Tag Archives: Indian Cinema

Yash Chopra: A Filmmaker In Love With Illicit Relationships And Flawed Romance

Yash Chopra: The Filmmaker Interested In Flawed Romance

Yash Chopra: The Filmmaker Interested In Flawed Romance

I have never been die hard fan of Yash Chopra’s movies. His romantic angles mired in illicit relationship always left me appalled. He was a noted filmmaker having Midas touch for conceiving interesting themes, hinging around three people in one single relationship, either due to providence or chance. His penchant for such complex relationships, on par with illicit love affairs, could be gauged from the fact that barring his early years of film making when he made gems like Waqt, Dharamputra, Ittefaq, Mashaal, Trishul, Deewar and Kala Patthar, nearly all his movies in later years depicted adultery in one or other form. It can be safely opined that his movies, both explicitly and implicitly, promoted illegal relationships. That’s pretty unfortunate as filmmaker of his caliber should have been more sensible in application of his mind.

He had the brilliant ability to present romance with all its elements in grand style. The grandeur and colourful imagery noticeable in his movies takes away our breath. It’s true that average cine-goer likes to flirt with unfulfilled dreams and wishes as he/she enters inside the theater, and tries to dissolve the harsh realities in the silken world appearing and disappearing on the silver screen. Any average filmmaker is not very much interested in exposing his viewers to shades of realism. Yash Chopra understood this well and so in his movies we have characters, borrowed straight from Mills and Boon novels, flirting with  their ladies against scenic backdrop. No wonder Swiss government honoured Yash Chopra for promoting tourism in Switzerland!

To make his romance stories gain some substance, he was but compelled to fall in the arms of “illicit relationship” so as to provide some shock value to his films. However, he lacked the ability to seriously contemplate over any issue, which demanded deep attention, but in the same genre  his brother B R Chopra exhibited the art of serious presentation in an effortless manner. That’s why B R Chopra’s “Gumrah”, having adultery as central theme, depicted the conflict emanating out of such relationship quite well. Yash Chopra’s movies based on the same plot stand nowhere to pathos exhibited in Gumrah. Yash was more governed by the desire to emerge as a successful director in the genre of popular cinema despite being person of immense capabilities. He was a pure entertainer, who used “arrival of third person” as perfect masala element to make his movies mint money. That’s why we cannot contrast him with likes of Raj Kapoor. He failed to attain the stature of Raj Kapoor, who was also governed by the desire to emerge as great entertainer but with a difference: Raj’s sensitivity always managed to find a suitable cause, which under his brilliant directorial treatment ripped apart our emotions. In fact, lot is said about depiction of grandeur/ style in his movies but Gulshan Rai and Feroz Khan stand miles ahead of him even in this department.

Now  That's  Called   Candyfloss Romance!

Now That’s Called Candyfloss Romance!

Let’s take into cognizance “illicit relationship” – a dominant feature of his movies. He should not have roped in this angle unless he  had enough reasons to substantiate his viewpoint. For instance, let’s take “Darr” promoted as a violent love story. What was Yash Chopra trying to demonstrate? That Sunny Deol (husband) has to be equally cunning, powerful and mad like Shah Rukh Khan (lover) to save his wife from the shrewd moves. The greatest irony is that evil gets checkmated by good doesn’t sound convincing in the end when evil enjoys the upper hand, dancing with some else’s beloved for most of the time. One of the salient features of movies made by Yash Raj Films has been that one has to be shrewd and street smart to emerge as a winner. Idealism is of little use in world dominated by market-oriented world, wherein end justifies the means. That’s the guiding principle of protagonists appearing in “Trishul” and “Deewar”. Aditya Chopra’s “Dilwale Dulhania Le Jayenge”  highlights the same trait. The protagonist even as he is reluctant to run away with his beloved, enters into ridiculousness and pathetic gestures to woo his would be wife. The success of this movie is remark on the declining standards of a viewer’s approach towards cinema.

That’s the aberration which marred the movies churned out by Yash Raj Films. The movies having candyfloss flavour, embedded in synthetic sentiments, depicted a section of society, which barely depicted the real face of India. For instance, Salaam Namaste was entirely shot in Australia, talked about reunion of two lovers, caught in problems born out of “laid-back lifestyle”. Hum Tum, Mohabbatein, Dil To Pagal Hai and etc. turned out be old wine in new bottle. Even patriotic perceptions were effectively used in  “Chak De India” to keep the cash box ringing. The point is that Yash Chopra and his successors have realized this pretty well that market forces and not the theme of the movie, which ensures success or failure. The global world, which made the boundaries meaningless, opened new markets, and, therefore, themes also got focused on people who sustained these markets. Both Bollywood and Hollywood rely on stereotyped emotions to make their movies emerge as blockbuster. So scenic landscape, stunning faces, big cars and pulsating music became the essential ingredients of romantic movies be its made by Yash Chopra or anyone else from Hollywood.

