It happened with Sudhir Mishra's HAZAROON KHWAHISHEN AISEE and it seems to be happening again with DIL, DOSTI ETC., i.e. the berating of the film before it has even reached the whole of the country. The novelty of these two films lies in the fact that they are trying to project how the universities that exist in the country side are developing and they form an important linkage in the social development of the country, which cannot be brushed aside under the carpet as being unreal.
The campuses of the universities are not only candy floss romance but they are the harsh realities as it has been done in DIL, DOSTI ETC., There might have been an existentialist dilemma on the part of the director to fit himself somewhere between the harsh realities and the mushy romances of campus being projected through the Hindi films in general, but the issues that have been raised are real. Prakash Jha has been on record even to say that he was surprised to find that the campuses of the likes of Delhi University have not undergone much change from the time he passed out from one of the colleges.
There always are the two streams that dominate in the college one coming for time pass and other to make a career in politics, but it is for the first time that another facet that is common in student life about visiting a prostitute by a student to get over his sexual fore bearing has been brought into relief and there are no two doubts that this must have come out of the personal experience that the director or the writer must have encountered in some manner in their growing phases through the colleges.
It is a harsh reality of the average Indian student life that he rushes through to the college without having any experience what so ever about the sexual life that he has to lead and it has been brought about in a distinct relief by the enactments of Immanuddin Shah and Smriti Mishra. Smriti Mishra seems to have started from where she left off in ZUBEIDA where also she had excelled as a courtesan who was more into singing and dancing type. Here however the role has been seeped more in ground realities about the existence of a prostitute on a daily basis.
For a student who is on the verge of a college career to be also made aware about his caste identities as well is also a harsh reality of the college life that most of the students of the country face, and this becomes more operative during the time of elections, a fact which was brought for the first time to the fore by Tigmanshu Dhulia and also being underlined in a subtle manner in DIL DOSTI ETC.,
This is indeed an exciting phase for Indian cinema as now it is bringing into focus the actualities as they unfold on a daily basis in different parts of the country, and it would certainly gain its receptivity.