Let’s get this out of the way– yes, Agneepath is yet another remake of an Amitabh Bachchan film. It is a film that didn’t receive the mainstream success many of Amitabh Bachchan’s films were famous for. Instead, it reached a status more familiar with Amol Palekar’s films– it became a cult classic.

Karan Johar, whose father produced the original Agneepath in 1990, said that his goal was to remake this film and give the story the limelight it deserved. Meaning—he didn’t want a cult classic, he wanted a box office hit. I am not against remakes, but when I heard of Johar’s hand in the film, I got a bit nervous. The filmmaker usually represents the Bollywood that I think audiences have, or should, outgrow– the glossy over-the-top melodramas. Aside from Johar’s few attempts at supporting fresh, innovative film like Wake up Sid, I didn’t have much faith in the filmmaker—I didn’t believe he would be able to capture the darkness that a film like Agneepath demanded. In this case, I am glad I was wrong.

Agneepath worked for me. Yes, it was an all-out Bollywood film. It had the drama, the love story, the songs, the villains, the very attractive actor and actress. And yes, it is impossible for the film to live up to one of Amitabh’s greatest performances as Vijay Chauhan. But the film worked, and here is why.

The creators of this film took a really bold step in avoiding copying the movie frame by frame. They also avoided doing what Farhan Akthar did with another Bachchan remake, Don, where the classic film was taken and made modern and slick. Agneepath was actually the opposite– the film was more authentic, more grim, and more real than the original– even more than most Bollywood films.

The 1990 Agneepath did break a lot of barriers, and it may have been the reason the movie failed at that time. It was a time in Bollywood where Madhuri Dixit was on the rise, where feel-good family dramas like Maine Pyar Kiya and Mr. India were attracting mass audiences. But it still remained within the industry’s parameters—the film didn’t try to get too dark, too real.

The strength of the original Agneepath was the dialogue story, and more than that, the delivery. Few can match the style, mannerisms and acting of Bachchan’s Vijay Chauhan. There also wasn’t a ridiculously awesome scene where Bachchan randomly splashes out of the ocean. Hrithik Roshan and the filmmakers were smart in avoiding any attempts of replicating that. They put their energy in the script– and that was the smartest thing they did.

The film plays out like a Shakespearean tragedy– a son watches his self-respecting idealist father, who wanted to open a salt factory and make the community more educated and self-sufficient, murdered by the people from that village for a crime he did not commit. He was framed by a man, Kancha, who also wanted to open a factory, but wanted to produce cocaine.

This son grows up to be Vijay Chauhan. From an early age, Vijay embarks on a path to regain the village he and his family were forced to leave. His goal wasn’t to get rid of the evil around him (which there was plenty of– he actually works for an evil underwold gangster, Rauf Lala). Vijay had a less-than-noble desire to get his village back, a village that was ripe with his father’s memories.  Vijay’s mother saw the dangerous road her son had chosen, and she leaves with her young daughter and asks Vijay to keep his distance.

Today’s Agneepath has something to offer that the original didn’t. The movie wasn’t afraid to go places Bollywood has avoided. Rishi Kapoor’s commanding performance as Rauf Lala, an underworld don, showed his character in the business of selling young girls– a concept rarely shown in Bollywood, yet one that is a reality in India. The original rape scene in which the protagonist’s father is seen with a prostitute is changed to a young girl with a leg brace, who is raped and killed. The film freely showed prostitutes, transvestites, and both in a positive light.

Then, there is Kancha. The 2012 chief antagonist was much creepier, deranged, and more psychotic than the original.  The contrast from the 1990 Danny Denzongpa’s Kancha was wonderful—Sanjay Dutt’s Kancha wasn’t an aviator-clad white suit-wearing villian, but rather a scary hairless man who couldn’t stand the sight of himself. He wasn’t suave, he wasn’t handsome– he was pure evil.

My favorite aspect of the script is the nuances of Vijay’s character. Is he good? Or not? On the one hand, he kills ruthlessly to gain his village back. He does anything in the name of gaining Mandwa– even takes part in an underworld lord’s evil doings for several years. On the other, he risks everything for a cop, a cop who would arrest him if he had the proof. But Vijay choose to protect him—the policeman’s self-respecting and moral ways remind him of his own father.

