Sponsor PFCOne
(6 votes, average: 4.33 out of 5)
Loading ...
Bollywood vs. The World
You know, there’s something that’s been on my mind for some time now, but I’ve managed to keep it to myself. Today, in the words of Popeye the Sailorman “That’s all I can stands, I can’t stands no more!” So now let me say this.
Who the hell gives a flying fuck about what Hollywood, or the rest of the world thinks about our cinema?! Seriously, who gives a damn what they think? Why should we care? Do the French, the Chinese, the Koreans, the Iranians, the Russians, Italians, Germans or Americans care about what Indians, or anyone else for that matter, think about the way they make films? Who are they to judge us? They makes films for they’re people, we make them for our people.
It’s about time we come to terms with a reality: Our films may not be 100% realistic, and they may not completely represent Indian culture… but they are in effect a culture within themselves. That’s what gives them that lineage, that identity. Watch any good Hindi film and you’ll no doubt recognize the referencing. And that’s perhaps the most important part of our cinema; it’s what creates the bond between us, the audience, and film.
Growing up outside of India I made a distinction between watching American produced TV shows and films and those from India. I loved watching both but for different reasons.
Whenever an American show tried to ape, or more often than not imitate in a very non-flattering way (basically make fun of us or put us down) I fucking hated it. However what was far far worse in my book was when someone of Indian descent, be it on TV or in day to day life, would make ridiculous comments about Indian TV or films. The first thought in my head would be “Who the hell are you to comment or pass judgment when you know the first thing about it?” Ridiculing something because you don’t understand or relate to it is the lowest form of ignorance. It genuinely makes me sick.
It would be like someone never actually watching a game of cricket and yet saying it’s a watered down or wannabe version of baseball, or that baseball is much more superior sport. Or worse, acting as if they know the sport (when they don’t know shit) and commenting how the games are too long, the scoring system is too complicated (yeah, for YOU to understand) and other such predictable bullshit.
I was never ashamed to admit that I LOVE my Hindi films. That you need to watch a few and get an understanding of the inherent and embedded culture to really get an appreciation for them and their entertainment value. To me a Trishul or an Amar Akbar Anthony, a Bawarchi or a Safar, a Zanjeer or an Angoor, a Kati Patang or The Burning Train, a Don or a Teesri Manzil, a Seeta Aur Geeta or a Saheb, a Bobby or a Karz (all films by different directors mind you) provided just as much entertainment, if not more, than any Star Wars or a Godfather or a Jaws or a James Bond film or any other film. In fact, for me personally, I got more out of a good Hindi film than I did an American one. Sure I’d enjoy watching the Hollywood films, but the Hindi films would have a much more lasting effect on me. And nobody, NOBODY, could ever tell me that Hollywood films were in any way superior to Hindi films.
Our films were, and are, fundamentally different and that’s what sets them apart. They cater to a different set of sensibilities, a different audience altogether. The average viewer will watch a Hindi film for different reasons, perhaps because they desire and crave a different form of entertainment. It appeals to them so they watch it and enjoy it. If others don’t then who gives a shit. I don’t like baseball, but I don’t ridicule it or the guy that loves it. If it appeals to him then let him enjoy it and let me enjoy my Hindi films the way I like them.
What pushed me over the edge, enough to have to write this outburst of a post, was this overwhelming feeling that Saawariya, produced in part by a major Hollywood studio, was catering not to the sensibilities of the core Indian audience, but rather to the West’s distorted vision and limited understanding of what a Hindi film should be.
Most westerners that I’ve come across somehow relate “typical” Hindi films to their Broadway musicals (mostly because our films incorporate songs in the narrative). They think all our films are love stories between a young, star-crossed couple, with tonns of melo-drama, exaggerated histrionics, overplayed emotions and of course full of songs. playing out like one of their musicals. What upsets me the most is this sense of urgency to meet and live up to those distorted expectations.
You know what? NO, not all our films are like that. In fact, only 1 of the 14 classic Hindi films I mentioned above even remotely fits that description. And NO, not all our films are same. And NO, just because our films incorporate music does not necessarily make them musicals. And NO, not every film is made with heightened emotions and exaggerated performances. And NO, we are not ashamed that these films are not like Hollywood films. We’re PROUD that they’re not, that they have their own identity and their own way of telling a story. We LIKE IT that way.
I recall a valuable piece of advice given to me by a film school professor when I was struggling to get my screenplay to achieve a larger appeal: “If you concentrate your energies on the process then the outcome will take care of itself”.
I feel far too many filmmakers today are concentrating their energies on making films that will appeal to a different segment of the audience, a non-Indian audience or at least not the traditional (and loyal) existing audience of Indian cinema. How I wish that they would instead just focus on sincerely telling a good story in an entertaining way, and forget all about all those people who may not like it. For every one of those people there will be someone who appreciating watching a good, entertaining film.
