Filmfare Awards and the new Bollywood

I usually don't expect much from the Filmfare Awards. It's rare that a Best Actor or Best Film Award will go to a movie that wasn't a box office sensation. Most years, top-grossing films are the winners and critically acclaimed films receive "The Critics Award," which is odd-- a clear demonstration that deserving movies do not receive the popular awards.
I do not like the Hollywood/ Bollywood comparisons, but The Filmfare Awards are often referred to as The Academy Awards of Bollywood. Keeping that in mind, can one imagine Spider-Man 3, the top- grossing film in Hollywood history, winning an Academy Award over No Country for Old Men?
One of my strongest criticisms of Bollywood was that the immensely commercial, made-for-profit-only films made money and won the awards, strengthening, and only strengthening, that one kind of cinema. But, thankfully, this year's Filmfare Awards reflected the new movement in Bollywood.
Any other year, I would have bet money that the box-office sensation "Om Shanti Om" would have won Best Film, Best Actor, Best Director, and/or even Best Music. But it won no such award. The movie was entertaining and fun-- but definitely not worthy of an award. This year, movies that did win were movies that deserved to win (albeit maybe not my personal favorites).
All the films that won the main awards (Taare Zameen Par, Chak de India, Jab we met, Life in a Metro), were refreshing, innovative, and best represent the new movement in Bollywood cinema. All these films broke away from conventional themes of masala movies (some didn't even have a love story!).
One important point to note is that all these films still did make good money and had at least one major star in it. Granted, the movies that won were not parallel cinema, and most winners were actors who have all won Filmfare Awards before. But the films themselves represent the changing nature of Bollywood. An Om Shanti Om isn't going to guarantee an award, as it once would have in the 1990's. But a heartfelt story about a child with dyslexia won Best Director, Film, and Critic's Award.
The Awards represented, not a new Filmfare, but a new Bollywood.

2007: Turning Point for Bollywood

2007 was a move in the right direction for Bollywood. Although 2006 had some better movies, 2007 comprised of films that had great performances, better scripts, and no random shots to Switzerland. The films I chose were based on what I believed were incredibly entertaining, to films that were intellectually wonderful, to films that were healthy and necessary for Bollywood, and pushed the envelope. So, here are a list of my 2007 top favorites (in no particular order):

• Dharm-- This movie, although almost impossible to find, has been very much in the news. From being screened at Cannes Film Festival, filmed in superior quality, and the controversial court case issued by director Bhavna Talwar when it wasn't entered into The Academy Awards, this film was able to keep its own in the news, a rare feat for such art films. Maybe it wasn't widely watched in India, but it has garnered some press, which is a start. From the script to the cinematography to performances, from reaching the depths of understanding religion and humanity-- this film was one of the best Bollywood films in the last few years. I only hope I see a film as brilliant as this one in the future.
  
• Taare Zameen Par-- This movie was able to appeal to the masses, and was touching and real. The performances (Darsheel, Tisca Chopra) were incredible. The story was unique and definitely one that told the tale of many households. But another reason is why I added this movie to this list is because of Aamir Khan's involvement. One of the highest paid actors in Bollywood (neck to neck with Shahrukh Khan), Aamir's directorial venture didn't use the typical masala ingredients. It was an attempt to make a completely different, smart, "intellectual" film. So all those who look down on "intellectual" films because of their lack of appeal or profit-- Taare Zameen Par proves them completely wrong.
• Chak de India-- The reason this movie is on this list is not because I was completely bowled over or because I was incredibly entertained, but because of the script's originality, the themes of feminism in India, a woman's role in society, and the gap between language and cultures in India. I also loved that this movie, like TZP, did so well, despite the lack of synchronized dance sequences, lip syncing, or a love story. Even if the story was predictable-- the overall themes and the fact that it was a success should also prove to critics that commercial isn't what it used to mean in Bollywood.
  
• Life in a Metro-- This is the most "Bollywood" out of any movie on this list, but still no synchronized dance sequences or lip syncing. It was sincere, real-- yes over-the-top at times, but with some great performances and stories. I think Bollywood can do better, and some stories were better than others (the Konkona-- Irfan story was brilliant), but this smart, emotional story made me like Anurag Basu, love Irfan even more, and regain faith in Bollywood love stories.
  
• Gandhi My Father-- This film was risky, in that it was pointing fingers at Gandhi. But, it was a risk worth taking. Although the film unfolded like a play (after all, it was based off of a play), the overall production was a gem of 2007. The best performance was not Akshay Khanna, I believe, but Shefali Shah, who proved yet again that good acting is everything.
  