In Bollywood, films are usually black and white– there isn’t much room for a gray area. That is probably the reason why the original Agneepath failed at the box office, but nevertheless gained cult status. In the remake, the filmmakers didn’t shy away from exploring territory that is more or less uncharted in the Hindi film industry.   Bollywood has often been criticized of avoiding the “other” India. In Agneepath, here it was, in a high-budget star-studded motion picture.

The performances were noteworthy, the songs were authentic (created by local Marathi musicians), but there were still some over-the-top moments, too many unnecessary subplots, and the film could have been about an hour shorter. Nevertheless– it went where few mainstream Bollywood films go. It had a protagonist who was angry, lost, maybe mistaken– not your typical  Bollywood golden boy. It was a film that challenged the Hindi film industry’s precious image of India, and it still provided entertaining, yet intense cinema.

If the filmmakers made the film with a lower budget, less drama, fewer songs, no Katrina Kaif item number—it would have made for great cinema. But this is Bollywood, and this is also still a film produced by Karan Johar. With all that in mind, I commend the filmmakers for avoiding the fluffy, safe route and taking a risk. And for that, Agneepath is a good step for Bollywood.

After a very disappointing 2010 (My Name is Khan fans: stop reading now), I have good reason to be optimistic about the rest of the year. Fortunately, we won’t have to wait too long. On Friday, July 16, two movies that I’ve been eagerly waiting for will be released. Soon after that, Aamir Khan’s Peepli Live and Aisha will also hit  theaters.

Next week, Udaan and Tere Bin Laden will release. Udaan is another film that appeals to the urban youth audience, the latest trend in Bollywood. (Thank God the NRI phase is over). Anurag Kashyap  started last year with a bang when Dev D.’s success was attributed to this emerging demographic. As a producer for Udaan, I expect this film will also be able attract a younger crowd, and slowly, a larger audience. After the horrific HLS , which was as formulaic, predictable and cliche as they come, sensible Bollywood fans are dying for a film that is, well, good. Udaan will stand in stark comparison to IHLS. And if the film doesn’t turn out to be the saving grace of indie-Bollywood, we at least have some great music by Amit Trivedi. Check out the theatrical trailer for the film:

Promos for Tere Bin Laden never fails to make me burst out laughing. With such an enticing premise, which includes a look-alike Osama Bin Laden, the film has set up high expectations for anyone who hears the title or watches the trailer. If the filmmakers can pull off such a novel concept, it will be the biggest story in Bollywood this year. It’s a hard task, one that reminds me of my ultimate favorite film, Jaane Bhi Do Yaaron– it’s hard to beat the film’s satiric tone and  its intricately woven message about corruption. As is well known in Bollywood, it takes one movie to become a hit to start a trend. Bollywood hasn’t yet been able to consistently address political issues, and Tere Bin Laden would be a great start.

Peepli Live is the reason Aamir Khan is infinitely better than his arch nemesis, Shahrukh Khan. The film addresses farmer suicides, and even though it is produced by Bollywood’s favorite actor, most actors are either art house or unknown. The film would have gone unnoticed by the masses if it weren’t for Aamir Khan’s name attached to the project, and no matter how big Khan’s ego is (one of the biggest in Bollywood, which is saying something), the fact that he’s putting his name behind a film that isn’t a popcorn movie (even the music is authentic), is inspiring and commendable.

Here’s a great video about the film:

Let’s see what the coming weeks in Bollywood bring us. Hopefully, these films can carry us through the winter, when the brainless masala films takeover the industry.

Although I am unsure about I Hate Luv Storys (but not completely disheartened), I am much more confident and excited about another rom-com that will release soon after IHLS: Aisha. Now, watching the trailer, it doesn’t hide its obvious similarities with the other Jane Austen’s Emma interpretation, Clueless. But, unlike my concerns with IHLS, I believe this film will push the envelope and give Bollywood something that will be more innovative, rather than feed off of Bollywood’s developing love of romantic comedies without the over the top drama. Yes, it is a commercial Bollywood film made to draw in the crowds, but I believe it will do so on its own terms, not because of a tried and tested routine. There are a few reasons that I believe this film is the romantic comedy worth waiting for:

• Abhay Deol. He plays the male lead, and his career so far is amazing. As I wrote in a previous post, he is THE Bollywood actor worth watching and following, and the very fact that he is starring in Aisha makes me believe that this film will be ripe with artistic merit and innovation.
• The lack of any Swiss Alps locale in the promo. Must I say more?
• Amit Trivedi. It is often assumed in Bollywood that music takes a back seat in “art” or “parallel” films. Trivedi has defied this notion. He won accolades for his stupendous work in Dev D. and for by far the most memorable and popular  song in Wake Up Sid, “Iktara,” which shined above the other music in the film, which was composed by Bollywood’s some of Bollywood’s most famous musical men, Shankar-Ehsaan-Loy. His involvement in this film can only be a good thing, and will also prove to be in stark comparison to the more typical, unimaginative track of I Hate Luv Stories.
  
