June 4, 2011 06:01:18 PM IST Enkayaar, Glamsham Editorial
If one were to travel down memory lane, during the times when love was an expression that had to be ushered in hush-hush manner, Jogis or the ascetics had a prominent role to play. In sync with the Varnashram system of the ancient times, where a graduate before entering into the grihashtha Ashram was in a Brahmcharya Ashram, and his initiation into the world of grihasthashrama was through these enticements and allurements by the beautiful maids. Capturing this spirit, Hindi cinema had scored scores of songs which underlined this process of initiation into the grihastha ashram by invitation from the lovely ladies to enter into relationships with them and settle into a married life.
The analogy from this that is being drawn in case of Salman Khan's films in the modern times is through the fact that the characters that he plays these days have a sense of detachment about them and it is this that endears him to the audience. This phenomenon has emerged as an underlining motif in his films, be it WANTED, DABANNG or READY. READY indeed provides a perfect opportunity to revisit the moments of the Hindi cinema where the Jogi was eulogized and he was invited to enter into a married life.
SHAHEED: Its famous song 'Jogi Hum to lut gaye tere pyaar mein jaane tujhko khabar kab hogi', indeed was a subtle reminder and hint to the character of Bhagat Singh that apart from fulfilling his national duties, he also had a duty to stand up to as his filial obligation. While it may appear as a gendered argument, fact of the matter is that this is how the situation pans out owing to the indoctrination of boy where he is asked to first seek sustenance for himself then find a partner, and that could be why the term 'Jogi' fits as a perfect nomenclature.