The pressures and challenges of providing more thrilling and exciting content than the first is no joke.
The score card on directorial seconds
Bollywood, as a space, has always been hugely racist, shamelessly rooting for a particular prototype, ignoring, rejecting, dismissing, praising, but not casting, any male hero who does not fit into their dumb, myopic mold.
Bollywood gets bold with unusual lead pairings.
Who is to blame when a film flops?
What is behind our fascination with horror films?
The events of 9-11 have changed cinema. These changes have been far ranging, from narrative construction and movement to the aesthetics of urgency.
Some of the biggest studios of the 1920s and 1930s now lie in ruins.
The ideas of many great Hindi movies germinated in these lunch homes, the stomping grounds of the greatest film-wallahs.
Indian society, post-globalisation may be wanting to make that critical, new-age, paradigm shift regarding morality, but still feel distinctly uncomfortable while discussing anything to do with sex.
Be it in the film world or ad world, old melodies from the 1990s, 1980s and even earlier are striking the right chords with young music enthusiasts, who are loving and lapping up the snazzier and contemporary remixed versions of the tracks.
For Nair, the very existence of the past, even in its residual form was more important than constructing a discriminating history of cinema.
New breed of cinema in English is redefining filmmaking in India
Perhaps more than any other film-maker, Yash Raj Chopra (Dhool Ka Phool to Daag, Kabhie Kabhie, Silsila and his last Jab Tak Hai
Is Bollywood dumb, lazy or plain indifferent to physical or psychological differences and uses them as a convenient soft target for laughs or tears?
Happy everafter in holy matrimony, maybe. But sexy starlets divorce their fans when they hitch up.
Why do pop stars, movie divas and sports hunks drive us nuts?
Yash Chopra defined love and romance on the silver screen.
Suddenly the traditional boy-meets-girl formula, accompanied by the attendant melodramatic hi-jinx, has given way to some semblance of realism in subject, story-telling and performance.
Are these films really the new cinema, worthy of the hype and celebration and the new directors really the new stars and trail-blazers offering pulsating, exciting, no-holds-barred, creative chutzpah that separates the real from the fluff?
Sure, Bollywood is on the rise, but as a global force that instantly demands and gets respect, awe, admiration and attention, sorry folks, Hollywood is the real thing.
Even megastars like Amitabh Bachchan and Salman Khan are rebelling against Bollywood— the word that is.
The star wrestler-actor Dara Singh embodied all that Indian-style clarified butter or “desi ghee” stands for — not least its potential for good honest home-grown strength and tenacity.
Frankly, India of the late 1960s was totally unprepared for Rajesh Khanna. The film industry, blown out of its mind, christened him Superstar. Stardust, the new iconoclastic, irreverent and deliciously chatpata new film magazine on the block, baptized him the Phenomenon and sold out its maiden issue within days just via banners enquiring whether Rajesh will/has married his girlfriend (at that time) Anju Mahendru?
Music is the essential stressbuster for many Bollywood stars, trying to cope with erratic shooting schedules, hectic travel and long hours under the arclights, not to mention the unrelenting paparazzi gaze.
Aishwarya’s figure is cause for global distress. The querry “Aishwarya figure”throws up over 4 million results on google.
The awkward fact remains that although Bollywood is the world’s largest movie factory, we don’t register even a hiccup in this gala, global, mega feast. Historically we have been conditioned and programmed to believe that it’s not the winning or losing, but participation that is the key.
Will Chillar Party’s National Award inspire a rush of child films?
The Indian Premier League is no longer perceived as a great threat for film releases.
Possibly shaken up by these flops, she attempted to switch lanes, get adventurous and experiment with masala fare.
How far are Bollywood stars willing to prostitute themselves?
Why does the most glamorous, celebrated and venerated award spurn Bollywood, the world’s largest film industry?
The idiot screen overwhelms the idiot box, once the spot for cute, sweet, homely, intimate fare.
A fan and critic bids farewell to the most enduring — and handsome — of Bollywood’s romantic legends.
The fact that the movie was a thinly-veiled bio of the southern sex-bomb of the 1980s Silk Smitha added solid, lip-smacking spice.
Atta Girl! Way to go! Never was dirt so sexily rewarding!
The magic and mystique of Dev Anand, Bollywood’s original Dorian Grey, a human, turbo-charged dynamo who refused to stand still, look back, rest on his laurels or be discouraged by flops or stinging broadsides of critics, contemporaries and colleagues, zooming ahead with passion, towards his next project.
Whatever happened to Bollywood’s heartbreak melodies?
“In such an insanely competitive market, to carve a niche with such modest talent, is indeed fantastic and I mean it as a compliment.”
Over time, serious contenders, such as Akshay Kumar, Ajay Devgun and Hrithik Roshan, enjoyed their moments (they still do), but all things considered, the Khan trio between them seem to have hijacked the popular imagination and developed an unmatched and unprecedented fan base across the globe.