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Kangana Ranuat: Beauty transformed harking back to the era gone by

August 4, 2010 05:43:46 PM IST
Enkayaar, Bollywood Trade News Network
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OUATIM apart from providing a really precision view of the gangsters as they evolved in Mumbai, in a subtle manner also underlined the fact that when a beauty is transformed from chic beauty to classical beauty a new persona is created. Kangana Ranaut's getup in OUATIM harks back to the time of an era that was started by Zeenat Aman, which had an element of classicism written over it but it was shot through and through with gay abandon. Kangana Ranaut by choosing to go retro in her looks and by creating the nuanced look of the early eighties has given a new lease of life to comparative interpretations of beauty, i.e. whether chic rules the day or it is the classical beauty that ultimately is what makes the beauty endearing.



Well, if one were to use Kangana Ranaut's career graph, indeed the chic portrayal has not done her much good than one attempt through OUATIM to make her presence felt in a big way. By harking back to the era gone by, Kangana has opened a new window of opportunity for her to appear in films where classical beauties and conventional approach to beauty would be the guiding edifice.

As a matter of fact the manner in which the notion of beauty has undergone transformation on the Indian screen, more so during the last decade has and pushed it to being guided by a sporty beauty, i.e. it should reflect a toned body without curves, frills and coyness. The fault line if one were to say, that defined this notion would be the dance competition between Madhuri Dixit and Karishma Kapoor in DIL TO PAAGAL HAI, indeed a comparison between Chic and classical nuances of beauty though the classical looks of Madhuri Dixit won in the film, it started the era of chic beauty, being epitomized by Karisma Kapoor. Incidentally her sibling Kareena Kapoor followed on the same track, but she really came into reckoning when she adapted the path of classical beauty in JAB WE MET and she had given a glimpse of it with panache in CHAMELI.


While the demands of time, as the Hindi cinema became urbane was to leave aside the notions of classical beauty and rather project the chic beauty, whenever classic beauty was portrayed in classical manner it indeed became a memorable performance, be it Deepika Padukone's debut in OM SHANTI OM, or for that matter Vidya Balan's gay abandon in ISHQIYA, it was all classical approach to beauty that gave these actors a new direction in their acting career, and this could be the reason why Deepika Padukone is again returning to it in an understated manner in KHELEIN HUM JEE JAAN SEY.

At the end of the day a female actor becomes successful only if she is able to project the coyness and classic nuances by being attired in the Indian clothes, and not in the working western clothes that may provide a modernist look, but does not give the leeway to attach a sense of tenderness to beauty, the sense of fragility that is echoed through the Indian attire still is unmatched, and Kangana Ranuat's success and so the same for Prachi Desai in OUATIM, underlines the fact that beauty has to have a classicism written on it and it can only come when the attire is Indian.

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