Bollywood goes unconventional for the year 2012

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If one thing that emerged as the recurring motif for the year 2012, it was the diverse story ideas that graced the silver screen and went on to emerge as the success story for the year.

As a matter of fact it could be in all probability the first time that such kind of a phenomena happened in the world of Hindi cinema where the producers and directors did not bother to experiment with the story.

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While on the one hand there was a film of the likes of VICKY DONOR which underlined the importance of donation of sperm to bring about happiness in the life of infertile couples, the other extreme was achieved in KAHAANI which was a revenge story shot through and through with surprises and mystery at every alternate frame.

There was a BARFI! where the lead actor did not have dialogues to utter in the film, but he was confident enough with the story idea and played ball and gave one of the finest performances that Hindi cinema would witness for all times to come. After all, which mainstream actor would have the guts to enact a role in a film without uttering a dialogue, but Ranbir Kapoor did it with elan in BARFI!.

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Then Hindi cinema also had the guts to take on the prevalent religious orthodoxy and to question the blind faith through OMG OH MY GOD!, which was a cult film in the sense that it had the guts to take on the prevalent beliefs and ideas. The film met with a huge success. Another off-leak film which made the audience sit up and take notice was SHANGHAI which brought into focus the way the politics, business and economics operate in small cities and how the common man is a mere pawn in the scheme of things laid by those having powers.

Then there was ENGLISH VINGLISH which was a strong film on women empowerment, especially for the generation which had submerged its identity into their family so that the family could prosper, but realized that in the changing times one should not submerge identity of the self for the family but leverage the identity to carve a niche for self and the family as a logical culmination.

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Same was the message of SHIRIN FARHAD KI TOH NIKAL PADI, underlining the fact that falling in love is independent of the biological age one has, it is a matter of heart and it was a message for the lonely souls to start dreaming again and strive to fall in love.

The year came to end with TALAASH which again was a bold film underlining the fact that one has to grapple with the demons inside the self and until and unless one is able to do it he or she would not be in a position to conquer the world.

Such experimentation has whetted the appetite of the audience and it would be salivating for more such experimentations in 2013.

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