money and spend them lavishly.
The settings, costumes and make-up are just as interesting as the drama and the events that ensue. The palatial mansions, cars, dazzling lights and spacious rooms are breath-taking so also the custom-made costumes, designer jewellery and other accessories. Ramola Sikand's bindis and jewellery in "Kahiin Kisi Roz" were a rage among the viewers who ardently aped her style of dressing. Much time and energy is devoted to flawlessly depict their lavish styles of living.
It has become the style statement of the age to portray the lifestyles of the rich to the extreme extent of neglecting reality based issues and common man's plight. What goes unnoticed is that these serials cater to the proliferating demands among the audience who derive vicarious pleasure from these daily soaps. The presumption runs that common man bogged down with his daily life would hardly like to wallow in more miseries. They tend to internalize the values and the customs projected onto the screen. The concerns are widely different The lavish parties, opulent weddings, birthday bashes, and other ceremonies are indeed sights that tickle the senses of the common people, though reality is left far behind.
One can rarely come across an inkling of reality for sometimes the ideas are far-fetched and far too practical. The kutumbs also propagate the idea of a joint family where generations live under the same roof. The modern-day audience who come from nuclear households readily accepts the notion of an extended family.
The mega serials bring to life a dream sequence onto the small screen embodying our hidden desires. Time-tested formulas and rehashed stories ensure a captive audience devoid of any receptivity quaintly responds.
Parallel Tracks: Popular and Art Cinema
A major milestone in Indian culture, cinema embodies the creative spirit of our country. In India both 'popular' and 'serious' cinema co-exist. 'Popular', 'commercial', or 'mainstream' cinema branded as "masalas", are fashioned according to a hackneyed formula - a fusion of song, dance, and spectacle, - to create an illusory world. 'Artistic' or 'serious' films experiment to portray a realistic picture of a fragment of Indian reality.
Commercial cinema projects a larger than life image with marvellous sets, glitzy costumes, enlivening music, exhilarating dance, vivacious action sequences and glamorous actors of mainstream cinema as in Karan Johar's Kuch Kuch Hota Hai, Yash Chopra's Mere Yaar Ki Shaadi Hai, Sooraj R Barjatya's Hum Saath-Saath Hain, etc, whereas artistic films like Jagmohan Mundra's Bawandar, Kalpana Lajmi's Rudaali describe the lives of the ordinary people through 'invisible style' of shot centering, unobtrusive camera, continuity of image, frame balance and sequential editing to leave a lasting imprint of reality on the audience' minds. Commercial cinema and serious cinema use diverse technical strategies suitable for a specific cinematic atmosphere.
The main audience of the commercial cinema, the 'watching group' comprises of the common people fed with the larger-than-life dreams of the celluloid world but denied of opportunities by the harsh realities of poverty, illiteracy and unemployment. Kabhi Alvida Na Kehna and Rudaali are virtually on opposite tracks with regard to theme and style. Serious cinema adheres to a plain style of narration of a significant theme to communicate the message to a select audience. Songs and dances are included only if the story deems it necessary.
The stupendous success of the blockbusters like Hum Aapke Hain Kaun and Kabhi Khushi Kabhi Gham are attributed to the state-of-the-art technologies employed, exotic locations selected for shooting, effective distribution channels, and simultaneous release throughout the country. Artistic films Rudaali and Pinjar devoid of glamour and glitz failed to elicit a nationwide popularity due to their grave theme, simple presentation and poor marketing style without much hype. Artistic films and commercial films shall co-exist as long as love for cinema is nurtured.
Commercial cinema projects a larger than life image with marvellous sets, glitzy costumes, enlivening music, exhilarating dance, vivacious action sequences and glamorous actors of mainstream cinema as in Karan Johar's Kuch Kuch Hota Hai, Yash Chopra's Mere Yaar Ki Shaadi Hai, Sooraj R Barjatya's Hum Saath-Saath Hain, etc, whereas artistic films like Jagmohan Mundra's Bawandar, Kalpana Lajmi's Rudaali describe the lives of the ordinary people through 'invisible style' of shot centering, unobtrusive camera, continuity of image, frame balance and sequential editing to leave a lasting imprint of reality on the audience' minds. Commercial cinema and serious cinema use diverse technical strategies suitable for a specific cinematic atmosphere.