Some might find it unpalatable, and unbearable as well, to treat his movies as promoter of illegal relationships. However, it’s not a misplaced belief when one becomes aware of the fact that  cinema, life and society are intimately linked to each other. Chandni, Dhool Ka Phool,  Kabhi Kabhi, Silsila, Doosra Aadmi, Darr, Faasle, Lamhe, Daag, Aaina, Yeh Dillagi and Mere Brother Ki Dulhan to name a few, more or less, had controversial themes, wherein secret lover or illicit relationship added a complex twist to the story line. It’s a cliche to state that cinema borrows its concept from society. The ultimate truth is that it borrows the clues from society, exaggerates them, turning them into saleable scripts and, in the process, creates scope for more distorted themes. In a combined  research conducted by the ” American Medical Association, the American Psychological Association, the American Academy of Pediatrics, the American Academy of Child and Adolescent Psychiatry and the National Institute of Mental Health” to establish the negative impact of movies on youths in USA, it was clearly established that “just as every cigarette increases the chance that someday you will get lung cancer, every exposure to violence increases the chances that some day a child will behave more violently than they otherwise would.”

 The point is when you are genuinely depicting the harsh realities of life, be it centered on illegal relationship, it adds a new dimension in your understanding but when you use such themes to carve unrealistic presentation, merely to ensure commercial success, it’s altogether a different story. Yash Chopra was more conscious of commercial success then ensuring a perfect  treatment to a substantial story line. Ironically, Mahesh Bhatt  also used illicit relationship as effective plot but he ensured that he remained close to the real life. Anyway, Yash Chopra makes me realize that  attaining success is different thing than doing good work which makes difference in lives of people. He got success by promoting flawed romance, which served no greater cause other than ensuring flow of money.

Illicit Relationship Looked More Charming In His Movies

Illicit Relationship Looked More Charming In His Movies


New York Times

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यश चोपड़ा: अवैध सम्बन्धो को प्रमोट करती इनकी भव्यतापूर्ण सफल रोमांटिक फिल्मे

यश चोपड़ा: गलत "लम्हों" के सौदागर

यश चोपड़ा: गलत “लम्हों” के सौदागर

यश चोपड़ा की फिल्मे मुझे कभी न रास आई।इनको रोमांटिक फिल्मो का बेताज बादशाह माना जाता रहा है। रूमानियत को एक सुनहरे कैनवास पर पूरे  तामझाम के साथ उतारना इन्हें खूब आता था।ये सही है कि एक औसत दर्शक सिनेमा में असल जीवन की छाप देखने नहीं जाता बल्कि अपने अधूरे सपनो को परदे पे अवतरित होते हुए देखने जैसा अनुभव बटोरने के लिए जाता है। और  दर्शको  की इसी कमजोरी को यश चोपड़ा ने अच्छी  तरह समझा और उसकी शानदार प्रस्तुति की। लेकिन मुझे  लगता है यही पे यश चोपड़ा मात खा गये। इतना समर्थ फ़िल्ममेकर सिर्फ दर्शको की चाह पूरी करने के लिए और वक़्त के साथ चलने की धुन में बेहतरीन सिनेमा  बनाने से रह  गया। यश चोपड़ा की कुछ एक फिल्मे  जैसे वक़्त, धर्मपुत्र, इत्तेफ़ाक, त्रिशूल, दीवार, काला  पत्थर, मशाल और एक दो कुछ और फिल्मे छोड़ दे तो उनके सारी फिल्मे प्रेम त्रिकोण या कुछ कुछ अवैध संबंधो जैसे टाइप की थीम पर बनी है। मै यश चोपड़ा के इसी “तीसरा कौन” रूख पर आलोचनात्मक दृष्टि  डालना चाहूँगा। “इत्तेफाक ” भी लगभग अवैध संबंधो  पर है लेकिन मै इसको एक सुंदर मर्डर मिस्ट्री मानता हूँ। राजेश खन्ना ने जितने शेड्स इस फ़िल्म में दिखायें है सहज रूप से मुझे नहीं लगता कि आगे की फिल्मो में वे वैसा कर पाए। यहाँ तक कि नंदा ने भी नई ऊँचाइयों को छुआ जो कि ज्यादातर ग्लैमरस  गर्ल ही रही है।

