Why I dislike Bhandarkar’s cinema and thoughts on FASHION
People will always complain. It’s in their genes, branded in their sensibilities. And when it comes to films not only does everyone have an opinion about things but as it seems, everyone has a unique complain regarding it. There is no escape from this, no matter what genre of film you make, be it a ‘social satire’, a ‘thriller’, ‘rock musical’ or in this case a look into a world under veils unfamiliar/ inexperienced by most of the audience…..a friend of mine said this. Here is another complainer. Am not a fan of Madhur Bhandarkar’s films, its true that I don’t hate them its just that I don’t care for them. Found “Traffic Signal” to be an infinite snore fest, “Corporate” despite the ending which redeemed it a bit, seemed hastily done by a person with least knowledge and experience of the world he is talking about, “PAGE 3″ with all its national/international awards failed to interest me, and “Trishakti”/ “AAN”..aah well lets not say anything about that. But hold on to your brick bats guys, I did love Chandni Bar and it remains amongst the finest that Indian cinema produced in the last ten years.
Hopefully by now I have established the fact that am no Bhandarkar fan, the reason remains why? Well, I don’t know how to put it but there seems something deeply fake about him and his films, somehow it seems he doesn’t really care about the issues he is portraying, neither does he have any personal experience of the issues, all he has is a vague idea of the surroundings around which he weaves a story, claiming to portray it. Now that provides a rather blurred shadow on the screen instead of a strong reflective image. He is not really a “realist film-maker” as I suppose he likes calling himself but an exploiter and manipulator of reality. The audience never enters his world, because his world doesn’t exist, which is probably the biggest turn-off for me. The west has seen directors like Oliver Stone making issue based cinema for the last couple of decades, not only managing profits but world wide critical acclaim. Stone’s cinema takes you for a ride around until finally he decides to thrust you into the real heart of the matter, resulting in a deep personal experience, truly realist in nature. Since we are talking about ‘fashion’ here, Giorgio Armani once said, “The difference between style and fashion is quality” well in Madhur Bhandarkar’s scenario I’ll say “the difference between being a realist and a pseudo is your research” and unfortunately his study seems to be limited to the news paper articles and latest feed on the entertainment channels.
Now coming back to Fashion, the film is not half that bad. In fact I rather liked it and will admit that there is more to praise here than there is to criticize. It works for me because even if for a brief period, the director does manage to involve you in his film, something he failed to do in his last three ventures, one does relate to the dilemmas faced by Meghna, our protagonist. Though it becomes a tad bit difficult not to cringe in your seat with embarrassment when she goes all teary on the ramp, infront of an entire battalion of shutterbugs. The majority of the credit for the portrayal should go to Priyanka Chopra, in a career whose recent entries feature “Love Story 2050″, “God Tussi Great Ho” this is a definite high. She remarkably goes through the role, and manages to hold her own in even the most extreme emotional sequences, hardly ever seeming over the top or too melodramatic. But alas she is not Zeenat Aman, and banking on her to hold the audience in their seats for almost three hours is asking a bit too much…. Marguerite Duras once said, “Acting doesn’t bring anything to a text. On the contrary, it detracts from it“and this is where Priyanka Chopra fails. Of the other leads Mugdha Godse fits into a shoe that seemed almost tailor made for her, she is either a revelation or identified herself with the role so well that she couldn’t go wrong in her sleep. Now that brings me to Kangana Ranaut, who plays a model with as much authenticity as was capable of one Jesse Randhawa . Armed with a role which provides about two minutes of ramp walk, three minutes of having lovely chats with her fellow model Meghna in a quivering voice that makes me feel Raaz 2 might actually be scary, one minute of the now trademark “suicide” sequence and 20 minutes of crying, shrieking, pounding, getting pounded, more crying and shrieking ‘bastard’ in probably a hundred varying tones..
What I loved about Fashion was that the script despite all its flaws manages to spread over the duration of the film without ever being felt as hurried or slow and my worst nightmare ‘preachy’. On first view it may seem full of old clichés but on an after thought, the society it portraying is itself rather clichéd and any attempt to forcibly avoid them would have seemed ignorant.
