Enkayaar, Bollywood Trade News Network

One of the innate desires of Katrina Kaif is to work in a sequel of NAMASTE LONDON to tell to the public how the girl from England adjusts to the societal dynamics of an Indian family settled in a rural area. This desire may emanate from the grounding of Katrina Kaif during her growing phase in England fed mostly on Hollywood films and films made in other European countries.

There is a big point of departure between Hollywood films and Hindi films in the sense that in nearly all of the Hollywood films, the films start with the hero having a family, then a estrangement crops up in the relationship, and then either the relationship meanders off to a separation or through the situational dynamics of the films the lead actors rediscover themselves. This is seldom the case with any Hindi films, which are characterized in nearly most of the times by the hero chasing the heroine through out the film in one way or the other, and once they have been married off the family comes to an end. Seldom is the relationship explored through the birth pangs of marriage.

This is rather strange as India is one country where marriages generally happen early so the exploration of this nuance could open up a new vista for the social dynamics. Wherever this new vista has been explored it has been in the form of a third angle, and a new woman appears on the scene, without injection of this new character, the relationships have not been explored, be it in GRIHAPRAVESH, or SAATH SAATH or ARTH. The blame for this snapping of relationship is then conveniently put on the head of this third dimension. Seldom is the relationship explored through the process of birth pang that a marriage undergoes in a normal case. Even in DHOOM:2, where there was an opportunity to explore this genre, the character of Bipasha Basu was injected as a third angle whereas there was an opportunity to explore the angst of the wife of a police officer caught in the cross fire.

There is an indifference to this genre, as when the films end, the future developments are just told by way of narration. Vital nuances of relationship that evolve in a marriage and the struggle of life could be the food for thought. If this genre opens up, then the lament of not having a good quality story may become a thing of the past. The business of remakes may also be given a quite burial and this could herald a new era for Hindi films.

Few attempts are being made in this direction by the new breed of directors, and the success that has been achieved by them through the films like LIFE IN A METRO is an indicator about the fact that the audience likes this kind of content.

While SHOLAY is now being converted into another crack is going to be made to make it in a new manner, it would be interesting to make it up from the point of how Thakur is adjusting to his new role, as also how Biru and Basanti start their life. The possibilities are immense. For the opportunities the sky is the limit. The audience, which has been fed on the staple diet of laugh riots like AMAR AKBAR ANTHONY would be too eager to wait with anxious anticipation how they proceed in their life, and when David Dhawan is remaking it, he could think about developing the film through this perspective. The success of MUNNA BHAI series has provided ample testimony about the fact that a story that moves forward has a wider acceptability, though it does not explore the relationship of Munna after his marriage and his adjustments. The ground has been prepared by Munna Bhai series, and it should serve as the launching pad to move the industry on to a new terra firma.

One of the innate desires of Katrina Kaif is to work in a sequel of NAMASTE LONDON to tell to the public how the girl from England adjusts to the societal dynamics of an Indian family settled in a rural area. This desire may emanate from the grounding of Katrina Kaif during her growing phase in England fed mostly on Hollywood films and films made in other European countries.

There is a big point of departure between Hollywood films and Hindi films in the sense that in nearly all of the Hollywood films, the films start with the hero having a family, then a estrangement crops up in the relationship, and then either the relationship meanders off to a separation or through the situational dynamics of the films the lead actors rediscover themselves. This is seldom the case with any Hindi films, which are characterized in nearly most of the times by the hero chasing the heroine through out the film in one way or the other, and once they have been married off the family comes to an end. Seldom is the relationship explored through the birth pangs of marriage.

This is rather strange as India is one country where marriages generally happen early so the exploration of this nuance could open up a new vista for the social dynamics. Wherever this new vista has been explored it has been in the form of a third angle, and a new woman appears on the scene, without injection of this new character, the relationships have not been explored, be it in GRIHAPRAVESH, or SAATH SAATH or ARTH. The blame for this snapping of relationship is then conveniently put on the head of this third dimension. Seldom is the relationship explored through the process of birth pang that a marriage undergoes in a normal case. Even in DHOOM:2, where there was an opportunity to explore this genre, the character of Bipasha Basu was injected as a third angle whereas there was an opportunity to explore the angst of the wife of a police officer caught in the cross fire.

There is an indifference to this genre, as when the films end, the future developments are just told by way of narration. Vital nuances of relationship that evolve in a marriage and the struggle of life could be the food for thought. If this genre opens up, then the lament of not having a good quality story may become a thing of the past. The business of remakes may also be given a quite burial and this could herald a new era for Hindi films.

Few attempts are being made in this direction by the new breed of directors, and the success that has been achieved by them through the films like LIFE IN A METRO is an indicator about the fact that the audience likes this kind of content.

While SHOLAY is now being converted into another crack is going to be made to make it in a new manner, it would be interesting to make it up from the point of how Thakur is adjusting to his new role, as also how Biru and Basanti start their life. The possibilities are immense. For the opportunities the sky is the limit. The audience, which has been fed on the staple diet of laugh riots like AMAR AKBAR ANTHONY would be too eager to wait with anxious anticipation how they proceed in their life, and when David Dhawan is remaking it, he could think about developing the film through this perspective. The success of MUNNA BHAI series has provided ample testimony about the fact that a story that moves forward has a wider acceptability, though it does not explore the relationship of Munna after his marriage and his adjustments. The ground has been prepared by Munna Bhai series, and it should serve as the launching pad to move the industry on to a new terra firma.