• The Director. Rajshree Ohja. She’s a woman, she’s young, and she seems amazing. Check out this article about her and see for yourself.

• The Producers. The Kapoor clan, Sonam Kapoor’s family, is producing the film. Although her last two and only films weren’t great, she does have a certain modern appeal that her colleagues lack, and I’m not quite ready to give up on her. Her character seems very different from the one in IHLS. In this film, she represents the globalized Indian girl, a character I, a 24 year old living in Boston, can easily relate to. The reason I have so much faith in her character is because of:
• Devika Bhagat. Bollywood’s latest trailblazer is the number one reason I believe I will not be disappointed by Aisha. Bhagat is best known for writing the witty, television show, Mahi Way. The show just aired its series finale last week (it lasted one season), and the dialogue, messages, casting, and story line made it one of the best shows I’ve seen on Indian television, and without a doubt the most accurate portrayal of today’s Indian urban youth. I first wrote about the show in the beginning of its season, and will write about my opinion of the show in its entirety when Rishta.com, another brilliant dramedy by the same production company comes to an end next week. Until then, I will add Devika Bhagat to my growing list of Bollywood game changers. She’s up there with Abhay Deol, Ranbir Kapoor, and one day Vishal Bhardwaj, Anurag Kashyup, and UTV (and even Imtiaz Ali. We will just pretend that Love Aaj Kal never happened).

As I have said before, I am equally supportive of parallel films like Mr. and Mrs. Iyer as I am of films like Dev D. and of Lage Raho Munnabhai. There is room for films in Bollywood that are commercial but aren’t formulaic, and Aisha seems to fit in with these new crop of movies. If done right and my expectations are not to be let down, Aisha has the potential to further propel the world’s largest film industry in an even more progressive and innovative direction.

Here is the theatrical trailer. Enjoy!

Anyone who knows Bollywood knows that once an off-beat experiment proves successful, the film industry doesn’t hesitate in copying the formula. In this case, this film reminds of me of the witty dialogue of films like Jab We Met or the “opposites attract scenerio in Hum Tum or even Love Aaj Kal. The hope is that I Hate Luv Storys offers something original.

I understand that not all films need to be a turning point for Bollywood. But, the film industry is at a fragile place right now, and a hit in the right direction could make a lot of difference. Indian audiences are not only ready, but deserve an original film this year. I Hate Luv Storys could be the satire of Bollywood we’ve been waiting for, or, at the very least– this year’s Wake Up Sid, which was also produced by Karan Johar and directed by a young first timer.

After the past few years, Bollywood filmmakers have convinced me that the industry is ripe with talent, and even big production houses are betting on it. I hope that this film continues on a path of the industry’s creative streak. While watching the promo, I laughed out loud at some parts, but cringed at the other sari-in-the-alps and sappy dialogue portions. There is no doubt that is a mainstream film aimed at the masses. But, this is a great opportunity to remind us that mainstream can rise above formulaic cinema and be refreshing and real.

Either way, I’m eagerly awaiting the film. As of now, I’m intrigued by Imran Khan’s hilarious Shahrukh Khan-Raj-Rab Ne Bana Di Jodi reference. Enjoy!

Both Deol and Kapoor’s films have captivated the youth of India. Both men hail from major Bollywood families, and both have acted in films that have done well with the masses, critics, and awards.

Deol has been in the industry longer, and is, in my opinion, the better actor. His track record is impressive– he was the star in last year’s most successful off beat film, Dev D. Before that, he starred in films like Honeymoon Travels, Pvt. Ltd., Manorama Six Feet Under, and Oye Lucky! Lucky Oye! His latest film, Road, Movie, has done amazingly well at various festivals, and with critics. The film is directed by Dev Benegal, a famous documentary filmmaker.