Bhandarkar the film maker has definitely learned from his last two duds, the film though moves vaguely around Meghna’s career is finely balanced on a definite outcome he wanted to work towards. He uses the world of fashion as a backdrop and focuses more on character study thereby saving himself from being exposed to the embarrassment of his inept research and lack of understanding of the industry he is trying to portray.
Credit must be given inspite of all the criticism I just bestowed on him for having the courage to invest eighteen crores in a film that had all the reason of being a dud, and if he can make this work (which as it seems, it will) then I say more power to him…..
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Movies, Review, Thoughts , Fashion, hatred, kangana ranaut, Madhur Bhandarkar, mugdha godse, oliver stone, Priyanka Chopra, Review, ritchick
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i agree with on Bhandarkar but not on fashion…
the movie was plane bad and boring……it all seemed fake…it is not gripping at all..
kangana shud not be given english dialogues. she sounds horrible when she speaks them.
during the climax i told my friend that this is Bhandarkar’s worst movie
he retorted,”No my friend there are more to come”
i hope he gets his act together. Bhandarkar of Chandni Bar and Bhandarkar of fashion are two different people.
neither does he have any personal experience of the issues, all he has is a vague idea of the surroundings around which he weaves a story, claiming to portray it
one doesn’t need to have experienced anything personally to comment on it. It could be a comment from a distance. Having a vague idea of the surroundings is enough if you can weave a good, convincing story around it. Convincing is the key word here, and I believe fantasies work because of that. So in his limited attempts where he has tried to comment without necessarily being judgmental, he might have failed. It is not that he has some 50-60 movies behind him. Yes his work might have seemed a little superficial with respect to “research” but research is all bunkum.
I don’t care for his films. Watch The Devil Wears Prada for some good-old fashion industry fun along with a solid script.
i agree tushar……loved meryl streep’s performance…
aahhh…at last someone has echoed my thought abt MB being a hyped director and an over-rated film maker. i have hated all his movies bcos of the fact tat he is so superficial in his approach. making a movie for the heck of it, picking up controversial stuff just bcos its in vogue does not a good film make. as mentioned in the article, research is really poor. all the possible cliches have been used, and it irritaes bcos most of it is on hearsay. page3 was such a fake movie. if u want to watch an issue based movie then better watch the original tats govind nihlani’s party. tat was an awesome movie. page3 picks up the idea and most of the thoughts from ‘party’ and puts in a bundle of cliches like paedophile etc etc, again all hearsay and sensational stuff so the movie sells. his take is always an over-exaggerated version of wat actually happens. again, ‘traffic signal’ was trash. if u want to watch the underbelly of mumbai then go for ’salaam bombay’ which was so real in all senses of the world.
though i appreciate his choice of subjects, he ends up spoiling it by adding sensationalism instead of realism.
his movies are so fake, fake, fake …
didnt like the book, but Meryl Streep made it one of the most entertaining film of that year, never before did i think that fashion can be that much fun..
In fact saw the whole film only today morning. Loved the way the characters grow, and how everything gets back to business as usual without any high drama. Love the last shot. Anne Hathaway and Meryl Streep were made for this film.
Watch out for Jail. LOL!
A very honest opinion, any and every industry or field is loaded with both good and bad, grounded and hi-flying people. And most often they have their own cliques and would frankly never cross paths unless extremely essential. Said that, coming to Bhandarkar’s films, his films realistically portrays good and bad people, but unrealistically they happen to cross paths of each other everytime, in Corporate, in Page 3, in Fashion and may be will do so in his forthcoming films too. Maybe thats what is filmy about it!!!
@crazyrals
agree with you on govind nihlani’s “party”, now that is one film maker who knows how to depict issues and realism.
@tushar
hehehehe..the people in jail are already serving their sentences, why make a movie and torture them even more
Dude, think of the prospective MB titles man. Scary.
A film on graveyards - Grave Yard
A film on Striptease - Strip Tease
A film on IT industry - IT
A film on Blogging - Blogging
A film on Media - Media
A film on Politics - Politics
and so on. never ending shit.
@ Crazyrals - Rightly said @ Party. Just one place, one party and layers of each character are peeled to reveal the true self. I saw this film long back but even now when I think of it, it kind of takes me to a mood - kind of dark, brooding and always as something simmering beneath…Very very well done film..
