by Apoorva Verghese – Follow @browngirlmag

Today’s India is one the fastest growing nations in terms of technology and business. But years of imperialism have undoubtedly left its mark in the form of economic difficulties and deep social divides. Yet one of the most pervasive influences of imperialism remains subtle and shrouded by state boundaries: cinematic culture. Bollywood is known far and wide as the largest film industry in the world, yet is also constantly criticized for its over the top effects and tacky, repetitive plotlines. But as criticism against Bollywood grows, a whole new side of Indian film remains undiscovered.

Malayalam cinema has over the years developed a growing fanbase within its home state of Kerala, but is still relatively irrelevant. Malayalam films are praised for technical and artistic elements; the same qualities Bollywood is so harshly criticized for. Thus, we have to wonder, within one country how can the idea and production of cinema differ so greatly? The answer dates back centuries. India’s bloody battle with imperialism left unintended consequences in the form of its most loved industry: film.

[Read More: Q & A With Writer and Director Minhal Baig on Filmmaking, Culture and Representation]

Along with tangible, destructive effects, imperialism left behind the pervasive new thought that became embedded in the minds of any and all affected by it. Glamour, beauty, and modernity. With these themes in mind, a newly freed India set out to mimic the country that once ruthlessly oppressed it. The effects of western materialism became clear, not only in urban development but also in film. Producers and directors got together to create films that featured people of unattainable beauty and tell stories of unattainable lives.

However, over time this idea has progressed from sweet fairy tales to inane extravagance. Movies now survive on over the top special effects and distracting aesthetics. Actors are chosen based on their looks rather than acting skills. In fact, someone who does not meet Bollywood’s steep cosmetic standards stands little to no chance of making it.

A Bollywood producer’s goal is really only box office success that rival those of big-budget Hollywood movies. And that intention is where the paths of Bollywood and Malayalam cinema diverge. Unlike Bollywood, Malayalam films have consistently focused on creating relatable characters and simple yet captivating storylines. They focus on seemingly insignificant people and often pertain to striking social issues. Actors are chosen not for their looks, but their ability to relate to audiences whoever their character may be. Artists enter the industry not looking to make money, but because they possess true skills. In fact, the Malayalam film industry is not a bankable one, especially when compared to that of Bollywood.

Take a look at the leading stars of Bollywood as opposed to those of Malayalam films. Bollywood legend Shah Rukh Khan has a net worth of $600 million and has acted in approximately 83 movies. While he continues to act today, critics and fans alike have expressed concern that his time has come to an end. Conversely, Malayali legend Mohanlal has a net worth of $33 million and has acted in about 200 films. Unlike Khan, Mohanlal continues to be praised for his acting today and is revered as one of the greatest Indian actors to date. The biggest difference between the two, however, isn’t their net worth or their experience. Shah Rukh Khan has a six-pack. Mohanlal has a potbelly.

[Read More: These 11 Bollywood Celebs Dominated the 2018 Filmfare Awards Red Carpet]

Bollywood’s need for glamour becomes clear when comparing Bollywood remakes of Malayalam movies. Jeethu Joseph’s Drishyam tells the story of Georgekutty, a fourth-grade dropout. He works as a cable businessman and lives in a small home with his wife and 2 kids. The movie develops the story of an average family thrown into a terrible situation in a way that the common man can easily relate to. Perhaps the most skillfully executed part of the film is Mohanlal’s portrayal of Georgekutty. He’s arrogant and domineering, yet intelligent and calculating. He’s undeniably flawed yet incredible. Most importantly, his life is perfectly and utterly average. In the Nishikant Kamat Bollywood remake, the story’s the same but the characters aren’t.

Bollywood superstar Ajay Devgn takes over the protagonist’s role, Vijay Salgaonkar. Like Georgekutty, Vijay is a fourth-grade dropout and runs a cable business. Unlike Georgekutty, Vijay lives in a nice house in fanciful Goa with his supermodel-esque wife and two daughters. He’s kind-hearted, humble, loving, and intelligent. He’s not flawed at all. Simply put he’s ideal, a trait the makers demanded expanding on throughout the film. Bollywood’s inability to show a flawed character, despite being handed a perfect model, is a prime example of their need to portray everything as idealistic and glamorous. Bollywood is rooted in ideas of egoism and materialism. Malayalam film is rooted in substance.

The question remains how can this difference be attributed to imperialism? The answer is simple: Kerala was never truly under British rule. The state of Kerala was created in 1956. Prior to this, the region now known as Kerala was made up of three kingdoms; Malabar, Kochi, and Travancore. During the British Raj, numerous attempts were made to gain control of these kingdoms and were successful but also failed. Imperialists were successfully able to get Malabar under their control, but the kingdoms of Kochi and Travancore were never fully under British rule. Rather they entered into subsidiary alliances that allowed the presence of British officials but avoided total domination.

Because of this, ideas of western superiority or Indian inferiority were never established in the area of Kerala. Malayalis never succumbed to ideas of glamour and modernity, but rather followed their own ideas that eventually lead them to become one of the most developed states in India. Kerala has become a champion of human rights in India. They progressed forward because unlike neighboring states, Kerala didn’t work to completely replicate the West. Instead they worked to integrate developing ideas of human rights with their own pre-existing community. They weren’t bogged down by the appeal of Western beauty, but were motivated by social acts to better the community. A motivation that shines through in their film industry.