अब आते है “तीसरा कौन” के थीम पर। मुझे ये एंगल ही बहुत घिनौना लगता है फिर इस पर बनी फिल्मे देखना और इनसे उभरी सोच को आत्मसात करना  तो मेरे लिए बहुत दुष्कर कार्य है। खेद की बात है यश चोपड़ा ने ऐसी विकृत एंगल को बढ़ावा दिया। इस प्रोडक्शन हाउस में बनी फिल्मे अधिकतर कही न कही विकृति को ग्लोरिफाय करती मिलेंगी। बात ये है कि यश चोपड़ा के पास  किसी मुद्दे की गंभीर समझ नहीं थी जैसी बी आर चोपड़ा के पास थी। इसलिए बी आर  चोपड़ा की एक अकेली “गुमराह”  यश चोपड़ा की इसी विषय पर बनी दर्जनों बेकार फिल्मो से बेहतर है। यशजी के पास  संवेदनशीलता का अभाव था  इसीलिए राज कपूर से बहुत पीछे रह गए। भला हो साहिर साहब का कि इनके फिल्मो के लिए इतने दिल को छु लेने वाले गीत लिख गए। इनके फ़िल्म में स्टाईल का बड़ा बोलबाला था पर यहाँ भी ये फिरोज़ खान ने हमको ये बेहतर सिखाया कि स्टाईल एलिमेन्ट का कैसे इस्तेमाल करना चाहिए। यश साहब के पास बस दर्शको को बांधे रखने की कला थी भव्यता और मधुर संगीत का आवरण ओढे बेकार सी विषयवस्तु वाली थीम के साथ। 

ये कहना गलत नहीं होगा कि अवैध संबंधो को जस्टिफाय और ग्लोरिफाय या विकृति को बढ़ावा देने में इस प्रोडक्शन हाउस की फिल्मे प्रत्यक्ष या अप्रत्यक्ष रूप से जिम्मेदार है।आप नब्बे के दशक में आई “डर” देखिये। दर्शको को इससें कुछ लेना देना नहीं था कि अंत में सनी दयोल शाहरुख के किरदार पर फाईट सीन में हावी होकर उभरता है। इस फ़िल्म का सन्देश वस्तुत: इस बात को हाईलाइट करता था कि किसी भी सभ्य औरत के ज़िन्दगी में घुस कर उसे परेशान कर सकते है। अब आप सनी दयोल बन कर रोक सकते है तो रोकिये नहीं तो आपका घर तबाह। और बिडम्बना देखिये कि इस विकृति सम्पन्न हीरो को कितना रोमांटिक दिखाया गया है। तो ये थी यश साहब की काबिलियत। आगे यश साहब ने फिल्मे तो नहीं डाइरेक्ट की लेकिन आदित्य चोपड़ा और अन्य नए निर्देशकों ने इनके बैनर तले फूहड़ पर कामयाब फिल्मे बनायी। “दिल वाले दुल्हनिया ले जायेंगे” की अपार सफलता इस बात का प्रमाण है कि दर्शको को घटिया फिल्मो में भी मायने ढूँढने का चस्का लग चुका था। रास्ते कितने भी घटिया हो  पर अगर वो मंजिल तक पहुचाते है तो ठीक है। एक आदर्शवादी बाप को चालाक और धूर्त नायक के आगे झुकना पड़ सकता है और कमाल है ये सब उसने प्रेम के लिए किया, ये इसलिए किया कि  भगाना  उसे पसंद नहीं था और इसलिए झूठ बोलकर घर में नौटंकी करना जरूरी  था। दर्शको का टेस्ट और स्तर कितना गिर गया है वो हमे इन फिल्मो की सफलता से पता चलता  है।