@ tushar
hahahahaha…so true……
on a side note….
bhandarkar ki picture mumbai ke kisi chawl mein sandaas ki line mein khade logon ko baat karne ka achcha topic deti hai
@ashwin, that depends on line mein kaunsa number hai! waise don’t give him ideas. next thing you know there will be films on that too..
Sandaas
Chawl
etyadi etyadi…
Hey Tushar you forgot one on call centre.It has enough scope for a MB film.Deceit,Lies,sex,action,drama,suicide,bitching,drugs…And by the the one on politics has already been done…remember Satta.And the one on media is being made by Ramgopal Verma.Everything said and done we must admit that a MB film is much better than 90 percent or even more of thr films being dished out nowadays.His lead protagonists have a proper graph,the supporting cast is strong,their are no unnecessary songs,the ending is not “filmi”,thankfully there are no mandatory “love stories”……reasons enough to watch his films.By the way I agree with Rusted Rick on Chandni Bar but not on Page 3.I loved that one too.
@ Anindya, so true. Wo bhi aa jayega.
“their are no unnecessary songs,the ending is not “filmi”,thankfully there are no mandatory “love stories”……”
…and NO AUDIENCE TOO. LOL!
Just kidding. Personally I never saw any of his films, never felt like. Just saw Traffic Signal once stoned and it got over before we could say shit.
@Anindya
a film on call center is already done, remember the “CLASSIC” called Hello, dont think he is going to touch it again. that would just make him less “original”
am scared that he might actually turn towards west bengal next, with all the singur hoopla, it gives him enough issues, wont even have to shell out any money for the pseudo research..all the newspapers are already in his home.
@tushar
Traffic signal got over even before i could say shit too, i was stuck on the MC BC for too long….
totally agree wit ur views on bhandarkar. god knows y ppl say he researches his films well..he picks up d sequences from d dam tabloids…n isnt kangana tired of comitting suicide in ALL her movies..
I agree with the writer’s analysis of MB’s work so far.
He must think he’s hit on a formula for successful film-making - a cross between fantasy and realism. He has made his name with it but of course he may not accept the fantasy part.
Unfortunately most of his work just skims the surface of actuality and in the case of Fashion he incorporates stories of which the educated classes are more than familiar with - although there are denials of this. Does this matter you might ask? I think it does. I personally want more than what i already know and have the ability of guessing (calculated) the rest.
If I may say so, Fashion is as cliched as LCMD was. People called that film regressive. I found Fashion as formulaic as was LCMD although it is (only) slightly more grittier. Artistic snobbery may prevent most people from agreeing!
On a postive note, Fashion does have some good music(Salim-Sulaiman) in their elements, a welcome break from their item number-scores for Yashraj.
yes, didnt mention anything about the music. dont usually like their music, it feels too techno/artificial but here it worked very well, except for that tacky title track. mar jawan is on the loop in my ipod. undoubtedly best song of the album, used to death in the film….
the positive being , salim sulaiman raising the bar for Rab Ne…..,
thanks for this…had been wondering lately wots wrong with bhandrkar’s films….n without actually devoting much thought to decipher it was becoming like tht itch one cant get rid of
it’s true…n besides, his films seem to be like a project or an essay written on all these topics…he tries to be all-encompassing with the schoolboy approach thereby lacking that substance to really make an impact.
one of the better written posts this week…..great going Mr. Rick!!!
Fashion, Corporate, Chandni Baar, Traffic, Page 3
Barring Chandni Baar, none of them are worth watching, let alone comment on it. @Tushar, really innovative names, which MB will definetely steal in near future. He will start researching on subjects called IT (there will be a scene in the movie, him sitting before a computer, and someone commenting that hey its MB researching on his new movie.) Crap!!!!!!!
hit the nail Rick..Madhur needs to do away with this sensationalism..this headline grabbing habit in each of his shots..no doubt, there is a good maker somewhere in his DNA but forget another Chandni Bar from him..as he revels in this shallow sensationalism at the moment..the precise reason I did not add him to my “FILM MAKERS TO WATCH OUT FOR” list.
