Whatever be the fate of SHIRIN FARHAD KI TOH NIKAL PADI commercially (it is doing good so far as per the trade reports), one thing is for sure, that a new character actor in the form of Farah Khan has emerged on the firmament of the Hindi cinema, who has got a lot of attitude, and she is going to carve a niche in the Indian cinema of female actors in the category of actors between 35-50. This is one slot where conventionally the Indian female actor either plays the role of a sister or a mother, but with SHIRIN FARHAD KI TOH NIKAL PADI a new slot has been introduced and one hopes that the new age of directors and producers would start experimenting in this category.
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This kind of slot which is being talked about is a category that is the domain of Susain Sarandon in Hollywood and the kind of films that she acts in are films full of fun and frolic and cater to the category that is not so young, but has not yet gravitated to the old age as well. With the Indian population, especially in the urban areas also moving to this category, Bela Sehgal’s attempt to create a niche under this category is a creditable step forward, and even his brother Sanjay Leela Bhansali has commented that given a chance, he would have liked to direct SHIRIN FARHAD KI TOH NIKAL PADI.
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It is also one of the apparent paradoxes in our country perhaps that the under garments of ladies are generally sold by male and the existentialist dilemma of being in such a position has been played with panache by Boman Irani in the film and the dead pan manner in which he has enacted the role underlines the fact that he can carry films on his shoulders.
Choice of Parsis as the community for SHIRIN FARHAD KI TOH NIKAL PADI also underlines the fact that in the community of Parsis, marriage among the community is an issue, and it has been commented upon in a subtle manner. Old age romance among the Parsis was portrayed for the first time with success in KHATTA MEETHA and in SHIRIN FARHAD KI TOH NIKAL PADI the age has been pushed forward to late thirties and early forties where the problems are manifest on a larger canvas.
SHIRIN FARHAD KI TOH NIKAL PADI is a film which would find resonance on a much larger scale in Mumbai and in Western India owing to the presence of Parsis in a big way in particular, but the angst of first trying to fix career, and then trying to find a partner to settle down is an issue that urban India is besotted to in general, so there would be a sense of association with the film in the urban centres all across the country.
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