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Apoorva Verghese is a high school junior from Houston, Texas. She was born in England, and has lived across the United States, fostering a lifelong interest in travel and multicultural perspectives. She loves reading and Netflix, and hopes to study medicine in the future.

By Brown Girl Magazine

Brown Girl Magazine was created by and for South Asian womxn who believe in the power of storytelling as a … Read more ›

If you are a South Asian, born in the ’80s or the early ’90s, chances are your ideas of love and romance are heavily influenced by Hindi films — that first gaze, the secret love notes, that accidental meeting somewhere in Europe, over-the-top gestures and dancing around trees. While reality may have been far from what was promised on reel, you still can’t stop pining over a hopeless romantic, with chocolate boy looks, chasing you across the earth and many universes; in the life here and the ones after. Somewhere deep down, you still dream of that possibility despite your husband sitting and sipping his morning coffee right next to you. And much of the credit for weaving this dreamland, that we can’t resist happily sliding into, goes to the legendary Yash Chopra. Award-winning filmmaker Smriti Mundhra’s docu-series, “The Romantics,” that released on Netflix on February 14, chronicles Chopra’s prolific career; offering an illuminating look into the highs and lows of his journey, his unblemished vision for Hindi cinema and sheer love for filmmaking. 

I wanted to look at Indian cinema through the lens of it being a major contributor to the global cinema canon and Yash Chopra seemed like the perfect lens to explore that because of the longevity of his career and the fact that he had worked across so many different genres. His films, for so many of us, defined what Hindi cinema is.

— Smriti Mundhra

As “The Romantics” unveils, in a mere episode — a challenging feat in itself — Chopra did experiment with multiple genres as a budding filmmaker, initially under the shadows of his elder brother B.R. Chopra. From the religiously sensitive “Dharamputra” and the trendsetting “Waqt” to the action-packed and iconic “Deewaar.” It wasn’t until later on in his career that he set a precedent for a Hindi film having a wholly romantic narrative; though “Waqt” did offer the perfect glimpse into what would go on to become Chopra’s cinematic imprint. And then came “Chandni” which ushered in a new era for Hindi cinema; defying the formulaic approach to box office success and making love stories the golden goose.

In the words of more than 30 famous faces, a host of archival videos and interviews, and personal anecdotes, audiences get an extensive insight into the life and career of Yash Chopra and the evolution of his vision through the business acumen and genius of his polar opposite son and a famous recluse, Aditya Chopra. “The Romantics” is not a fancy portrait of a legendary filmmaker but an exploration of what goes into making a successful film family and a path-breaking production house. As viewers, we not only get a peek into the making of a fantasy creator but also learn of the many failures, hurdles and uncertainties that the business of filmmaking comes packaged in, the impact of socio-political shifts on the kind of content being produced and demanded, and just how much control we have as an audience over the fate of the film and the filmmaker.

For both the uninitiated and fanatics, there are some interesting revelations like Shah Rukh Khan’s lifelong desire to become an action hero as opposed to a romantic one and the creative conflict between Aditya Chopra and his father Yash Chopra on the sets of “Dilwale Dulhania Le Jaayenge” — a project that, surprisingly, did not seem too promising to the latter. Mundhra penetrates deep into the family’s history and industry relationships evoking some really candid conversations; almost as if these celebs were eagerly waiting for their moment to speak. With one appraising interview after the other, it’s a panegyric that does border on being a tad tedious but there is enough depth and fodder in there to keep one hooked. Kudos to Mundhra for managing to achieve cohesion despite there being more than enough material to chew on. In the process of bringing this project to life, Mundhra also ends up achieving a number of milestones: one that the series features the last of actor Rishi Kapoor’s interviews and two, it brings Aditya Chopra, who, it appears, can talk a blue streak contrary to popular belief, to the front of the camera after almost two decades. The moment when he puts the nepotism debate to rest by referring to his brother’s catastrophic attempt at acting is quite the show-stealer.

 

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At some point during the four-episode series, you might question if it’s fair to credit the Yash Raj family for being the only real changemakers of the Hindi film industry and for picking up the baton to get Hindi cinema the global recognition that it has. But then there is no denying the Chopra clan’s body of work, their ability to understand what pleases the crowd and their commitment towards growth and progress amidst changing times and technology — Yash Raj Studios is in fact the only privately held and one of the biggest, state-of-the-art film studios in India. Chopra’s career and legacy are in no way under-lit that Mundhra can claim to throw new light on with “The Romantics.” But what she really has on offer here are sheer nostalgia, some fascinating discoveries and an ode to a cinephile and his art with a bit of fan service.

In an interview with Brown Girl Magazine, Mundhra discusses why it was so important for Chopra to be the subject of her docu-series, her own learnings during the series’ research and creative process and her accomplishment of getting Aditya Chopra to talk, and that too, at length.

By Nida Hasan

Editor by profession, writer by passion, and a mother 24/7, Nida is a member of Brown Girl Lifestyle's editing team … Read more ›