Uff Saala Rick… I was writing a post on the exact same subject- you beat me to it
… still will complete it and post soon… 
I think MB does not understand the difference between realism and sensationalism…everything is so black and whie for him…nothing is grey for him.I find his production quite tacky too…somethings tacky about him.
hi im not a big MB fan or any such thing but the world i saw in page 3 was fairly real for me i dont think he twists it too much or any such thing
Good points. I find his Aan more entertaining than Traffic Signal. The latter never went green for me
I wonder how MB ends up winning National awards every time even for films like TS.
One more reason to doubt the motive behind NA.
I wish he made satires… the subjects he chooses are fertile fields for satire…
@Jahan
waiting to read it, didnt know you were writing on it…just checked the drafts.
anyways this was just a hurriedly written piece, just wanted to put my thoughts forward, will write a detailed article on Bhandarkar’s cinema and sensationalism after am back from holiday next month
@Indraneel
am a rather optimistic person, i like believing that all of these people (rgv,bhandarkar) will one day again go back to their roots and maybe…just maybe we will again get cinema like satya and chandni bar
@Vatsal
school boy essay is the exact word…bingo!!
@judgegag
Thanks
@Vishesh
lot of lesser films has been winning national awards so..
@gopi
lol…no more satire, WTS was enough for me
The things that irritated me:
1) Whats with the unending gay characters and they are so underdeveloped. I mean they weren’t even funny for me. It was such an exaggerated look.
2) So many sub-plots!!!
3) The look-at-me-I-am-doin-a-Hitchcock cameo was so tacky. I mean he wants to be called a “realistic cinema” maker. How wannabe was that!!
4) The acting in some places was really bad.
5) Priyanka is never seen really struggling. Her couture remains the same through out, even when she is the small town girl or when she is the show stopper.
6) How come she is forgiven so easily? And how come she suddenly turns OK from being almost a zombie, that is after her dad speaks to her?
7) As everyone else has pointed out, sensationalism is used as a convenient vehicle to convey the misery. I found the act of Priyanka rubbing her black mascara after her thing with the guy in the pub as a bit racist. This I found totally weird or may be I read too much into it.
While i do enjoy watching most of MB’s movies, if you look at a deeper level, most of them are like Dummies Guides.
So its like
Chandni Bar- Dummies Guide to Bar Dancers
Page 3-Dummies Guide to High Society
Corporate-Dummies Guide to Corporate World
Traffic Signal-Dummies Guide to Pavement Dwellers
Fashion-Dummies Guide to Fashion Industry.
For me Satta was one of the few movies where he did not try to do a Dummies Guide to Politics.
And for all the research he does, i still am not able to figure out, how some one could just hack into some one’s laptop, without knowing the password( Corporate).
Or maybe i have to assume, that the hooker took the password from that guy, while he was canoodling her.
Its totally pointless discussing this man. I think on a more complex level like its often said… there are “artistic opportunists”, who always wait for a certain story to which they feel a genuine connection to, to come along.
The truly gr8 directors dont even wait for that. They have a point-of-view about life, about human nature.. they observe life and are passionate about human beings.. Even their cynicism is genuine.. It reflects their desire for a better system..and all their films relect that POV of theirs..
And then I guess there r people like Bhandarkar who thrive on the misery of those around him..with their childish approach towards problems..With a cyncism that is naive in its base… with absolutely no sense of humanity, but driven by a mere desire to shock…
And he’s helped all along by critics who wait time and again to confer upon him the title of “Realistic Film-maker”…
More than anybody else, people like Bhandarkar dont deserve to be successful… If they are they would just be giving rise more of their ilk… And that would really sad
@Ratnakar: Kinda true, but I didn’t find Chandni Bar like a ‘dummies guide’. In fact the names say it all- Chandni Bar is about one bar, while Corporate, Fashion etc pretend to somehow represent everything in the industry and ‘expose’ the truth about them.
@Neeraj:
“Her couture remains the same through out, even when she is the small town girl or when she is the show stopper.”
That’s not true. Her clothes had that slight tackiness and gaudiness to them when she was in Chandigarh and ’struggling’. Plus you could clearly see that extra fat- even a hint of a paunch.
