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Relationships in crossover films
Are niche films taking an in-depth view of relationships?
Times have changed. Sweeping transformations are hitting India in all areas. Be it trade, entertainment or culture. Cinema has always borne the mantle of reflecting the tastes and mindsets of societies. Against this background the new crop of niche or multiplex films as they are popularly called are beginning to show reality the way it is. Not in the stark manner of new age cinema of the 70s but reality packaged in decorously. Is there any truth in this reality or is it just a packaging gimmick to pull in diminishing crowds?
The larger construct of the framework within which these movies operate is realism. From a macro perspective one distinctly feels that themes, subject matter and treatments are getting more real. What was started with Hyderabad Blues has been worked and re-worked upon consistently since then but the framework exists. And appeals. Cultural scenarios change but realism stays. Be it the Mumbai of Jhankar Beats or Hyderabad of Hyderabad Blues. It smells of the city on screen.
So much for real locations. But does that extend to real people as well. Validates Sanjay Dayma, Director of Ramji Londonwaley, "There is more opportunity to deal with realism in these kind of films as they are based on realistic construct. Thus there is a necessity to delve into the greys of characters and relationships, enter the psyche of the character, wherein mainstream cinema does not offer that kind of opportunity."
This is a valid motivation behind these films but sadly it cannot be applied in its generality. If one looks at films like Mumbai Matinee or Bollywood Calling or Bombay Boys one would be left with the clear feeling that the only thing real in these films are the locations. Relationships are skeletal and characters are caricatures. But these were spoofs and satirical. Movies like Morning Raga, Mr and Mrs Iyer, Iqbal etc., have not only brought a tear to the eye but also given that long asleep brain a wake-up call. There definitely was a sincere effort to delve into the psyche of the rural mother-in-law and urbanised daughter-in-law and the caught-in-between son / husband. Similarly, Mr and Mrs Iyer handled sensitively the travails of two people thrown together by circumstance. So was the case with Iqbal which, although as a sub-plot but deftly portrayed interpersonal relationships maturely.
Then one wonders, is sensitivity and depth beyond the bounds of genre then? Kumar Dave, screenplay writer and associate director of Lagaan agrees completely. He says, "There is no universal message behind this kind of film-making. The sincerity, sensitivity and the maturity that one sees in them is a reflection of the maker and is not dictated by the genre they work in. This is possible and implemented in mainstream cinema as well. If mainstream cinema has limitations of realism being overbearing, multiplex films bear the burden of low budgets and a limited target audience."
Verily multiplex films are aimed at a specific target audience, which is urban, educated, upper middle class and mainly the youth. Thus there is an evident race to supply popcorn flicks to youngsters that are as hip and trendy as their capris and floppy caps.
Films like the above stay a minority then. In that scenario packaging becomes very important and smart makers use realism as a marketing peg paying little attention to characters or their relationships. Continues Mr Dave, "This is a new trend that is showing signs of success and producers on the lookout of a 'formula' are latching onto it. But it remains a case of old wine in new bottle. One has to be true to the subject be it mainstream or niche and that is lacking to a large extent in these kind of films."
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