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| Box office 2007: Year of experiments http://timesofindia.indiatimes.com/India/Box_office_2007_Yea r_of_experiments/articleshow/2663521.cms |
The year goes down in Bollywood history as the 'Year of Living Dangerously'. Forget the regular hits like Om Shanti Om, Namastey London, Partner and Heyy Babyy .
These were the usual blockbusters that one finds in Bollywood's annual roster, year after year. What made 2007 special was the spirit of Bollywood. Like a new--age Columbus, it embarked boldly on a voyage into the unknown, caring little about the common concerns of cash inflows and revenue curves.
The idea was the lodestar which guided this doughty ship into unchartered terrain, choppy waters and swirling whirlpools. And the end result of all this experimentation was a 'neo--wave' cinema that boasted of films like Bheja Fry, Black Friday , Parzania, Johnny Gaddar, Manorama Six Feet Under and perhaps, the biggest venture of them all, Taare Zameen Par.
Think about it and you will realise that even the two biggies that charmed your heart Chak De India and Jab We Met were formula--busting films.
Chak De struck an instant chord and became the national slogan with its underplayed celebration of patriotism, only because this brand of desh--bhakti was so different from the chest--beating, flag--waving nationalism of films like Border , Gadar and even Lagaan .
Similarly, Jab We Met turned the Dilwale Dulhaniya Le Jayenge formula on its head, merely because its lead characters steered clear of the stereotype, as did the dhamakedar dialogues which crackled with the daily banter of today's youth.
Films like Dharm, Black Friday and Parzania displayed the power of docu--features and showed how cinema could still sell soul--stirring messages about peace, humanity, oneness and tolerance. Bheja Fry lead the bratpack with its attempts to redefine comedy completely and make the laugh act brain teasing rather than rib tickling.
Of course, India still laughed on the banana--peel skids ( Partner, Heyy Babby, Dhamaal and Dhol ). But the Rajat Kapoor--Vinay Pathak banter gave the comic a cutting edge of satire and black humour. But the real teasers of the maverick bunch were two films which made the criminal king.
Johnny Gaddar and Shootout at Lokhandwala stood out for their ekdum human insights into evil, making the anti--hero alluring, yet wicked.
Surely, Vivek Oberoi's crook act in Shootout at Lokhandwala and Neil Mukesh's Johnny Gaddar are the two most mesmerising characters of the year in the 'ignoble' class, even as Shah Rukh Khan's coach Kabir Khan in Chak De India and Aamir Khan's Nikumb Sir in Taare Zameen Par are the hottest characters in the 'noble' category.
The two managed to leave a lasting impact, despite doing away with the usual romantic track that Bollywood heroes can't seem to do without.
In the girlie category, our vote for hot and happening would go to the Chak De girls who showed what woman power was all about; and then for the two debutants, Deepika Padukone and Sonam Kapoor who matched dew fresh charisma with Ranbir Kapoor and Neil Mukesh, the male debutants of the year.
Watch out for them in the next two years, they will be heading the power list soon. But only next to the brand new hero of Bollywood: Innovation, experimentation, ideation. And how do we close accounts without gleefully anointing the duhs! of the year.
Leading the sad pack is indeed Ram Gopal Verma ki Aag which enunciated how not to remake a classic, followed by Nikhil Advani's Salaam--e--Ishq and Shaad Ali's Jhoom Barabar Jhoom , two over--hyped films that bit the dust, despite the stars and the reputed directors.
Remains of the day? Year 2008 is going to be tough: formula won't work, taking the audience for granted will be suicidal, adventurism will be the must--have attitude. Truly, a year to find out: Bollywood tussi great ho or nahin.
These were the usual blockbusters that one finds in Bollywood's annual roster, year after year. What made 2007 special was the spirit of Bollywood. Like a new--age Columbus, it embarked boldly on a voyage into the unknown, caring little about the common concerns of cash inflows and revenue curves.
The idea was the lodestar which guided this doughty ship into unchartered terrain, choppy waters and swirling whirlpools. And the end result of all this experimentation was a 'neo--wave' cinema that boasted of films like Bheja Fry, Black Friday , Parzania, Johnny Gaddar, Manorama Six Feet Under and perhaps, the biggest venture of them all, Taare Zameen Par.
Think about it and you will realise that even the two biggies that charmed your heart Chak De India and Jab We Met were formula--busting films.
Chak De struck an instant chord and became the national slogan with its underplayed celebration of patriotism, only because this brand of desh--bhakti was so different from the chest--beating, flag--waving nationalism of films like Border , Gadar and even Lagaan .
Similarly, Jab We Met turned the Dilwale Dulhaniya Le Jayenge formula on its head, merely because its lead characters steered clear of the stereotype, as did the dhamakedar dialogues which crackled with the daily banter of today's youth.
Films like Dharm, Black Friday and Parzania displayed the power of docu--features and showed how cinema could still sell soul--stirring messages about peace, humanity, oneness and tolerance. Bheja Fry lead the bratpack with its attempts to redefine comedy completely and make the laugh act brain teasing rather than rib tickling.
Of course, India still laughed on the banana--peel skids ( Partner, Heyy Babby, Dhamaal and Dhol ). But the Rajat Kapoor--Vinay Pathak banter gave the comic a cutting edge of satire and black humour. But the real teasers of the maverick bunch were two films which made the criminal king.
Johnny Gaddar and Shootout at Lokhandwala stood out for their ekdum human insights into evil, making the anti--hero alluring, yet wicked.
Surely, Vivek Oberoi's crook act in Shootout at Lokhandwala and Neil Mukesh's Johnny Gaddar are the two most mesmerising characters of the year in the 'ignoble' class, even as Shah Rukh Khan's coach Kabir Khan in Chak De India and Aamir Khan's Nikumb Sir in Taare Zameen Par are the hottest characters in the 'noble' category.
The two managed to leave a lasting impact, despite doing away with the usual romantic track that Bollywood heroes can't seem to do without.
In the girlie category, our vote for hot and happening would go to the Chak De girls who showed what woman power was all about; and then for the two debutants, Deepika Padukone and Sonam Kapoor who matched dew fresh charisma with Ranbir Kapoor and Neil Mukesh, the male debutants of the year.
Watch out for them in the next two years, they will be heading the power list soon. But only next to the brand new hero of Bollywood: Innovation, experimentation, ideation. And how do we close accounts without gleefully anointing the duhs! of the year.
Leading the sad pack is indeed Ram Gopal Verma ki Aag which enunciated how not to remake a classic, followed by Nikhil Advani's Salaam--e--Ishq and Shaad Ali's Jhoom Barabar Jhoom , two over--hyped films that bit the dust, despite the stars and the reputed directors.
Remains of the day? Year 2008 is going to be tough: formula won't work, taking the audience for granted will be suicidal, adventurism will be the must--have attitude. Truly, a year to find out: Bollywood tussi great ho or nahin.
Kyunki Saas Bhi Kabhi Bahu Thi 2
Mannat Har Khushi Paane Ki
Yeh Rishta Kya Kehlata Hai
Udne Ki Aasha
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