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It
could be any male or female persona in the
Indian cinema .What matters the most is the
piercing impact of sensuality on the imagination
of today’s audience. Artistically or non
artistically, the rising passion of the audience
in quest of physical beauty is much in demand.
We may point finger on a Bhojpuri actor and the
interlocking of the lips of the duo. But an
expression like this, in physical and sensual
term in the name of exposure and physical beauty
is a bracketed social stigma which was never in
the old Indian films. A viewer, possibly as a
critic on Indian films would like to make a
point on a scene from the classic ‘Mughl-e-Azam’:
(the eye contact between Saleem and Anaar Kali,
decent and gentle, in the lake silence around,
Saleem peeps into the eyes of Anarkali and his
hand with a tender rose which gracefully moves
on the face of Anarkali in the courtyard of the
palace), a scene like this is almost on the
verge of extinction in today’s Bollywood films.
Those purest romantic romantics are no more or
seen in today’s films. This scene itself is an
example of serious thought which comes out from
a serious mind of the director K. Asif. Above
all, the impact of a scene like this over the
audience is considerably respectful. This is art
which explains the society in the right sense.
Ganga Jamuna, a masterpiece in Bhojpuri accent
can be taken as a model for Bhojpuri film makers
besides many other black and white films in the
same language or accent.
Movie going is not only a pastime particularly
for a certain class of society. Attitude of the
audience is never the same if we think of making
a film and maintaining the quality of the film.
Bollywood perhaps is the second largest maker of
the films in the world at the cost of millions
of rupees. For some, it is booming while others
could be bankrupt. But unfortunately, quality of
the film may not be the concern for the makers
the films. If the films are filthy and
obnoxious, producers and directors must realize
that the most sensitive part of the deep rooted
psychology of the audience is more important
rather than liking and disliking of the
audience. Film industry is now technically more
advance and faster than before, equipments and
trained artists are now available more but the
motif unfortunately is almost never the same
which happened to be before i.e. of course
commercialism in the name of art in the film
industry. This might be one of the foremost
reasons for going down the qualities of the
films. Such downfall is remarkable in today’s
Hindi or Bhojpuri films. Extra-marital
relations, degenerating society and many more
other social issues are the burning subjects
which are quite obvious in the latest films of
which the film makers have thought of and
produced. These films are now society’s property
where everyone is not a director but anyone can
come up with a justified opinion about a film
that a particular director has made or a
producer has produced.
Zooming of the camera lens and the zeal of the
people need reevaluation of the film industry
where real art is threatened by the charm of
film commercialization. Because, a film too, is
an open agent of education in a living society.
शक्ति जो चेतन थी,
अब जड़ हो गयी है।
बचपन में जो कुंजी मेरे पास थी,
उम्र बढ़ते बढ़ते
वह कहीं खो गयी है।
- दिनकर
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