In Defence Of Masala Movies
Do the “Art-Wallahs” have a superiority complex, project “attitude” and believe they are God’s chosen ones to further the cause of meaningful cinema?
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September 9, 2008 at 2:19 PM
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Art. Realism. Truth. Vision. Commitment. Belief. For years, a section of a “niche” crowd (filmmakers, critics, audience) had been doggedly championing the cause of the other cinema. A cinema that was clean, honest, meaningful artistic, life-enhancing, propagated by a band of people passionately devoted to the noble endeavor of providing the “hoi-polloi” (trapped in a pathetic cul-de-sac), a solid and substantial alternative. A cinema of aesthetic worth and financial viability, sans the tinsel thunder of stars, gaudy elaborate sets, foreign locales or obscenely expensive budgets. A cinema that epitomized the philosophy of “Small is Big” and invested in their matrix that elusive magic of feeling and warmth that touched the soul, not merely dazzled the eyes. A cinema of the here and now that did not sell dreams, but portrayed the power, truth and beauty of the Indian reality — warts and all.
So far, so good. The problems started when some of these films started drawing special attention, making a name and a modest kill at the box office, but most importantly, going on to win national and international awards. Overnight, these “strugglers” began to strike poses, mouth hi-fallutin’ platitudes, superciliously talk about how they were now a part of international cinema, and of course, trashing the mainstream product, Bollywood. But why this hostility and agro towards a cinema that continues to provide its unimaginably large fan-base across the globe, their much-needed manna from heaven? An industry that has an investment-base of crores of rupees with technology and infrastructure that is mind-boggling? A cinema that for sheer gloss, glitz and hype is probably second only to Hollywood? Most importantly, a cinema that frankly couldn’t give a damn about the existence of a movement that hardly ever posed a threat?
Their gods were made-in-India — Raj Kapoor, Guru Dutt, Mehboob Khan, Raj Khosla, Vijay Anand, Manmohan Desai, Prakash Mehra, Ramesh Sippy. They’ve never (consciously) considered themselves to be a part of world cinema. They’ve never had any illusions about winning awards at any of the hot-shot international film fests, although today Lagaan has seduced their appetitem and only when severely provoked have they fired a broadside at the other (Bhookha-Nanga) Cinema. By and large, they have stuck to their basic idea of movies (not ci-ne-ma) as hardcore entertainment for the masses that is committed to rake in the loot or at least break-even on investment. They do not see it as an art form, propaganda vehicle or an artistic form of self-expression. They have no axes to grind and nothing to prove except how successful they are as dream-merchants and going by their uncontested domination over the public imagination and sensibilities (ever noticed how even the corniest film-oriented program on TV scores hugely over the ‘meaningful’ programs) they must be doing something right!
The last words must belong to an insider who’s been in the thick of this movement when it exploded in the mid-seventies. “Ideally, there should have been no conflicts between this art and commercial divide. They can happily co-exist. There is an audience for both. Problem starts when people believe they can change the world, but along the way, switch lanes. With a few exceptions, it’s amazing how fake and self-seeking most of these guys are! In the name of good cinema, they had no problem selling their souls to get into the Panorama section of the Indian Film Festival and move on to the International circuit. That was their Big Bang — Cannes, Venice, Berlin, London or any of the smaller versions! To them it signaled arrival and achievement. The producers and the local audience could go to hell, along with the technicians and artistes, all of whom gave their life-blood for the film. Is it any wonder that Naseer Shah (after years of being conned), finally gives it to these fakes whenever and wherever the occasion demands?” In the final analysis, it is important to remember that beyond talent what is needed is a high level of integrity and commitment to traverse this lonely route of the small cinema. Its rewards have to do with accomplishment, prestige and honor rather than glitz, glamor and big bucks. One can’t have both, The Bollywood boys are clear in their funda of drooling over Mammon. Professing undying allegiance to the Muse while secretly lusting for filthy lucre is not very arty, is it? Serious cinema - a close-up!
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