Bollywood to Beijing

Bollywood to Beijing
(NSI News Source Info) Friday - August 29: “Olympics or Oscars, it means the same to me.” That was Deepika Padukone quote unquote in an interview to a leading daily’s city supplement about opting for a career in acting and not badminton as one would have imagined. For those who don’t already know, she is daughter to the illustrious badminton champ Prakash Padukone. Well, the leggy beauty from Bangalore who has earned the reputation of being the girl to watch out for, must certainly be ecstatic that her song Dhoom tana from Om Shanti Om was played at the closing ceremony -rhythmic gymnasts from Israel performed to the number at the Olympic Games in Beijing. And those complaining can take heart -the song in question has a fleeting shot of playing badminton!
Not too long ago it was Chak De! India resonating through the stadia during cricket matches. Even the political space, during Gujarat elections last year echoed the Chak de Congress slogan and more recently, it was Singh is Kinng refrain that was heard in the corridors of power when the Manmohan Singh-led Congress faction survived the no-confidence motion. The point I am trying to make is that the song and dance of our films could be indicative of a certain trait that most Indians possess-their love for naach-gaana in life.
Be it Janmashtami, Ganesh Chaturthi or Durga Puja, most of our festivals are marked by singing, dancing and making merry. Happy occasions like marriage -in Bihar where my roots are, the women during the countless rituals sing funny, bawdy local geets teasing the bride about her husband, poking fun at the in-laws and more such. During the bidaai, it turns into a wail with songs about the girl leaving her father’s house for good. There are songs sung during harvesting season (this is common practice in other parts of the country as well).
As far as my childhood memories go, pujas are often accompanied by lyrical rendition of the mantras. During Ramanavmi, Ramayana as it is played out before spectators has musical interludes as a narrative device and so on. As has been pointed out in numerous treatises on folk and pop culture, our musical heritage could have something to do with Bollywood’s musical inclination. In fact, as Hindi films begin to take their place in the world, it is perhaps this feature which will be its hallmark that will distinguish it from the rest.
Mira Nair’s Monsoon Wedding complete with its shaadi n’ sangeet impressed audiences across the world, never mind its modest budget and lack of big ticket stars. It reportedly packed in more people in the theatres in US than Lagaan which was up for Oscars in the foreign film category. Moulin Rouge paid its small tribute to Bollywood style when it incorporated chamma chamma… And spearheading the dance brigade is choreographer, director Farah Khan who has been involved in several prestigious forays on the international front-Vanity Fair, Bombay Dreams and of course, Monsoon Wedding. There’s also Vaibhavi Merchant who along with filmmaker Sanjay Leela Bhansali worked on Padmavati, a French opera recently. The opera won good reviews in Paris. New age filmmakers would do well to keep in mind this differentiator when trying to make their way in the global space-putting it to good use might work better than following the western template sans the sangeet!
Meanwhile, Indian television industry is fast acquiring traits that are in keeping with international standards. If you don’t believe me, watch Big Boss (aptly referred to as House of Horrors by noted columnist Shobhaa De). Every participant, by now obviously wise to the tricks of television, is doing their bit to register well with the viewers. Seeing old footage of them (a jailbird, a P3P in news for alleged wife beating and drug abuse, a failed actor, faded TV actor, an OTT item girl, a wannabe starlet and a wannabe big league politico) wave out to crowds before entering the House hinted at just one outcome-Biggest Loser Jeetega. Long live their fifteen minutes of fame!