West Bengal government may have painted the poster displaying the bare back of Paoli Dam for HATE STORY but slowly and surely Hindi cinema is becoming bold in packaging sex as the item to sell a product, specifically a film. As a matter of fact riding on the quotient of sex films without presence of a super star is being sold to the distributors without much of a problem. So, the moot point is, is Sex the new superstar in the world of Hindi cinema?
It indeed seems to be the case, and it is more to do with the emergence of new breed of film directors, actors and producers who do not think twice about using sexually explicit images on the screen, as "it is the demand of the story" or scenes of intimacy without battling an eyelid.
The rubicon that Hindi cinema has crossed after playing around the bush for quite a long time is indeed a monumental step forward for Hindi cinema. Take the case of VICKY DONOR, were it not for the new breed of directors and new breed of actors, this kind of film could not have seen the light of the day, but it has become a talk of the town, after all it addresses an issue that Bollywood could not dream talking about. In the same manner the HATE STORY, where the hot and steamy scenes were woven into the narrative in such a manner that after the release of the film neither did the critics nor the audience talk about it. HATE STORY had scenes with cuss words as well.
It all had started in a big way with THE DIRTY PICTURE where a female producer, Ekta Kapoor turned all the conventions on its head and went laughing all the way to the bank, purist be damned. THE DIRTY PICTURE with an investment of Rs. 18 crore went on to rake in Rs. 117 crore, so it was evident that if sex was packed intelligently then the film could indeed hit bulls eye.
No wonder even Karan Johar, whose films otherwise are a family affair, with element of sexuality being at the fringe, became bold and used Katrina Kaif for 'Chikni Chameli' in AGNEEPATH. Katrina Kaif also did not think twice before strutting her stuff in a raunchy and erotic manner. These were the roles in Hindi cinema that were being done by the likes of Rakhi Sawant earlier. But when a Katrina Kaif decided to do it, it sure was an indicator that Hindi cinema had indeed come of age.
It could be precisely for this reason that a Mahesh Bhatt did not think twice before approaching Sunny Leone inside the house of Big Boss to be the heroine in JISM 2, well aware about the fact that she is an established porn star. But Mahesh Bhatt was also capitalizing on her image for her sequel JISM 2, to create a pre-marketing publicity and therefore the posters of JISM 2 have Sunny Leone in plain white enclosure, all left to imagination. Incidentally it is Pooja Bhatt who is producing the film, a female once again.
One critical factor which has facilitated the wave of sexual liberalism in Hindi cinema is the audience, the young audience of the present generation which gets exposure from all forms of media on issues pertaining to sex, is not at all shocked about it, but takes it very coolly. It has been the critical factor in encouraging the producers and the directors to experiment with this genre in a big way.
Times in cinema making have indeed changed, but it would be interesting to watch whether it is for good or bad.