In this exclusive column, filmmaker Ashutosh Gowariker looks back on how Indian cinema has changed, just as the country has, over the years
In this exclusive column, filmmaker Ashutosh Gowariker looks back on how Indian cinema has changed, just as the country has, over the years
My belief is that societal changes with regards to culture, politics and religion, bring about a change in cinema. And filmmakers express their interpretations through stories and present it back to society. Society then chooses a film that adheres to their state of mind and flocks to the cinema or stays away from the theatres, if they think it does not. That is why the type of a star keeps undergoing a change, like the wheelbarrow. Macho heroes are replaced by the thinking woman’s heroes, to romantic heroes to the comedy kings.
The ’50s were very soulful. And so, the heroes were depicted as having an ambition to build a new nation. The feelings of brotherhood and camaraderie were supreme! This was followed by the ’60s, a happier period, where the hero was helpful and very high in manners and morals and at the same time, had an air of boisterousness about him. Two slogans were being promoted across the nation — Jai Jawan, Jai Kisan!
Disillusionment with the system set in by the ’70s, when the people of India felt betrayed by the government. Overpopulation had given rise to unemployment and the common man had become restless. This led to the birth of the angry young man, for whom poetry was replaced by angst. He only wanted the bare necessities — Roti, Kapda aur Makaan.
In the ’80s, the country went through internal strife and the common man was increasingly getting frustrated with the political leadership. Goondaism became rampant. Cinema captured this aspect in its movies, which was not necessarily very entertaining fare. And hence most senior citizens say that the ’80s comprised the worst decade for our country. Cinema was not far behind.
Instead of a new hero, the ’90s introduced a new villain for society as well as in movies — the terrorist! Suspicion towards the neighbouring countries grew alarmingly. Cinema bravely began to point fingers to the neighbouring countries for fuelling terrorist activities. Naturally, the new hero had a fresh job — to wave the patriotic flag. He became immediately popular as he reflected the patriotic fervour in “we, the people”!
The turn of the new millennium brought about a strikingly different change to the country. Globalisation, industrialisation, foreign investments, international franchises, communication technology all of this gave a new face to India. And to the new hero, who began to wear an earring, stubble and an attitude that overflowed with infectious self-confidence. So much so, that unconventional faces also became the heroes for the new emerging India. It did not matter what the new hero looked like. What mattered is how he led his life. He is the real hero, the no-nonsense, super-strong, smooth-talking and convention-breaking!
I feel very privileged to have begun my career as a director in the ’90s and through the millennium till this day. My heroes in my movies have undergone a change constantly — be it a struggling actor Deepak Bakshi in Pehla Nasha; a cop, Amar Damji, who is trying to fight the terrorist menace in Baazi; a patriot farmer Bhuvan who wants to fight oppression in Lagaan; a scientist, Mohan Bhargava, who understands the true meaning of nationalism in Swades; Emperor Akbar who understands religious tolerance and propagates it with regards to his wife in Jodhaa Akbar; an NRI kid Yogesh Patel, who finds a novel way of choosing a wife in What’s Your Rashee ; and finally a school teacher — Surjya Sen — who attempts to challenge the British empire in Khelein Hum Jee Jaan Sey. Each of these heroes emerged, according to me, due to the changing times in the country.
There is a thrill in making unconventional cinema. Because it gives you freedom from following trends. Freedom from following what audience wants. Freedom from market demands. Freedom from anguish of what releases on every Friday.
Look at historicals — I think the reason we are right now looking back so much at our history, because in the past, we never got the opportunity to do so. We have newly discovered the Biographical Picture, which in the past was completely alien. We already had films on Gandhi, Nehru, Sardar, Ambedkar, Savarkar and Bose and now on Tagore, Tilak, Swami Vivekanand, Raja Ravi Varma, Maanjhi, Mary Kom and many other sportspersons. What is interesting to see is that we are trying to look at different genres, which in the past we could not.
Today, we don’t have to limit ourselves only mainstream commercial requirements, because believe me, what you are going to come up (with), is going to become mainstream commercial. So, if you have got that kind of an approach, that kind of an attitude, then the subjects that you want to make will actually find themselves on the screen.
What I love most about the medium is its ability to influence audiences, bring about a change in their thoughts, their ideologies, for the betterment of society. I am of the firm belief that “cinema must also entertain”. I would always like to package a social message in a film while being entertaining.
Today, Indian cinema is going through a transition period, with more and more industry folk willing to take on genres, scripts and formats that they had not tried before. That the audience wants a change is a given. You and I want a change. Everyone wants a change. We want change all the time. But this time the desire for change is with regards to newer script ideas, different genres, different formats... also different kinds of films — mainstream musical cinema, offbeat commercial cinema, parallel cinema, indie films, independently financed cinema and government or state funded cinema the list is only growing!
