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RAB NE BANA DI JODI and the art of living the part of the character

Enkayaar, Bollywood Trade News Network
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Famous Russian Philosopher and Director Constantin Stanislavski was one of the first proponents in the world of motion pictures that the actors should 'live their part'. If one views it in the context of RAB DE BANA DI JODI it would be amply clear that the universal accolade that this film has been able to garner for itself is owing to the fact that the lead pair of Shah Rukh Khan and Anushka Sharma have been able to live the part of the characters with panache.

For Shah Rukh Khan it has been one discovery since CHAK DE when he has started living the part of the character which he has been playing and RAB NE BANA DI JODI is anther milestone in this direction. OM SHANTI OM can be considered as an aberration, as it is very difficult for a star to shed his star persona all of a sudden and start living the part of the character which he is enacting.

To live the part of a character, the fundamental prerequisite is the characterization has to be kept simple, and then it adds elegance to the interpretation of the same. After a long time in the mainstream cinema the context of the film has been situated in an average middle class background. This is the mass that determines the fate of film in a big way.

It is a major departure for Yash Raj Films as well, as after series of debacles during the last one year; it seems to be finding its moorings in the aspirations and the tribulations of the average Indian middle class. It is manifest in the portrayal of the character of Shah Rukh Khan in driving a scooter. When was the last time that a hero of the film in the mainstream cinema was portrayed riding a scooter? These small nuggets of social life as it unfolds on a day–to–day basis in the cities and by–lanes of the habitats existing outside the metropolis enamors the audience and helps him develop identification with the film. As the song of RAB NE BANA DI JODI 'Haule Haule Se Nasha Chadta Hai...' says, the intoxication of return to a new way of association with the masses would be a chapter that would herald a new innings in Hindi cinema.

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