Masala Films & Bollywood’s Existential Crisis

Some time ago Hindi talking gathering of people used to deride masala films of Rajnikanth (coincidentally, despite everything they do). I’m discussing the period post 2000s where Aamir Khan without any assistance changed the substance of Bollywood with turning point motion pictures, for example, ‘Lagaan’, ‘Dil Chahta Hai’ and ‘Rang De Basanti’. Regardless of making equation based sentiment films (DDLJ, Kuch Hota Hai and so on) and senseless activity motion pictures (recollect the Khiladi arrangement and those Ajay Devgn activity flicks?) up to that point, Bollywood constantly used to play the predominance card. They ridiculed the over-the-top activity successions and exchange baazi in Rajnikanth motion pictures. For them, south Indians were absolutely substandard species. 4 distinct states and four unique dialects – yet, South Indians were simply Iddli-eating ‘Madrasis’ for Hindi talking watchers. Watch Yeh Rishta Kya Kehlata Hai

I’m certain the individuals who derided South Indian motion pictures experience considerable difficulties watching Bollywood films nowadays. Not even Rajnikanth motion pictures have such unbelievable activity arrangements that we find in Bollywood today! How quick tables turn! Investigate the best motion pictures (or as it were, the rundown of 100 crore, 200 crore and 300 crore films) over the most recent 10 years. You will see that the vast majority of them are masala flicks with gravity opposing trick scenes and over acting (aside from couple of decent specifies like PK, 3 Idiots and so forth.). Without reconsidering, this pattern of careless masala flicks have diminished the nature of Bollywood films (I’m being liberal here!).

At the point when did this undesirable fixation on masala motion pictures start? Point the finger at it on Aamir Khan! Everything began with Aamir Khan’s Ghajini in 2008! The same Aamir Khan who opened numerous new potential outcomes with new age motion pictures began the masala film drift and also the unfortunate 100, 200 and 300 crore clubs! Aamir Khan demonstrated that the south changes can be a lucrative business. So who cares if the trick scenes were little underneath your taste? Fortunately for Aamir Khan, he immediately proceeded onward with different classifications once he was finished exploring different avenues regarding masala type. Unfortunately for us, Salman Khan observed the huge undiscovered capability of the masala films. That immediately prompted spate of tremendously fruitful masala motion pictures from Salman Khan including ‘Needed’, ‘Dabangg’, ‘Dabangg 2’, ‘Prepared’, ‘Ek Tha Tiger’ and so on. These motion pictures made new records in the residential market (it was an alternate story in the abroad markets, where they favored soft Shahrukh Khan sentiment and sensible Aamir Khan flicks). Whenever watchers and exchange intellectuals talked about the 100 crore and 200 crore clubs day and night, each huge star felt the strain to investigate the masala sort regardless of being unconvinced about it. Akshay Kumar and Ajay Devgn, who were a piece of marginal B-review motion pictures in the 90s (even in 2000s), got propelled rapidly to investigate the masala motion pictures. Akshay Kumar gave us motion pictures, for example, ‘Raucous Rathore’, ‘Khiladi 786’ and so on in this period, where the greater part of them ending up being gigantic cash spinners. Ajay Devgn likewise tasted achievement in the masala sort with motion pictures, for example, ‘Child Of Sardaar’, ‘Singham’, ‘Singham Returns’ and so on.

Shahrukh Khan, who was known for his sentimental flicks, didn’t demonstrate much energy to start with. In any case, he at long last surrendered to 200 crore weight by doing Rohit Shetty’s ‘Chennai Express’. At any rate in Shahrukh Khan’s case, he demanded a new content than a South change. His bet paid off and Chennai Express turned into his ticket to the subtle 200 crore club. Later he showed up in Farah Khan’s masala flick Happy New Year also, which ended up being yet another cash spinner.

Indeed, even youthful stars are stricken by the masala kind. After a large number of failures, Shahid Kapoor had a hit in Prabhu Deva’s masala film R.. Rajkumar. Numerous commentators felt that the motion picture was crass to the point that it trivialized assault. Arjun Kapoor – Sonakshi Sinha starrer Tevar, which got discharged a week ago, is yet another masala film from the youthful unit.

In spite of the fact that masala motion pictures need quality, one can’t neglect the way that such films give stimulation to an underestimated area of the watchers. India is as yet a creating nation and just a little rate live in the urban communities, which acknowledge sensible, widely appealing motion pictures. The developing hole between the rich and poor in the nation assumes a noteworthy part in such polarizing classes in Bollywood. Most watchers in the insides find over-the-top activity scenes, shabby discoursed and shining thing numbers engaging. Bollywood came to understand that this segment of watchers contribute vigorously to the general film industry income in India (which is thrice as large as abroad income). So no big surprise why Bollywood, where business outweighs everything else, is anxious to satisfy the masala cherishing gathering of people – it’s about cash, nectar!

Yet, it’s advantageous for Bollywood movie producers to think little of the insight of the watchers. The accomplishment of ‘P.K.’ or ‘3 Idiots’ is a case. This motion picture did well with every one of the segments of the watchers. A well-made motion picture pulls in all areas of the watchers regardless. They don’t require shoddy excites for the sake of amusement. Bollywood wouldn’t like to recognize this reality and they think just about profiting. Most importantly, they are lethargic to walk that additional mile!