This is why I really liked Johnny Gaddar. Sriram Raghavan showed an immense about of pride in the cinema he grew up watching. And this is why I’m very, very happy that Farah Khan has opted to pay tribute to the Hindi cinema that she, and millions of others myself included, grew up watching and loving. She made a statement with Main Hoon Naa that this is OUR CINEMA and that’s the way we like it, and now she’s taken that statement a few steps further by making a film which is essentially about our films.
I wish more filmmakers would just forget about the stigmas and embrace our cinema for what it is and for what got it this far in the first place.
This is not to say that our films shouldn’t progress or move forward, that they shouldn’t try to experiment or innovate. Of course they should, but without selling out to American or foreign film philosophies and without losing out on the core sensibilities that have been a part of our cinema for generations.
You can’t tell me that a film like Khosla Ka Ghosla didn’t play up to family values and emotions like so many other films had in the past. You can’t tell me that Bheja Fry didn’t express the love for music that has been part of our cinema for decades. You can’t tell me that Johnny Gaddar didn’t resemble a whole host of classic Indian thrillers from the 70’s. These are just a few examples of films which are no doubt progressive while preserving and respecting the cinematic values, idiosyncrasies, and distinct characteristics inherent to our cinema and which gives it its own flavor and personality.
20 Responses to “Bollywood vs. The World”
Leave a Reply
Our Comments Policy : The following kinds of comments are troll capped, blocked and/or commenter's identity reported publicly: Verbal abuse, personal attacks, hate statements, spam, trolls, advertising. Please assist us in keeping the comments clean. Use the contact form to let us know if you find unwarranted comments on PFC. Thank you.
very good article. We need to cherish what we have..:)
great blog,…..
that was kinda bizzare logic…I think a film becomes great when it universally appeals to a large section of viewers across culture and nationality. From that point view, the hindi film industry still has a long way to go.We have certain kind of aversions to our own films too. Do we send films like hazzaro khyaishein aisi, black friday, jhonny gaddar or Chak de India! to the west? We are busy marketing all those rich NRI and six pack rubbish to confirm the west’s view on Indian Cinema.
Who defines what is our “core value”? When did overacting, exaggarated emotions, mindless dancing and singing and melodrama became “identity” of indian films? just because they sell well? Many Indian staff sell well, they not necessarily become our identity.Or is it that old syndrome of equating Indian Cinema with bollywood? There are some very good regional films still being made, and its our disgrace we failed to showcase them in the world stage.Satyajit Ray, Ritwick Ghatak, Adoor Gopalkrishnan, Sai paranjape,aparna sen and many more did not require core indian values to make good films. Their films appeal beyond the border and cultures.
We like it or not, hollywood is successful in that to a large extent. Directors like Martin Scorsese, Woody allen, Coen brothers, Francis Ford Coppola, Steven Spielberg, David Lynch have made films which deserves to be timeless classics. How many directors of that calibre we have produced? Even if there were, we have made sure they are restricted to use their creativity to mediocre films for profits and then push them too, towards mediocrity. Denial wont help. Calling us good wonr make us good. We may show our wrath againt west but we must remember, the carpet beneath our feet wont hold for a long.
Well written, and yes we should not pander to opinions and caricatures that the ‘west’ and the rest of the world have of us.
You can make good cinema without being aloof and condescending to normal popular films, a film like say, Lagaan is ample proof of that fact.
A lot of Indian cinema has come from traditional folk art style (the Jatra, Ramlila…) - of which exaggeration, “acceptable” values, and all-round entertainment was definitely a part - and like the article states, appreciating and furthering this form of movie-making is totally needed - its what makes our cinema unique.
OTOH, other forms cannot be - and have not been - ruled out. Straightforward storytelling, musicals, abstractions, metaphors, open ended movies, docu-drams - there’s surely space for them all in this land of a billion.
Why be uni-dimensional in our cinematic experience ? India’s multiplicity works FOR a cauldron of variety, not a set in stone set of ‘core style’ or ‘values’.
Tony, i am sorry but cant make any sense of ur ranting, now what do u suggest, if a movie sucks, go and tell, that it is a fantastic movie, just because it is a Bollywood movie.Does not make sense to me. And by the way whom r u targeting at? Most of the readers on PFC love both Bolly and Holly movies.
Yaar movies is something personal, sab ka apna, apna andaz hai. Why the hell do u guys try to keep slotting, keep making categorizations, and write Phd thesis over something which is esentially some one’s personal choice? No different from this dating column experts who write tonnes and tonnes of crap on Why Asian Guys cant get dates or Why Asians are not so sexy kinda stuff.
Thank you PM & Navneet for the kind words.
Yes Doremi, I agree you need to put down popular cinema in order to make a good film.
There are plenty of great examples of completely “Indian” films, that are about our people and society, that are not rip offs of other films from other places, that well represent Hindi cinema and that have (for the most part) gained popular acceptance among the Indian audience.