‘How come she is forgiven so easily? And how come she suddenly turns OK from being almost a zombie, that is after her dad speaks to her?”
I found nothing so strange about that… obviously the fact that her father accepted, understood and supported her made a difference and helped her shed some of the emotional baggage she was carrying.
“I found the act of Priyanka rubbing her black mascara after her thing with the guy in the pub as a bit racist. This I found totally weird or may be I read too much into it.”
You’ve DEFINITELY read too much into it. I thought it was one of the better scenes in the film- she realises what an ugly mess she has become, though a better actress could have transformed it into a far more powerful scene.
@NEERAJ
i would agree with jahan, i dont think bhandarkar meant anything racist.The way i saw it, she was trying to get rid of what she had become….wiping of the mascara was in a way tearing off the fake skin she had been wearing.
I tend to agree that I read too much into it. One thing that is unsettling is that she shows less regret sleeping with a guy she has live in with ( she is from a small town conservative family)or when she sleeps with a married boss to ramp up to the corporate ladder but sleeping with the afro-american guy have her the realization, as much to turn into a zombie. Somehow it didnt convince me.
@Rick..all makers have their sell by dates..applies for film makers too..creativity unless irrigated, tends to give up on you..precisely the reason film makers go to festivals to see more movies..or build a huge DVD den!!!
MB may have stopped living his VCD library days long back..and so the shallowness..mind you, it is not the plot, the story…in his case, it is the treatment that is the problem..
@Neeraj: It’s not a matter of the guy being black, it’s the fact that she has stooped so low as to sleep with a random stranger who’s a drug peddlar or pimp and God knows what else. She was in love with Arjun Bajwa’s character, and nowhere was she portrayed as particularly conservative herself. She slept with Arbaaz Khan to further her career but atleast she knew what she was doing, besides she was too busy climbing the ladder of success and drunk with the trappings and pleaures of being famous then.
But the party incident suddenly brings everything into perspective for her- it gives her a jolt and gets her to a point where she can no longer face herself and look at herself in the mirror.
@Sreehari: Long time man! Where are thee? Its been 6 months since you last wrote… come back saar! u have fans u know.
I think madhur along with RGV is a gutsy filmmaker who don’t run after superstars and make films on contemporary subjects.He may not be a pathbreaking filmmaker but he has been able to achieve commercial success by choosing unconventional subjects which our usual commercial filmmakers would never have touched.I think there is some negative criticism against his films by some psuedo intellectuals because his films are successful,if they were flops and unnoticed the same psuedo intellectuals will hail them as masterpieces
i don’t know why there is so much criticism against traffic signal.It may not be a great film and don’t have a cohesive script,but i found it refreshing.If u take any hindi film the portrayal of poor people on streets will be same,they are good at heart,because of circumstances they are poor etc.But in traffic signal they are presented in a different light,how they are using their poverty to their advantage using their cunningness.I don’t know it is realistic or not but possibilities like the conjob the characters in traffic signal do really exist especially drivers of rich guys hoodwinking their own masters in collaboration with beggars.In fact i have come across a guy like that of character played by Ranvir Shorey in my real life
Just checked this movie yesterday, for me it seemed a typical Sidney Sheldon novel kind. Female wants to make it to top, does well in her career, fulfils her ambitions, but always gets involved with the wrong guys, and once at top, starts to get an existential angst, and falls, and again comes back.
I guess MB has been reading a lot of Sidney Sheldon stuff these days.
Madhur is a good illustrator, but not a painter. He has observation, but he lacks intellectual ability to put his observations on a wider perspective of life.
In chandini bar it was Tabu who would sleep around and do the dirty job in order to be successful ( meaning survival). In Page 3, not the protagonist but Koko’s roomies are seen succumbing to vice and sex to become successful. In corporate, Bipasha is shown to have taken the toll of being successful. And now, in Fashion, Chopra is shown going the same way. My question is that does MB think women cant be successful without succumbing to cruel circumstances? No! I am not from a women’s lib NGO but I think that he uses a lot of “convenient” filmmaking tactics. Many women will be like, “Oh! See how she suffers, when will men understand?” and the husband gets an elbow hit in the theatre at scenes like these. His characters never show grey shades. They are either too good to the point of being naïve or they are bad to the point of being manipulative; otherwise they are just playing gay characters.
