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In India nothing succeeds like marriage: BAND BAAJA BAARAAT & TANU WEDS MANU underlines it



March 12, 2011 05:24:28 PM IST
Enkayaar, Glamsham Editorial
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Success of TANU WEDS MANU and before that BAND BAAJA BAARAAT has indeed underlined the fact that in India nothing succeeds like marriage, i.e. contextualizing the content of cinema around marriage, infuse it with some humorous anecdotes, lace it with street smart lingo, and voila, from Kashmir to Assam, and from Manipur to Bangalore, both these films indeed shook the film fraternity to have a relook into the manner in which the content of Hindi cinema is still being packaged.

As a matter of fact TANU WEDS MANU indeed is a surprise package, as it has been able to achieve success during the Cricket World Cup, a rarity in the Indian context. After the advent of the IPL the film producers indeed were wary of releasing a film that could clash with the itinerary of the cricket tournaments, where India was a part of the package. Indeed, the attempt of cinema hall owners to wean the audience to matches by telecasting it on large screens also could not make a much larger impact.

BAND BAAJA BAARAAT AND TANU WEDS MANU

BAND BAAJA BAARAAT AND TANU WEDS MANU


TANU WEDS MANU had a cast of R.Madhavan and Kangana Ranaut, along with Deepak Dobriyal, faces, which did not command salability on the their own, but thanks to the content hovering around Indian marriage, it could develop an instant rapport with the audience. Indeed, for all the three stars TANU WEDS MANU has provided them an opportunity to establish a real bonding with the audience and allowed them to expand their fan following base. In case of Deepak Dobriyal in particular, time has indeed come, that he needs to be provided an opportunity to be cast in a film with him in the lead.

As a matter of fact, if an analysis of the super hit films of Indian cinematic history were to be made, it would be evident, that majority of the films that would find their names in the list, would have marriage as the binding element of their content. Be it DILWALE DULHANIYA LE JAYENGE, JAB WE MET, HUM AAPKE HAIN KAUN etc., all, all of these films have marriage as the foundation on which the whole content is woven.

After all, in the Indian context, marriage is the most social occasion where one networks and interacts without inhibitions, as one gets the license to do, by deriving it by virtue of either being a relative of the groom or the bride, no wonder, in India marriage still is a deal in which two families enter into a social contract for a life time.

It does not, however mean, that any film with marriage as a theme would become a hit, but underlining fact is that the nuances of content need to be developed in such a manner that it keeps the narrative cascading from one crest to trough and that is what ensures that the film becomes a hit. Cricket or no cricket, it is the nature of content that would define the contours of Hindi cinema.



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