रास्ते अपवाद स्वरूप गलत हो सकते है लेकिन सिर्फ धूर्तता और मक्कारी से कामयाबी सुनिश्चित होती अगर लोगो ने इस बात को स्वीकार कर लिया है तो निश्चित ही भारतीय समाज पतन के रास्ते पर है। भारतीय समाज इस बात को समझे या न समझे लेकिन इस प्रोडक्शन हाउस ने समय की नब्ज को पकड़ा कि अब मार्केट से फिल्मो का सीधा कनेक्शन है मूल्य या आदर्श गए तेल लेने। इसलिए इस बैनर ने तमाम बौड़म फिल्मे बनायीं ओवरसीज मार्केट को ध्यान में रखकर जैसे “हम तुम” , “सलाम नमस्ते”, तथाकथित राष्ट्रीयता का तड़का लिए “चक दे  इंडिया” इत्यादि। कुल मिला के भव्यता और दर्शकोको बांधे रखने की कला ने ऐसी फिल्मो को जन्म दिया जिनका यथार्थ से कुछ लेना देना नहीं। इनकी फिल्मे उस क्लास के लिए ज्यादा थी जिनके दिमाग  में लगभग भूसा भरा हो और साथ में पेट से भी टंच हो। इनकी बाद की फिल्मो का सामजिक मूल्य कुछ नहीं सिर्फ आत्मकेंद्रित किरदारों का ये बताना कि “बैटल फॉर सर्वाइवल” में धूर्तता और मक्कारी बहुत जरूरी है। हो सकता है “तीसरा कौन” आपके जीवन का थीम बन जाए पर इस दर्द को जिस जेन्युइन  दर्द और एहसास के साथ आप महेश भट्ट की फिल्मो या अन्य कला फिल्मो के निर्देशकों में  पाते है उनसे शायद यश साहब की  फिल्मे कोसो दूर थी। और साथ में दूर थे यश साहब के फिल्मो के शौक़ीन दर्शक वर्ग जो दूर तक सोचने को गुनाह  मानते थे। चलते चलते सिर्फ मै ये कहूँगा कि यश चोपड़ा एक कामयाब फ़िल्म निर्देशक थें पर अच्छे नहीं। यश साहब को देखकर ये समझ  में आता है कि कामयाब होना मतलब अच्छा ही हो ऐसा नहीं होता।  

 घृणा, लहू, और नौटंकी में डूबा रोमांस

घृणा, लहू, और नौटंकी में डूबा रोमांस

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Hate Delhi Belly To Make Indian Society Above Negativity!

Hate Delhi Belly To Make Indian Society Above Negativity!

The street smart Aamir Khan knows the ways and means to cash in on the ills of life! He has the marketing skills to make negativity productive. Globalization has made negative attain a charming dimension. The making of Delhi Belly is based on this principle. The making of Delhi Belly is perfect culmination of trend pattern that started in early 90s: Glorification Of Negativity. The movie that made it a trend was Baazigar, apparently based on Ira Levin’s 1953 novel A Kiss Before Dying, starring Shah Rukh Khan. The movie compelled us to have sympathy for a guy who brutally murdered his girlfriend to settle scores with people who did wrong to him. Ambiguity in characters of the leading protagonists became the order of the day from this movie. It paved way for the characters who gave rise to concept that when it comes to winning principles are the greatest obstacle!

This journey from rise of fair characters to dominance of baddies can be gauged from the fact that protagonist which once sang ” Papa kahte hai bada naam karega“( Papa says his son bring a good name) is now singing ” Daddy Mujhse Bola Tu Galti Hai Meri” ( Papa said you are my mistake). Imagine in Indian society wherein birth of daughter or son is sign of good fortune, the child now becomes the blunder made by the parents. Some over enthusiastic interpreters see it as an evolution of Indian society wherein youths have learnt to call a spade a spade being more in awe of realistic approach. Differing hugely with them, I am not ashamed to call it degradation of Indian society under influence of Western values. Instead of having a healthy fusion of Western values with the Indian belief system, we decided to turn into happy slaves of distorted version of Western thought patterns.

Hate Delhi Belly To Make Indian Society Above Negativity!

I don’t give much value to this belief that Indian popular cinema when it’s displaying violence and distorted concepts is in actuality displaying the true image of Indian society. To put the records straight, I must say it’s not actual presentation but it’s the exaggerated false reflection to set cash registers ringing at the box office. It’s also a fact that Indian masala movies churned out at regular intervals have always relied on dramatic versions and melodramatic elements in league with loosely written scripts. It would be a huge blunder to treat them as authentic reflection of Indian society.