The main audience of the commercial cinema, the 'watching group' comprises of the common people fed with the larger-than-life dreams of the celluloid world but denied of opportunities by the harsh realities of poverty, illiteracy and unemployment. Kabhi Alvida Na Kehna and Rudaali are virtually on opposite tracks with regard to theme and style. Serious cinema adheres to a plain style of narration of a significant theme to communicate the message to a select audience. Songs and dances are included only if the story deems it necessary.
The stupendous success of the blockbusters like Hum Aapke Hain Kaun and Kabhi Khushi Kabhi Gham are attributed to the state-of-the-art technologies employed, exotic locations selected for shooting, effective distribution channels, and simultaneous release throughout the country. Artistic films Rudaali and Pinjar devoid of glamour and glitz failed to elicit a nationwide popularity due to their grave theme, simple presentation and poor marketing style without much hype. Artistic films and commercial films shall co-exist as long as love for cinema is nurtured.
Parallel Tracks: Popular and Art Cinema
A major milestone in Indian culture, cinema embodies the creative spirit of our country. In India both 'popular' and 'serious' cinema co-exist. 'Popular', 'commercial', or 'mainstream' cinema branded as "masalas", are fashioned according to a hackneyed formula - a fusion of song, dance, and spectacle, - to create an illusory world. 'Artistic' or 'serious' films experiment to portray a realistic picture of a fragment of Indian reality.
Commercial cinema projects a larger than life image with marvellous sets, glitzy costumes, enlivening music, exhilarating dance, vivacious action sequences and glamorous actors of mainstream cinema as in Karan Johar's Kuch Kuch Hota Hai, Yash Chopra's Mere Yaar Ki Shaadi Hai, Sooraj R Barjatya's Hum Saath-Saath Hain, etc, whereas artistic films like Jagmohan Mundra's Bawandar, Kalpana Lajmi's Rudaali describe the lives of the ordinary people through 'invisible style' of shot centering, unobtrusive camera, continuity of image, frame balance and sequential editing to leave a lasting imprint of reality on the audience' minds. Commercial cinema and serious cinema use diverse technical strategies suitable for a specific cinematic atmosphere.
The main audience of the commercial cinema, the 'watching group' comprises of the common people fed with the larger-than-life dreams of the celluloid world but denied of opportunities by the harsh realities of poverty, illiteracy and unemployment. Kabhi Alvida Na Kehna and Rudaali are virtually on opposite tracks with regard to theme and style. Serious cinema adheres to a plain style of narration of a significant theme to communicate the message to a select audience. Songs and dances are included only if the story deems it necessary.
The stupendous success of the blockbusters like Hum Aapke Hain Kaun and Kabhi Khushi Kabhi Gham are attributed to the state-of-the-art technologies employed, exotic locations selected for shooting, effective distribution channels, and simultaneous release throughout the country. Artistic films Rudaali and Pinjar devoid of glamour and glitz failed to elicit a nationwide popularity due to their grave theme, simple presentation and poor marketing style without much hype. Artistic films and commercial films shall co-exist as long as love for cinema is nurtured.
Commercial cinema projects a larger than life image with marvellous sets, glitzy costumes, enlivening music, exhilarating dance, vivacious action sequences and glamorous actors of mainstream cinema as in Karan Johar's Kuch Kuch Hota Hai, Yash Chopra's Mere Yaar Ki Shaadi Hai, Sooraj R Barjatya's Hum Saath-Saath Hain, etc, whereas artistic films like Jagmohan Mundra's Bawandar, Kalpana Lajmi's Rudaali describe the lives of the ordinary people through 'invisible style' of shot centering, unobtrusive camera, continuity of image, frame balance and sequential editing to leave a lasting imprint of reality on the audience' minds. Commercial cinema and serious cinema use diverse technical strategies suitable for a specific cinematic atmosphere.
The main audience of the commercial cinema, the 'watching group' comprises of the common people fed with the larger-than-life dreams of the celluloid world but denied of opportunities by the harsh realities of poverty, illiteracy and unemployment. Kabhi Alvida Na Kehna and Rudaali are virtually on opposite tracks with regard to theme and style. Serious cinema adheres to a plain style of narration of a significant theme to communicate the message to a select audience. Songs and dances are included only if the story deems it necessary.
The stupendous success of the blockbusters like Hum Aapke Hain Kaun and Kabhi Khushi Kabhi Gham are attributed to the state-of-the-art technologies employed, exotic locations selected for shooting, effective distribution channels, and simultaneous release throughout the country. Artistic films Rudaali and Pinjar devoid of glamour and glitz failed to elicit a nationwide popularity due to their grave theme, simple presentation and poor marketing style without much hype. Artistic films and commercial films shall co-exist as long as love for cinema is nurtured.