Here is the promo:

Deol’s choice in films are telling. He isn’t an actor from Nasseerudein Shah or Rahul Bose’s house of acting, that is, he doesn’t act in art films. But, his films are far from mainstream. His films represent the new crop of Bollywood films that are off-beat, but have humor, romance, and music. They’re often low budget, with new directors. He avoids major mainstream films that usually have a high box office return.  Deol’s films don’t always make a lot of money, but are well-made, original films that find their niche audience.

Kapoor, on the other hand, does act in major big budget blockbuster films with high profile stars. His first film, Saawariya, was Hollywood’s first major investment in Bollywood, and was made by an established and famous director. Ranbir Kapoor the won best male debut award at the Filmfare Awards for his role.

After the film, Kapoor was sought after some of the biggest names in Bollywood. He could have followed Hrithik Roshan or Abhishek Bachchan’s career path, two actors who also hailed from famous Bollywood families. Instead, Kapoor did a little bit of both. He wasn’t as courageous as Deol– he still stuck with big production houses, but after an initial mainstream phase, started to act in films with new directors in films with fresh scripts.

Kapoor had a great last year. He starred in the very filmy Ajab Prem Ki Ghazab Kahaani (which was mainstream, but much better than many of his previous films). Along with the masala flick, he acted in two parallel films, which won him the Filmfare Critic’s Award last year. His film Wake Up Sid was one of my favorites- It was about a rich boy who hadn’t yet figured out what to do with his life. The plot wasn’t anything too new, but the way the story unfolded and the superb acting made the film one of the best of last year.

Here is a promo for Wake up Sid:

In Rocket Singh- Salesman of the Year, Kapoor played a Sikh. He wore a turban and spoke a lot of Punjab. The film didn’t have songs and had a very compelling and original story. Kapoor is a favorite among the youth and has a huge female following, yet he chose to take a huge risk with his career and acted in two films that weren’t guaranteed box office hits, and in fact didn’t earn as much money as some of his other more safe offers would have.

None of Kapoor’s films compare to Deol’s film Dev D. last year, which also managed to fair extremely well in India, as well as bag many prestigious awards. The film was not only path breaking, but revolutionary for Indian cinema.

These two actors have all sorts of options available to them, and are easily the most sought after actors in Bollywood. Yet, their choices are far from expected. These new breed of actors aren’t repeating the safe choices of actors before them, but are taking risks and trying new roles. They are the future of Bollywood, and right now, the future looks promising.

His second Bollywood film Roja (he was primarily making Tamil films before) made it to the 10 best soundtracks of all time list by Time Magazine, and his Tamil film Nayagan made it to the All-Time 100 Best Movies.

Here’s a song from the film Roja:

Ratnam’s film Dil Se, which released in 1998, dove into the terror-stricken region of Northeast India. The female lead in the film (SPOILER)  was raped by soldiers as a child and witnessed the death of her family. She was also a terrorist– hard to find in Bollywood. The movie also produced one of India’s most famous songs: Chaiya Chaiya. (All of Ratnam’s Bollywood films have music composed by A.R. Rahman.)

Ratnam was able to eloquently address and convey major issues in India that were mostly ignored by the rest of the film industry, But, unlike the more independent film makers, he used Bollywood’s techniques to convey the message, which made his otherwise independent films mainstream. His films had dances, songs, famous actors, and love stories. But, the songs were interwoven in the plot, the scripts made sense and lacked major holes, and the acting was usually impressive.

He didn’t shy away from controversial issues, but embraced them. His stories represented a greater complex situation that were often extremely relevant and real in India. His film Bombay portrayed communal riots in the city through the eyes of a Muslim-Hindu couple. Yuva showed the different facets of India’s youth- some were itching to leave India for the promise of America, and some were ready to change the system by entering politics. The lessons Bollywood must remember from Ratnam’s films are:

1. An original story is a good thing.

2. Producers should learn that serious issues don’t repel audiences.

3. A director’s job is only to think of the artistic merit of the film, not box office potential.

4. Music made for a film is even better when it blends beautifully with the script.

Ratnam’s last Bollywood film, Guru, was a biopic of Dhirubhai Ambani, who was amongst the most powerful and richest men in the world. Although his story is appealing and touching, the film lacked the darkness that his other films usually had. It wasn’t a complete disappointment, but compared to his prior work, was less than stellar. Ratnam wasn’t quite able to find the voice that touched on the chord that connected to the greater issue in India. It was more a rags-to-riches fable and played up Ambani’s story.

