When was the last time in a romantic movie, or a violent romantic movie the female lead was also shown matching violence for violence? A female actor was always given the slot of being coy, demure, shy and to use her feminine charm to control the violent streak in the male character of the film with which she was supposed to fall in love. Well, as the times are changing so the characterization of female lead actor is also changing, and what better banner than the Yash Raj films to lead from the forefront of this change.
Well, ISHAQZAADE in recent times would be the first such films where the lead female actor Parineeti Chopra has an element of violence in her character portrayal, factoring in the changing times of the present times, which demands that the female order also need to change and seek recourse to violence as well to settle the issues. Bold and brash attitude has developed among the girls in the urban and especially the metropolitan cities, but the winds of change also need to be carried to the mofussil towns of the country as well and there is no better way than cinema to do so. By giving an element of violence to the characterization of Parineeti Chopra in ISHAQZAADE Habib Faisal has ensured that the current crop of the young female brigade would lap up the film. From the promos it is evident that she matches guns for guns, violence for violence and this could emerge as one of the USPs of ISHAQZAADE.
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After all, how long would the female actors in Hindi films continue to portray the characters whose role are relegated to two-three songs, some romance and happy ending. Therefore, in ISHAQZAADE in the song – “Main Pareshan Pareshan” as well, there is an element of determination and firmness in the expressions accompanying the song, though the song is purportedly supposed to connote the celebration of falling in love.
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Probably to connote the changing times the songs of ISHAQZAADE also have not been picturised against romantic landscapes, a hallmark of Yash Raj films, but they have been filmed in as mundane locations as a forlorn wagon of goods train, the element of romance being added to it by adorning it with decorative lights. For Yash Raj films it again is a point of departure, as the ISHAQZAADE style of romance bereft of luxurious landscapes as the backdrops have hitherto been an integral part of their oeuvre, even in as realistic a film as KAALA PATHTHAR, which had romance through Shashi Kapoor that paved the opportunity for dream sequences.
May be, the prop of the landscape was an escapade and with the changing times and the changing generation of film makers the starkness, anonymity and loneliness of life of the present times ought to be underlined through the cinematic oeuvre as well, more so in the songs. Let’s hope ISHAQZAADE creates new benchmarks of romance in the Indian film history.