The Great Ganesha

Pakka NRI
Ok. I’ll admit it. I’m one of those desis who only really started watching Hindi films once I came to the US. Before that, I got my dose of Bollywood on the occasional Sunday evening, when Doordarshan screened its weekly movie. And the only reason I really watched them then, was to avoid doing the homework that was due on Monday morning at school. In those times, you didn’t even have to be sitting indoors to watch the movie. Since everyone in the neighbourhood was watching it, all you had to do was stand outside and listen to the collective sound of an infinite number of televisions.

So, I think it is safe to say that in the last two weeks or so, I’ve seen more Bollywood than I probably would have seen back home in say, a year. I saw Munnabhai Part Two, Swades, Salaam Namaste, Maqbool and Omkara. Phew! That’s a lot of movie-watching, you say. Well, I won’t argue that. None of these are particularly new movies (well, except possibly, Munnabhai, but even that is around two or three months old, if I’m not mistaken), so I’m sure several of you desis have already seen most, if not all, of these flicks. Well, then let me ask you: What the hell is it with these actors?

Apart from the entire cast in Maqbool, and Arshad Warsi in Munnabhai and Salaam Namaste, why is it that our great actors are so one-dimensional and flaccid in their portrayals? Can they not create? Do they not know how to go beyond lines on a page?

Salaam Namaste
By far, the worst performance was by Preity Zinta in Salaam Namaste. Her character comprised of being a superficial, extra-bubbly, not to mention annoying girl, who was probably ten years her junior. Well, ok, notwithstanding the age issue which is typical in Bollywood, what prevented her from putting a modicum of effort into her character and creating something that was more than just lines on a page? The plot was developed enough (by Bollywood standards) that there were some pretty complex issues that were dealt with. But of course, Zinta had three basic emotions throughout the film: happy (extra bubbly), sad and angry. None of these came even close to being believable unless you are reasonably intoxicated or twelve years old. Unless the latter was the target demographic, which would make the entire movie a warning to teenagers not to marry and/or have sex, her performance was abysmal. Note that I’m not even referring to the farcical scenes where a little exaggeration is expected – I’m talking about the more “serious” parts of the film.

Saif was marginally better, I have to admit. However, I don’t think the role was that much of a jump from his real life and his character in Dil Chahta Hai - young, spoiled and rich. The best actor in the film by far, was Arshad Warsi, who gave the most muted performance, without any excessively exaggerated emoting. He was the only one who actually put some thought into his character to make him somewhat realistic.

Omkara

The second-worst performance goes to Ajay Devgan in Omkara. Now see, I’m a big fan of Vijay Bhardwaj after seeing Maqbool. And I’m also a big fan of Ramgopal Varma’s Company. But does Devgan have to create the same character in movie after movie? He always plays the stoic, mostly silent, overtly macho leader, who all the women want to marry, and all the men want to be (when they grow up). It was entertaining in Company, but after that, it’s just more of the same. Some diversity would be appreciated, Mr. Devgan.The worst-actor award for Omkara would have gone to Kareena but, to her credit, she actually played a role that was different from the norm for her. As did Saif. Of course, both Iago and Desdemona can be as complex as one would have them be, and they have been in the past, to be sure. But given Saif and Kareena’s past reputations, I think one has to give them this: at least they didn’t mess it up. I can’t imagine Iago to be a spoiled, rich kid unless it’s under an extreme interpretation of the play. This is not inconceivable, and perhaps this might be an inspiration for the next interpretation of Othello, but I digress. As for Vivek Uberoi, well, he did a decent job, but then again, there wasn’t much of a job in there for him.

Swades
Then there was Shahrukh in Swades. Sigh! What can I say about that? A mild departure from his usual stuttering, sniffling character, but again, a strong story carried the movie, no thanks to the acting. The best performance in that movie was by the Kaveriamma character – Kishori Balal. It was wonderfully played, with all the nuances and tenderness of a South Indian amma. Of course, it didn’t seem to bother the rest of the townsfolk that a South Indian amma was somehow transplanted (house and all) into the middle of UP. But hey, that’s another rant for another post. The movie was pretty much carried by the strong storyline by Ashutosh Gowariker. And like Lagaan, he had to have a couple of “characters” in the movie, including Jaya Shankar Pandey and Rajesh Vivek. Both performances were good.

Lage Raho Munnabhai
The best acting was in Lage Raho Munnabhai though. Arshad Warsi of course, stole the show. He was excellent and, for a change, all desis agree on something. Sanjay Dutt wasn’t too bad. Like Saif, his role wasn’t far from his real life, so it didn’t require much effort. Which means it was ably done. Also, it wasn’t the typical Bollywood hero role, so that helped. Of course, the age difference between Dutt and Vidya Balan was considerable. And it didn’t help that his alcoholism is finally starting to show up on screen. I mean, did he store peanuts for the winter in those bags below his eyes? Ouch!

All I can say is, it’s nice to see people like Warsi actually put some effort into their performance and some thought into their character. Perhaps the business of Bollywood takes precedence over the artistic aspects, but there has to be some kind of standard. We cannot keep compromising on the quality of the acting just because the public is ok with it. And by public, I’m talking about you and me, people! Stop watching the crappy movies and post more about the good ones. Who knows? You might even do some good. And with more and more people in the west becoming aware of Bollywood, you might save some film-makers the embarassment of a dress-down from reputed critics on this side of the Suez Canal.

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