Generation Leap Sans Sensibility
Generation leaps on television leave the audience boggled...scarcely able to understand the relationships and discern the mother and the daughter. It has become the hallmark of television that when serials wane in their overall rating then a generation leap followed by the entry of fresh faces becomes the order of the day. The story takes a major time leap, when one generation gives way to another, leading to different circumstances creating new plots and conspiracies. The writer and directors strive to retain the gripping sense of excitement and the mounting tension day-by-day conforming to the unwritten norms of a mega serial.
What is extremely bizarre is that while attention is paid to the minutest details of the story the crucial element of the impact of the visual image is lost. Often it is safely ignored resulting in ridiculous images wherein the mother looks hardly as old as the son, if not even younger! In an age of advanced technology and the logistics of make-up style progressing daily, the degree of perfection is bound to soar high.
Ekta Kapoor triggered the trend of generation leaps with the serials Kyunki Saas Bhi Kabhi Bahu Thi, Kahaani Ghar Ghar Kii, Kasautii Zindagii Kay, Kesar, etc. Kumkum, and Bhabhi also followed the trend. Generations have come one after the other and new sets are put up flaunting a new lifestyle. The passing of time is signalled by the presence of some obvious grey hair for the actors and actresses, whether they carry credibility or not is hardly a debatable issue. In Kyunki Saas Bhi Kabhi Bahu Thi Tulsi's children Karan, Ansh and Gautam appear to equal their mother in age and at times in look as well. While characters that actors portray rule the households the age factor and the appearances do not matter. Sense and sensibility do not go hand in hand, when mind rules over matter and the audience is taken for a ride. While Mr. Bajaj of Kasautii Zindagii Kay lends credibility to his image one can barely visualize Sumit in Kumkum as the father of three mature children as he does not look half the age he portrays, credit due to the latest hair dye practices. Story moves on, the characters move on but when another quickly follows one leap it does not appeal to our interest. It is no child's game but extremely challenging enough to maintain the TRP rates successively for years.
Generation leaps are welcome signs of relief so long as the stories deem them necessary. Television industry thrives on this brisk business, so also people who are vying for a chance to enter the glitzy show world. It is the new age director who decides whether Baa of Kyunki lives on for another two hundred years, an absolute miracle with the patent right for Indian Television alone. Time would tell if Karam Apna Apna would feature Iqbal Khan and Pallavi Subhash as grand parents!
What is extremely bizarre is that while attention is paid to the minutest details of the story the crucial element of the impact of the visual image is lost. Often it is safely ignored resulting in ridiculous images wherein the mother looks hardly as old as the son, if not even younger! In an age of advanced technology and the logistics of make-up style progressing daily, the degree of perfection is bound to soar high.
Ekta Kapoor triggered the trend of generation leaps with the serials Kyunki Saas Bhi Kabhi Bahu Thi, Kahaani Ghar Ghar Kii, Kasautii Zindagii Kay, Kesar, etc. Kumkum, and Bhabhi also followed the trend. Generations have come one after the other and new sets are put up flaunting a new lifestyle. The passing of time is signalled by the presence of some obvious grey hair for the actors and actresses, whether they carry credibility or not is hardly a debatable issue. In Kyunki Saas Bhi Kabhi Bahu Thi Tulsi's children Karan, Ansh and Gautam appear to equal their mother in age and at times in look as well. While characters that actors portray rule the households the age factor and the appearances do not matter. Sense and sensibility do not go hand in hand, when mind rules over matter and the audience is taken for a ride. While Mr. Bajaj of Kasautii Zindagii Kay lends credibility to his image one can barely visualize Sumit in Kumkum as the father of three mature children as he does not look half the age he portrays, credit due to the latest hair dye practices. Story moves on, the characters move on but when another quickly follows one leap it does not appeal to our interest. It is no child's game but extremely challenging enough to maintain the TRP rates successively for years.
Generation leaps are welcome signs of relief so long as the stories deem them necessary. Television industry thrives on this brisk business, so also people who are vying for a chance to enter the glitzy show world. It is the new age director who decides whether Baa of Kyunki lives on for another two hundred years, an absolute miracle with the patent right for Indian Television alone. Time would tell if Karam Apna Apna would feature Iqbal Khan and Pallavi Subhash as grand parents!
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