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Year Of The ‘Scientist’

Filmmakers have redefined the audience’ mindsets with their bold experiments

Cinema has never promised to be the same. In fact, more than anything else, cinema is ever evolving. And 2011 is the best year to cite examples of changes in Indian cinema. There was a time when cinema was in the conventional confines but now she has broken a lot of walls and is bolder and more outspoken.This year, we have seen movie makers of Indian cinema take a step ahead from the usual and the audience have accepted these changes with open arms. Every genre from action to comedy, and drama to horror, was given differential treatment.

I would like to take a risk here and call moviemakers who have come out with movies this
year ‘scientists’ of cinema who have succeeded in their experiments. And I feel very happy and proud to be part of this phase of movie making. There was a time when one could not think of making a movie like Shaitan, Ragini MMS, No One Killed Jessica, Dil Toh Baccha Hai Ji, Yeh Saali Zindagi or Murder 2, keeping social censorship in mind.

But our society has a different mindset now. That is what I tried to cater to with Dil Toh Baccha Hai Ji, by delivering a slice-of-life, comic feel to the whole movie.

I also want to compliment the new approach to the different genres of cinema that we have seen this year. Movies like Singham, Pyaar Ka Punchnaama, Tanu Weds Manu, Yamla Pagla Deewana, Bheja Fry 2, Ready, Bodyguard and many more have proved that comedy is not linear and can be handled in many ways.

People did not walk out of cinema halls after watching these movies, saying, “Oh, this movie was nice.” They walked out with their favourite characters, dialogues and moments; which speaks volumes about the movies. I mean, I still remember, “Mazha satkeli” from Singham and “Aye haye Pappiji” from Tanu Weds Manu. I know for a fact that most critics will agree when I say that this year has been tough to critically analyse the movies but it has been a delightful blast to watch this cinema.

This is the year of trend-setters too. Zindagi Na Milegi Dobara can be called our very own answer to Western road-trip movies. On the other hand, Delhi Belly shows the new, straight-forward approach of cinema.

Yes, the language raised eyebrows but people liked the cinematic approach of the maker. It is relatable and that is what cinema has become today. Nobody could have imagined action hero Ajay Devgn beating up bad guys and still leaving the audience in splits as he did in Singham. And it is amazing how both Salman Khan movies, Ready and Bodyguard, have been popcorn entertainers, which can be called the ultimate in ‘paisa vasool’ movies.
I see how the makers are blurring the line between parallel and commercial cinema and making the audience aware of more genres. I would also like the specially mention the movie Bol for being made with such an intriguing and bold message.

Indian cinema is not a shy girl any more. It is, in fact, more confident of the creativity it holds and the talent it boasts of. I have been a movie lover ever since I can remember and I have to say that as a part of the audience, I feel satiated this year, and as a moviemaker I feel motivated to give more to this change.

This year has given us a lot of keepers. And with satellite rights of movies being sold faster, more people get to watch the movies faster (I am talking about the busy bees that miss out on watching movies at cinema halls). This also reduces piracy.

So, from this year, we have three Dilliwalas who made every belly in the country jiggle; three friends who sold the idea of how friendship is the best relationship of life; enough murders on hand to question love, lust and cause; a bone-tickling cop; a spine-chilling MMS; three men trying to find love… and, wow, I could go on! But English literature would not allow me to have such a long sentence. So I conclude by saying that for Indian cinema, it only gets better from here!

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