Start to FI-niche

Right from the primitive years until the transitional phase of shaping up as the biggest money spinner industry of the country Bollywood has seen several peel-offs of modus operandi .Whether it is a towel shredding Ranbir Kapoor's bare chest look in "Saawariya" or sexagenarian's calf-love in "Nishabd" ; whether it is Glam expunged and figurative "Taare zameen par " or " Kabhi Alvida na kehna ".

All of the flicks mentioned above are from different school of thoughts and genres. They proudly vouch for the paradigm of shift, en masse ! They apparently follow different genres in terms of filmmaking. Today's Dostana has changed a lot from out of vogue 'Kuch kuch hota hai' effect. Big B's cameos in Nishabd and Cheeni kum triggering a mercurial but ephemeral exposé for mass living in 'Ivory Tower' is not considered aberrant for "Life in a Metro". Yesterday's taboo gay topic can make audience laugh out their heart today. A movie can be named 'Kameena' without any nerve wracking thoughts. All Courtesy ! 360° pliability of Lights, Camera, Action !

A quick flashback of the decade of 90's when Bollywood was asphyxiating due to disastrous fiascos. A handful 11% of movies turned out to be a deal of profit for the fraternity which has tolled upto 23% which is twice to what was bagged in the last decade. All this while a myriad of shilly-shally movies were piled up using the same well-worn plots inasmuch that eventually audience didn't intend to spend money to watch they knew they are going to. Phew ! Thanks to piracy which did the rest ! 'Potluck' was no more a trend. This mishmash and in the wake of draught can also be attributed to the money invested by the underworld. The underworld , allegedly ! started calling shots on every bit right from the script to the starcast of a movie. Apparently! Filmmaking was presumably rather difficult than to operate an AK-47. Bollywood liberating on financial grounds with Banks making their foray into film-financing has indubitably helped. Karan Johar, Aditya Chopra, Mohit Suri and Anurag Basu got the industry back to the drawing board with something to drool-over. You need to be a good actor to be a good director but the vice versa is necessarily not true. Promising and crafty flicks like

DDLJ, Kuch-kuch hota hai, K3G and Mohabbatein khan-firmed that audience's Hazarron khwashein aisi do not go to the drainage.

Shahrukh and Aamir have equally garnered applaud from all and sundry possessing their individual panache. The comparisons between the Twain incessantly popped up giving room to more drawing room debates. While SRK was making it to a bigger league with more and more Blockbusters, AK doing less number of films given his fixation for perfection was climbing up the ladder with less number of but gigantic steps. Both of them have their own ways. Sense of visual arts and acting is about getting closer to what you intend to do. A sync between thoughts and actions is what sense of visuality is ! Performing live on "Pichle saat dinon" is not possible without following the increasingly blaring note of guitar and drums cause this is where connection with the audience gets dis/connected. Blinking eyes in slow motion can be profusely utilized on the focal title note of 'Boulevard of broken dreams' while making a video or you may also see a cargo-clad boy looking for a lift on a highway , however performing live is where you need to establish a connection. Audience craves for that madness phenomena. That's why group performances like linkin park come off so magnificently. A mere feeling of leading the audience doesn't help. Audience is least interested to know how you do it ? You are the entertainer. You gotta have it in you.

While SRK's uncanny knack of getting into the skin of the character given to him by the director is his forte, AK is capable of creating one. Refer to Taare zameen par !

Barring a few films , films have become less histrionic. Film fraternity's predilection for realistic and exiguous budget films like "Khosla ka Ghosla" have paid off. They have come out of the shadows of macrocosm. De facto ! Jaane tu ya jaane na !

The exfoliation of exemplar is what the new non conformist crop finds nous in. Piece dê rêsîstance of this simple projection is the obfuscated methodology. Ask a few people ! What else can be esoteric and more complicated than simplicity ?

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