On the contrary, they have been instrumental in onset of negative ideas, beliefs and concepts.  At best it can be stated that these movies have been made keeping in mind commercial factors side-by-side elements which ensure entertainment of society. I take strong exception to makers of movies like Delly Belhi when they suggest that what they are portraying is depiction of happenings in the Indian society. I also rubbish the claims who miss no chance to flaunt the view that we need to come to terms with themes highlighted in the movies as they are reflection of society in which we live. To them I must say types of movie made by us reflect the dull brains of movie makers more and much less the actual state of affairs prevailing in the Indian society.

There is also a deception on the part of new age movie makers when they justify introduction of unpalatable truths stating that they are honouring realism. To be a so- called realist they can introduce songs like DK bose! Is that’s the way to introduce realism in movies? Probably, people comfortable with weird themes in recent movies have not watched quality flicks made by likes of Raj Kapoor, Guru Dutt, Bimal Roy, Gulzar, Hrishikesh Mukherjee and Shekhar Kapoor, to name a few. They also portrayed various real shades of Indian society but I never found them transgressing lines of healthy norms. Raj Kapoor did venture into prohibited zones but then it was always compensated by his deep artistic portrayals.

Hate Delhi Belly To Make Indian Society Above Negativity!

In fact, Raj Kapoor was humble enough to admit that he shattered unwritten healthy principles. He was not arrogant like our current movie makers to justify their blunders calling them depiction of Indian society. Look at Gulzar. Didn’t he in movies like Hu Tu Tu and Aandhi  showed the real face of Indian politics without giving way to crass presentations? Never. Have a look at brilliant movies made by Hrishikesh Da. In his movies we find the real essence of Indian society: Smile always in the face of adversity and just never give up hope. In our times, the only mantra to remain happy is: Goli maar bheje me ki bheja shor karta hai (shoot the brain which is making lots of noises)!! Imagine we are the people, who master the art of controlling the brain and it’s we who are now talking about shooting it!

It’s true that times have changed. Technology has brought new thought patterns along with new vision and new hopes. It’s also true that we have our own set of problems which cannot be dealt with worn out methods of yesteryear. They have to be projected on silver screen with new symbolism from fresh angles. However, changed times cannot be used as a pretext to rope in demoniacal ideas. Have a look at role of Shah Rukh in Darr and Anjaam. It taught one how to create mess in stable married life, being in grip of obsessions of all sorts!!

Then came another movie Rehnaa Hai Terre Dil Mein‘ which made a “fraud and a fake” person guilty of misrepresentation not only managing to marry a good girl but also attain great respect for being a true lover!! Interestingly, the protagonist in this movie was named “Maddy”. I must say the name says it all!!! It shows what happens when Madhav changes to Maddy!!! I don’t know whether this change in name was done consciously or unconsciously but the person who did that needs to be seriously thanked for this classic name change!!! It shows the impact of falling in love with alien culture. You do gain success but the hollow success is devoid of ” यशः”(glory).

I must say that my mind rest in times when fathers use to sing for their sons :

Tujhe sooraj kahoon ya chanda Tujhe deep kahoon ya taara
Mera naam karega roshan Jag mein mera raaj dulaara

(Should I call you the Sun, or moon, or should I call you a lamp or the sun.{ you have brought light into my home} Through you my darling child, my name will shine ).

I refuse to take note of newer idea which makes a father treat his child as “blunder”. It’s a reason enough to boycott likes of Aamir Khan and Shah Rukh who have become convenient mediums to introduce flawed ideas all in the name of realism. They are personification of arrogance, who come to not only justify their corrupt behaviour but also engage in celebrations triggered by success of distorted ideas. It’s time to replace DK Bose type songs with mantras and good poetry, isn’t it?

Hate Delhi Belly To Make Indian Society Above Negativity!

Pics Credit:

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The great Rudolf Steiner Quotes Site

Over 1500 quotes from the work of the great visionary, thinker and reformer Rudolf Steiner

Simon Cyrene-The Twelfth Disciple

I follow Jesus Christ bearing the Burden of the Cross. My discipleship is predestined by the Sovereign Grace and not by my belief or disbelief, or free will.


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Just another WordPress.com weblog

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मानसिक हलचल

मैं, ज्ञानदत्त पाण्डेय, गाँव विक्रमपुर, जिला भदोही, उत्तरप्रदेश (भारत) में ग्रामीण जीवन जी रहा हूँ। मुख्य परिचालन प्रबंधक पद से रिटायर रेलवे अफसर। वैसे; ट्रेन के सैलून को छोड़ने के बाद गांव की पगडंडी पर साइकिल से चलने में कठिनाई नहीं हुई। 😊


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