In the past few years examples include (but are not limited to): Lagaan, Munnabhai films, Swades, Hazaaron Khwaishein Aisi, Parineeta, Paheli, Rang De Basanti, Iqbal, Dor, Omkara, Guru, Khosla Ka Ghosla, Maine Gahndhi Ko Nahin Mara, Black Friday…
Sameer, great points. Our cinema is, to an extent, an extension of these other forms of entertainment and folklore and mythology and literature of which our history is rich.
And you’re absolutely right when you say that other forms cannot be and should not be ruled out. They shouldn’t. Cinema SHOULD evolve, I agree 200%. We SHOULD support multiplicity and we should support fresh stories and newer narrative styles. I agree that “there
Ratnakar, I’m sorry if my rant was unclear. I did not write it as an essay or what not and ended up going off on tangents, so my maybe my point was lost in all that or was unclear.
No I’m not at all saying that every shitty hindi movie needs to be applauded simply because its a hindi movie. And I’m not “targetting” anyone, just expressing my frustrations. I too enjoy watching a good Hollywood film and appreciate their kind of cinema. I’m just saying we should accept that our kind of cinema is different, and there’s nothing wrong with that.
I’ve tried to present my thoughts a bit clearer in the above comment #8. If I haven’t completely turned you away from this discussion then please do read it and give your thoughts, even if you don’t agree.
Great article Tony. I am not Indian, but I love Indian movies for all the reasons that you mentioned. They are different from the rest of the world’s cinema. Indian films are such a part of me that I’m always talking about them to everyone I meet. The first misconception they always have is that it’s older women dancing around with small cymbals on their fingers. The second one is that they are all musicals. I try to explain the best I can, usually by showing them a scene from a movie.
Thanks NoVaDJ.
And that’s awesome that you love Indian films for what they are. Very cool.
You remind me of a Filipino friend of mine named Roni, who was totally open to watching Hindi films (I guess there are some similarities between them and Filipino films). So when he watched a few he got hooked. I was like his dealer.. I’d always try to give him different kinds of films to watch so that he’d be able to see that though a few aspects may recur in different films, the films themselves are quite different from each other.
@Tony,
I also watch Filipino,Korean,Japanese,Chinese,Spanish films. Filipino films are very low budget and very exaggerated in their acting, but aside from that that can’t compare to the Indian films. I started to watch them because I love the voices of the female filipino singers and they usually star in their movies.
If you are the “dealer” than I’m the “pusher”,because I will force anyone who ends up in my apartment to watch one Indian dance sequence from one of my favorite films.
You mean a particular film or just one from among your favorites?
And why just the dance sequences? I remember this one friend of mine, Indo-Canadian, who said that Hindi films could never choreograph an action sequence worth shit.
So I told him to sit his ass down and threw on the train sequence from Sholay… He was blown away. He And so was I… how can he be Indian and now have seen Sholay…
Now you make me feel guilty because I haven’t seen Sholay. I’ll pick it up tomorrow when I return my movies.
I have shown some action sequences from Telugu movies, because they go way over the top and I’ve shown Krrish, because I thought some of the special effects in that film were better than some Hollywood stuff. It was pure fantasy, but very cool looking on my 53 inch TV.
I have a soft spot for the musical sequences because I love the camera angles used in tandem to the music. I also have some friends that are drag queens and they love the costumes. We counted Karisma Kapoor changed her outfit 15 times in one number….and even inside the wind blows everyones hair. It’s pure escapism and I need it sometimes.
…but I also love the new breed of cinema from India, which I discovered by visiting PFC. So I open to discover new things.
…damn, I wish there was an edit button to fix my incorrect English!
Yes Tony, I hear ya. The polarity angle is quite true, actually. People generally seem to have a need to trash something else to justify their liking for something - which is all very sad.
I just saw a few minutes of bby to goa - cliched, exaggerated, potboiler, yet such a different atttempt at telling the same story! Bollywood has always been experimenting - both “mainstream” and “offbeat” - there’s a tendency to assume its a recent phenomenon. The gloss and finish of the current effort probably highlights the differences, though.
@Tony
I just watched SHOLAY thanks to your recommendation, but I can’t just pick the train sequence to show my friends….I would have to show them the whole movie!
@ Nova, that’s awesome man! My work here is done… :)>-
There has always been experimentation, agreed, but not always for the sake of experimentation.
Though I can’t say for certain, I somehow still believe the primary difference between filmmakers of the past and those of today (generally speaking) is that in the past they made films based on “this would be a great idea for a film” or “this could make for a very interesting/hard hitting film” or even “audiences will love this”.
Not to say that many filmmakers today don’t follow those philosophies, but then there are many more today who are deliberately trying to be “different” rather than just focusing on making a great film.
@Tony
The funny thing was that when I returned SHOLAY to the Indian store and told them how great it was, they hadn’t even seen it yet!