Madhuri Dixit in her wildest dreams would never have imagined that her come back vehicle AAJA NACH LE would be able to unpeel a controversy of a different kind than what was envisaged through the film. A celebration of dance and an ode to the spirit of liberty of the soul through dance has been reduced to a vitriolic slender campaign on a count which is without much substance.
This film, moving apart from the usual criticism of not having a story line has to be viewed from the perspective that it has been able to suggest a channel vehicle for the people of small towns, where real India exists. For these people of small towns, it always has been an existentialist dilemma of adhering to the laid out norms which have a stranglehold on the processes of development. It is more of an on-screen display of various dance and singing competitions being enacted out on various television channels.
Most of the protagonists who form a part of the ‘Laila Majnu’ drama, the 24 minute saga in the climax belong to the categories that are living on the fringe of development, or are having an internal struggle of co-toeing the rules and regulations of the society and setting one's soul on the path of liberty. Therefore, a Vinay Pathak is symbolic of the average husband working in a government service, not having a time at all to understand the feelings of the wife and when made to realize tries to exorcise himself through dance, as also Divya Dutta aka Nazma. Osho and most of the other religious advocates have been advocating for times immemorial that it is the dance in ecstasy which is the true liberating force for the soul and this is what AAJA NACH LE seeks to drive home. Even for the characters of Konkona Sen Sharma and Kunal Kapoor it is the dance which gives them the definite directions to their lives. This underlining fact where it would have been driven home would not have brought the unsavory controversy that the film has been besotted with.
The so-called controversial lyric ought to be understood in its symbolic gesture, as the underlying text that the lyrics wants to convey is that through the medium of a dance a person who otherwise is at the lower step of the social ladder can aspire to raise higher. Idioms of folk music and lyrics have been full of such references and were it to be taken on the face value the folk has to be altered.
One more underlying strength of AAJA NACH LE has been the extensive use of folk instruments like Sarangi through out and its practioners in the modern times are either mendicants or those who live on the fringe of the society. By being able to bring the instruments of folk on to the mainstream and being pitched against the synthetic sound that dominates the music of present times, AAJA NACH LE has also paid tribute to the Indian folk instruments in such an extensive manner which has not been seen for quite a long time.
Creative expositions once they are etched out are never done with an objective of hurting anybody's sentiment; it just meanders along the flow. Once the creative expressions are quoted out of context then it appears as if the whole effort is being decimated to chimera.