• Black Friday-- So tragically real, and yet, so entertaining. All those Anurag Kashyup haters (I'm not one of them, because I admire his bluntness) may use "No Smoking" as an example of a failure, but not Black Friday. It was true, yet not racist- real, but not offensive. What more could one ask for from a movie about the horrible 1993 Mumbai Bombings?
  
• Johnny Gaddaar-- Neil Mukesh is hot, but that's not why I liked the movie. It was a thriller done well, with an amazing script and great performances from all. I also applaud Neil Mukesh for his choice of debut to Bollywood. He himself said that he wanted a film that would show his acting ability, not his profitability. Lucky for him this film definitely proved both!
• Bheja Fry-- Although it's a copy of a French film, this movie is on the list because it was a low budget alternative film-- yet highly entertaining, and it actually made some money. Great performances and fun movie, I hope to see more of these in the future.
  
• Honeymoon Travels-- A comedy, yet one that was gutsy enough to include themes of feminism, homosexuality, and typecasting. It was silly at some points, but incredibly touching at others. This film touched on topics which were usually stereotypical and derogatory (interracial marriage, homosexuality) in mainstream Bollywood, and for that-- I applaud Farhan Akhtar for stepping away from typical masala and taking a risk to produce something much, much better.

Taare Zameen Par- A Winner

So I finally saw Taare Zameen Par-- and I do believe it has lived up to all the hype.

The performances by all, the realness of the movie (definitely one of the best Bollywood movies that has captured the cutthroat competition and expectations among Indian youth today), and the script were all brilliant and some reasons why this was one of the best Bollywood movies these past few years.

But-- the reason why this movie in particular has stunned critics and audiences everywhere is that, simply, it's different. First of all-- the movie isn't directed by a Nagesh Kukunoor or a Rituporno Ghosh. It's directed by the extremely mainstream, popular actor Aamir Khan (who also stars in it). Khan could have opted for an extremely masala movie, like his last film, Fanaa. But, he opted to make this film about a child who has dyslexia, and the struggle the child (Darsheel Safaray) faces at home and at school. There was no romantic angle, or any of the "ingredients" masala films usually demand, such as synchronized dance sequences or action scenes.

The script also deserves a special mention. The father of Safaray's character could have easily been portrayed as an unreasonable man who refuses to budge from his strict nature. This character was handled quite well. He wasn't so evil that he was unrelatable, but instead, a figure that people could easily relate to. Stories where children are the main characters haven't done too well in the past. Safaray's incredible performance and the realities of this story have made the movie a hit.

The film, albeit had a slow pace at some points-- was a touching and heart warming one to watch. With that said, this movie is one that is necessary for today's India.

The Winners and Losers for the rest of 2007

As 2007 comes to an end, some of the best Bollywood films are going to be released. Here are the films I'm looking forward to, and the ones that, well, I'm not.

The winners:

1. Khoya Khoya Chand-- If you saw Sudhir Mishra's Hazaaron Khwaishein Aisi, you'll understand why. He's a great director, and both of the actors (Shiney Ahujya, Soha Ali) are talented actors who have proven themselves over and over again. The film is about films, set in the glamorous era of 1950's. A definite winner for me.
   
2. Aaja Nachle-- Of course! It's Madhuri, and she's fabulous. With a great supporting cast and with a backdrop of dancing, I'm very excited for this film. I just hope it will live up my expectations and not turn completely Yash Raj on me (they are, sadly, producing it).
3. Taare Zameen Par-- even though I feel that Amir might over-do it (especially after watching a frightening clip when he was dressed as a clown and was jumping around... it was supposed to be fun, but trust me, it wasn't), I still think that it's different enough that I will enjoy it. There is no love angle (progressive!), and the story focuses on children. Rare for Bollywood. Maybe, it's unconventional-ness will make it work.

The Losers:

1. Welcome-- It's a story about Akshay Kumar, and this girl he likes... and this girl has three crazy brothers, who are part of a gang, or something like that. Basically, it will be the same jokes, same songs, and the same ending. It will probably be the predictable hit, but that doesn't mean it will be a good movie.
   
2. Dus Kahaaniyan-- The film has ten pieces, and there is a different director for each segment. One segment might be incredible-- the one with Shabana and Naseerudin, but other than that, I don't see the film working. It may be great in parts, But as a whole, I don't see the film selling as a package, or having some sort of unifying theme. Maybe it could pull a Babel, but I think not.
   
3. Strangers-- even though the film has one of my favorites, Kay Kay Menon, it also has Jimmy Shergill, not one of my favorites. I feel like he will drag the film down, but I'll still watch it for Menon. Overall, I predict it won't be a good film.

Let's wait and watch!