Enkayaar, Bollywood Trade News Network

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It is indeed interesting that three films that released within a gap of one and a half months has tried to look into the whole gamut of film making and the way the persons associated with performance art operate in the day-to-day life. If we move the period of reference to about four months, then one more film joins the category. Be it, KHOYA KHOYA CHAND, HALLA BOL, MITHYA or SUPERSTAR they all have tried to focus into one nuance or the other and the way system of film making operates. While KHOYA KHOYA CHAND focussed on the insecurites that a female star faces in the film industry and the struggle between right and wrong associated with her life, HALLA BOL tried to juxtaposition the graduation of a star from being a star to a politician or a public figure. KHOYA KHOYA CHAND also quastioned the existentialist dilemma that a star faces when his films start tumbling at the box office.

HALLA BOL also tries to bring into relief the dilemma that an actor faces by fictionalising the character of Ajay Deogun as being a street performer fighting for the rights and then returning once again to the streets for the cause of the publci. HALLA BOL's focus on the theme was an interesting so-incidence when a debate had been initiated in the public as to whether the stars who step into politics after winning the elections go back once again to the trade of entertainment or use their charisma to mitigate the drudgeries that common public faces.

It was Shyam Benegal who had the first serious look at the way the industry functions in the recent times through two of his films SOORAJ KA SATWA GHODA and ZUBEIDA each of which focussed on a different dilemma.The first attempt in this direction was however made by Guru Dutt through his magnum opus PYAASA which tored to shreds the insecurities with which the industry operates.

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Subsequently the business of performing arts was questioned in a serious manner by Raj Kapoor through his MERA NAAM JOKER, which probably was a film ahead of its time and so could not make it to the box office.

MITHYA and SUPERSTAR have tried to focus on the usage of family connections by the offsprings of the families associated with the films to ease themselves into various crafts of film making. They have tried to put into relief the psoer whether the industry has a place for a new comer or not.

While the film industry from time to time has been questioning its crafts and its dilemmas, it is indeed sad that none of the films have been able to claim a superhit status for themselves at the box office. But for this the public cannot be entirely at fault as the need to teach the craft of film making and other paraphernalia associated with it has still not been focussed upon, and until that is done the disconnect with the nuances of craft of film making would continue to exist. It seems the time has come for the industry to focus on this aspect as the public is ready to receive the information in detail about the nuances of film making.


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