JAY JOSHI
Actor Nawazuddin Siddiqui recently stated that one is perceived as a successful actor only if one gives a 100 crore hit film. There is no doubt that Nawazuddin has carved a niche for himself in the industry, and has considerable star value in his own right, but his statement does highlight a worrying trend in Bollywood. There are times when films which do not have much intelligent content to speak of make booming business, while some of the better ones remain underrated. Why does this happen? TG Life took this question to some filmmakers, producers and directors around Goa, and received an insight into the constant struggle between art and economics within the industry.
“Bollywood does make a lot of ‘masala’ films just to entertain the masses. True, there have been directors such as Sanjay Leela Bhansali, and there have been a number of historical films that have stood out,” elaborates producer Pramod Salgaoncar. “But now there is this trend of ‘100 crore club’. When you setup such criteria, there is competition, and the people who have potential to make good quality, realistic films also end up entering that race to be seen as ‘successful’.” Thus, the industry might be losing many talented filmmakers to this race, hints Salgaoncar.
Director Dharmanand Vernekar has a different take on the issue. “Life today is quite fast-paced and demanding. As a result, people are mentally drained and tired. All they need is entertainment. They do not want to watch on screen the same questions and issues they are facing in real life,” states the director. “And if cinema needs to change, the question is ‘who will change it? The makers; or the audience?” he questions, citing that filmmaking involves considerable amount of money. Hence, producers and directors are reluctant to take risks and prefer to ride with set formulas of success.
Film director and vice president of Entertainment Society of Goa, Rajendra Talak, however, states that it is upto the filmmakers to choose between making mass or class films, and there is more to filmmaking than just money.
“If pure entertainment cinema is making more money, that does not mean that other films are not successful. Stars like Nawazuddin Siddiqui Irrfan Khan, Nasiruddin Shah are not in 100 crore club, but are seen as good actors. Directors like Shyam Benegal, Satyajit Ray were not in 100 crores club, but were respected worldwide. You have to choose whether you want substance and the respect that comes with it, or the oft-trodden path to big money but no awards,” says Talak. “Your stature is not counted on your salability, but on the quality and class of content you offer, and that is more important,” he asserts, reminding that it is the films with good content that have been remembered for decades.
Even as the relatively unintelligent films seem to make quick money, it is the deep and meaningful ones that end up contributing to the society and impacting the world, and that is what a true filmmaker pursues, notes Talak. That is what Nawazuddin too must have meant when he added that he does not care about box office numbers; does not let the performance of previous films cloud the judgement of his next project, and chooses instead to focus on films with good comedy and content.
