The Indian cinema has not only increased in bandwith but also has widened its wavelength in determining its content.Very few would have expected an off beat film like Shor In The City starring Radhika Apte and Tusshar Kapoor to stare at even an ephimeral financial success.But the outcome proved itself wrong.The critics not only applauded the attempt but also gave birth to a new solid footing of Indian showbiz.
Gangs Of Wasseypur with its sequel not only made Tigmanshu Dhulia the most sought after Khalnayak but gave wide recognition to the so called arthouse cinema deprived of the jewels for long.Kay Kay Menon expressed his reservations about the lack of reality and the emergence of superhumanbeings as heroes.
Stardom and acting have many a times shared a rapport of beef and pork with little homogenity.A Naseeruddin Shah has been for long being picturised as a monolith of Guru Dutt films.But when he shook his foot in the film Tridev with the song Tirchi Topi Waale even A.K Hangal would have reiterated his ‘vulgarious’ act in Shaukeens with pride.
Gulzar in one of his interviews stated that Sanjeev Kumar once told him in disgust after again being offered an aged man role
“tumko yaar meri jawani dikhai nahi deti….”
But this perhaps is the rugged rule of the Indian film industry,where the image of a conveniently less actor may well be overshadowed by the action or reaction of stardom.Gulzar wrote Koshish starring Sanjeev Kumar and Jaya Bhaduri depicting the story of two deaf and mute people who fall in love with each other,get married and execute their life overcoming the impediments and difficulties.
The film released in the Rajesh Khanna dominated early 70’s which was still no blockade in serving Gulzaar and Sanjeev Kumar National Film Awards in 1973. Though,neither Jaya nor Sanjeev could bag an award in the 1974 Filmfare.Perhaps this accomadative example will serve as an ideal incarnation of the divide between populist and intellectual awards.
Though awards or state honours have long been manipuated by propagandist measures,something always sanctifies these ceremonies.As to others grapes are sour, many people for long has questioned the basis of such a justification.
Irrfan Khan whose Paan Singh Tomar redefined the utility of biopics in Bollywood has little functionability as a superstar.Accidentally this actor who produces perfect punchlines in Vodafone ads got inspired by the megaster of bollywood.At last, some compromise and reconcliation in not so somber sense.
Even in the south the eternal divide of superstardom vs intellegentisia has presented itself in the form of Rajnikanth vs Kamal Haasan. While Anna will rub off his sunglass and faunt his walking tantrums,the Dravidian society will go wild.But while Kamal Haasan who fits so generously in every role,never gets such a crazy parrafin of shouts and name callings.
Even in Bengal where artistic fervour finds true sense,there is always an astute demarcation between Mahanayak Uttam Kumar and the more box office averse Soumitra Chatterjee.
In conclusion stardom in many ways also enthralls shaili or style which always have been an X Factor hard to do away with.In the country of 33 crore deities,superstars are also considered one.Many pose seductive GQ shoots,but the one with most views is that of Mallika Sherawat!Acting is like standing in elections,stardom is winning them…………………