It was on 03 May 1913 that Govind Dhonduraj Phalke unspooled the magic of images with RAJA HARISHCHANDRA and the trajectory that the world of cinema traversed from that date has been a catalyst in creating new frontiers of the world of Hindi cinema. As a tribute to this genius who was catalyst in making cinema an integral part of existence of the average Indian, that on 03 May 2013 four different films under the name BOMBAY TALKIES would be shown across the spectrum of distribution of cinema to underline the miasma that cinema has cast on the fans and underlining the fact that indeed an average Indian cannot survive without his staple diet of cinema at all.
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The four directors who have been chosen to interpret the journey of cinema or rather its importance in the lives of average Hindi cinema fan include Anurag Kashyap, Zoya Akhtar, Dibakar Banerjee and Karan Johar. While Anurag Kashyap delineates the eternal quest of cinema fan to meet Big B, Karan Johar returns to his favorite template of love which stars Rani Mukerji and Ranbir Hooda and it is a story of a marriage crumbling under its own weight, Zoya Akhtar films the quest of a child, who aspires to meet Katrina Kaif and Dibakar Banerjee directs the film based on Satyajit Ray’s story of the struggle of an aspirant to become an actor.
CHECK OUT: Anil Kapoor & Sonam Kapoor to share same frame for BOMBAY TALKIES
The choice of these four directors underlines the passion of those who have made the mark in the cinema against all odds, as they ate, drank and breathed cinema and this is what the quest to make a place in the world of cinema is all about. Until one is passionate to the point of being neurotically obsessed, it indeed is a steep uphill climb to make one’s mark in the industry.
The story line also underlines the passion that the fan of cinema has for his favorite star, which was underlined by Big B in one of his interviews where he had told that the relationship that a fan has with his star in the darkness of the environment is what has been catalyst in idol worship and it is this idol worship which finds expression in instances of a fan booking whole cinema hall to see a movie as it was done by a fan in Kurukshetra in Haryana when SINGH IS KINNG was released or when the fan forces exhibition of a song once again or else he could break down the seats of the cinema hall, or for that matter the scenes of titillation that pop up in moffusil towns which otherwise may not have been cleared by the censors. But who cares! For a fan, nothing can come between him and his star whom he adulates and it is this adulation that would again be reemphasized through this motley crowd of four directors who are defining the contours of cinema for the next century in the country.
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