To add to that he uses the shock treatment to put his narrative forward. The sodomy episode in chandini bar, child abuse and gay flings in Page 3 and Chopra’s one night stands in Fashion.
@Jahan, I agree to what you said but I still cant get convinced that Raj babbar would shove her back in to those alleys from where her daughter returned all bruised and shattered. He still sends her even while she is recuperating from psychiatric treatment and clearly know what all happened with her in B’bay. Conveniently, Chopra regains all sanity when her dad tells her “kuch kar ke dikha, kuch ban ke dikha” and all that. At the end, I did like the movie but I hated those convenient arrangements and so I brought em up here.
I think save Chandni Bar, his best film is Aan. And that says it all.
sir if u have written to share bhandarkar with audience and friends ..he is established film maker and has own genre of film making.fashion produced by his own bhandarkar entertainment FASHION does hve new to watch and analyze and underline my words bahndarkar is quite experimenal in his apprroach.bhandarkar may be disliked for his almost cover story type film making.investigative in his approach and not faring to take issues which is his issue.FASHION demands watching like it for fashion industry and bhandarkar’s PAST offerings.
hmmm quite try MB is over rated…now some facts
he is offered 3 cr for his next
won 3 national awards (or is 2?)
‘most irritating idiot gone big’ award shud b gvn to him…
in 1 interview he was asked wat prepartion, research etc he did for fashion and th dude replies ‘i went to atleast 30 etc ramp shows n met designers and so on…wonder how preeti jain hapnd thn?
its true ‘mediocrity is in!!!
1 question—-who r th best realistic kindda directors in india???
Madhur’s films have strong similarities with those of RGV –it is not uncanny, given that Madhur assisted RGV for several years — both their films have strong characterisations and also a similar grittiness — Chandni Bar’s treatment was very similar to Satya.
However, Madhur is not as intelligent as RGV. Although he potrays ‘reality’ his depiction lacks a certain depth in understanding of the situation, while Ramu does offer a more intellectual perspective of a scenario.
Still, i have found all his movies extremely entertaining…looking forward to watching Fashion…
@Sushil
OF ALL THE 50 COMMENTS ABOVE You are bang on man !!!! TO ALL THE PFC READRES THIS IS THE CORRECT ANALYSIS OF MB !!!!
GK
@Sushil
sorry but cant see a similarity of technique between bhandarkar and RGV. “sensationalism”, “exploitation” etc are terms far detached from RGV’s brand of cinema, even when making Sarkar he steered clear of all these things. whereas adapting such tacts might have ensured a better run for some of his films.
i haven’t seen chandni bar in a long time so cant comment if its treatment was similar to satya or not…..
But i do agree with you, bhandarkar is not as intelligent as RGV and he should stop believing that just like he should stop believing in some of the other preset conceptions he has about himself.
and i do agree with you, his reality lacks a certain depth and understanding of the situation, and that exactly is the main problem.
p.s- from the story of RANN, it seems that its time that RGV just might start trying his luck at doing a ‘Bhandarkar’
Hopefully Fashion which you were too kind to call a piece of crap will not win any awards to encourage Bhandarkar to make more movies along this line. He is now officially the male version of Deepa Mehta - the see how they suffer school of filmmaking.
If you want to see a much better movie on the fashion industry check out Gia - no moralistic preachy tale.
I have given up on Bhandarkar.
@Rusted rick
That was really very intelligent writing,VERY NICE !!!
GK
The only Bhandarkar film I’ve seen is Page 3. Didn’t care much for its petty moralizing.
As has been pointed out by several commenters, Party is a far superior film on a similar theme, with a lot more complexity to the characters. Not surprising, given it’s based on a play by Mahesh Elkunchwar.
It seems that he frames Fashion within a similar middle-class morality framework.
Ok…. this has infuriated me almost to write an article… but what do you guys think? Why the hell in fashion was a Black man (besides the rest of the rubbish cliches ) used to symbolise the lowest point in Meghnas life… my word at that point I would have quit the film…. it was so wrong.. he was just used as a symbol and didnt say a word..to the point where she had to escape like she had been r*ped!
It was just so shameful ….