His next film, Raavan, is all set to release. But going forward, Ratnam should remember that:

1. Famous actors aren’t necessary for a film’s success.

2. Not every movie needs six songs

3. Be careful not to fall in love with The Bachchans. We know it’s hard, but try and resist. A little.

4. Maybe the films can be a little shorter. Yes, we understand that your films already break many Bollywood norms, but a movie with a length less than two hours would be our favorite new Ratnam standard.
Ratnam’s latest film is an interpretation of the The Ramayana, an ancient epic originally written in Sanskrit. In a major part of the story, the demon, Raavan, kidnaps Lord Ram’s wife, Sita. But in this version, Raavan isn’t so bad, and Sita isn’t so savitry (pure). Here’s the promo:

To be honest: the promo worries me a little. But just a little. I have faith that Ratnam will return to his former glory and teach Bollywood that mainstream films are allowed to have some intellect and originality.

And even if he fails, don’t worry: the music will probably be worth waiting for.

The film is directed by one of my favorites, Vishal Bhardwaj. Originally a composer (Maachis was one of his best albums) and good friends with Gulzar, his films are some of the best that have come out of Bollywood in recent years. Most notably, Omkara and Maqbool, both interpretations of Shakespere plays (like Gulzar’s Angoor), were highly appreciated by audiences and critics. Maqbool, starring Pankaj Kapoor, Tabu and Irrfan Khan, reenergized Kapoor and Khan’s career. The haunting interpration of Macbeth reminded us why Tabu is the best.

Omkara went a few steps further. Although Maqbool had better performances and was overall a better film, Omkara was much more mainstream than Maqbool. While Maqbool had more parallel cinema stars like Tabu, Pankaj Kapoor, Naseeruddin Shah and Om Puri, Omkara had Saif Ali Khan, Kareena Kapoor, mast item-numbers from Bipasha Basu, an incredible performance from Konkana Sen Sharma, Ajay Devgan and Vivek Oberoi. All were phenomenal in their roles, and it was Khan’s most important and needed performance in his career after Dil Chahta Hai. This film also reminded us that Kapoor can act. It also reminded us that films with incredible depth, meaningful dialogue, and tragedy don’t have to exclude filmi item songs. Serious films can have some fun too, and Omkara taught us that.
So what will Kaminey teach us? Priyanka Chopra already had a fantastic 2008 (Fashion, Dostana, let’s pretend Love Story 2050 didn’t happen) and Shahid Kapoor needs what Omkara did for Khan, to show that he can deliver a performance different from his default role (Jab We Met). Let’s hope this caper helps remind Bollywood what good films are!

Ram Gopal Verma’s new trailer for his film Rann somehow already managed to get banned by the censor board and reached the Supreme Court, who ordered the Censor Board to reconsider its ruling.

If you watch the trailer, hopefully you will recognize the melody and the words. It’s India’s national anthem, with some added lyrics. The song by no means tainted the national anthem or voiced any anti-Indian sentiments, yet it was banned.

The lyrics addressed the growing divide between Indian states and its people. It addressed India’s apathetic nature towards politics and the government, as was seen earlier this year when, despite major efforts to increase voter turnout, it was still only 50 percent.

The Censor Board referred to a law which stated that the National Anthem could not be altered, thus banning the trailer of the movie. But isn’t that at odds with the basic concept of the freedom of speech? Even if the song was unpatriotic and anti-Indian, it would surely warrant controversy, but definitely not a ban. And this song is far from either– the words and the creativity in which the song was rendered does not deserve such treatment from a progressive democracy.

The song isn’t anywhere near a performance by The Roots in California, where they sang Bob Dylan’s “Masters of War” but started the song by singing lyrics on the tune of the National Anthem. Some lyrics, directed at the leaders of the country at that time, were: “You play with my world like its your little toy… i just want you to know, i can see behind your masks. ” Very tame compared to Rann, yet no problem.

RGV has done many crazy things over the years, including some incredible films (Satya, Company) and some not so much (Daud, Gayab). But in this case, more power to him, and to the what should be progressive country of India. As said so wonderfully in the song, “Bharat ko bachale vidhaata.” God save India.