If Dilip and his heroines brought intensity, sensitivity and restraint in their love-scenes, Raj-Nargis, passion, boldness and undiluted physicality – then Dev Anand of the nodding head, tossed out ‘contemporariness’ to the mobs.
Neither too serious nor overtly passionate, they brought in style, chaal, ada every time he ‘pharmaoed’ ishq. From Suraiya to Tina Munim – Dev’s love scenes ("Manzil", "Paying Guest", "Jab Pyaar…", "Asli Nakli", "Guide", "Des Pardes") have always been sprinkled with rare flamboyance. His style of talking, walking and mannerisms have turned-on not only his heroines, but millions of adoring fans down the decades. Oh, there was Guru Dutt too, who blazed with all cylinders firing and lit up the screen with lady love Waheeda Rehman in classics like "Pyaasa", "Kagaz Ke Phool", "Chaudin Ka Chand", "Sahib Bibi Aur Ghulam", but his was a different scene.
Interestingly, all these big-dads emoted much better (as their films reveal) when in love and deeply entrenched in their heroine’s soul. The only real inheritor of their legacy was Rajesh Khanna, who in the early 70's brought back love to where it belonged - center-stage! Such was the hysteria his early romantic films ("Aradhana", "Kati Patang", Amar Prem", "Sacha Jhootha", "Roti", "Aan Milo Sajna", "Apna Desh", Aaoki Kasam", Do Raaste") generated that girls actually were known to have married his photograph and applied sindoor, sometimes in blood! Today, in year 2009, Shah Rukh Khan and Kajol may well be voted the “most romantic couple of the day” through an opinion poll and "DDLJ", their “all time favourite movie”, but somehow, it isn’t the same … Pure, raging, insane, passion – love that you could die for – has been replaced by love parading as a designer emotion, a fashion statement, fun and cool, with sensuous body language in place of the inarticulated expressions of love, loss and longing … Further, today, in a world where ‘speed’ is the watchword and ‘quantity’ the cardinal turn-on, love has become a publicity gimmick, a marketing tool, a selling force often designed to psyche and hustle the turned-on mobs into a storming a movie. As can be gathered, this blitz is normally machine-gunned before the release of a film. What these dumbbells don’t understand is that publicity can’t sell a lousy movie. Nor can curry-dipped rumours. At most they can create a climate of excitement which, however, could – and does – dangerously boomerang if the promise does not match the performance.
At the time of writing, new star-teams (Akshay-Kareena in "Kambakht Ishq"; Saif-Deepika in Love, Aaj Kal) are caught in the spectacular race for box-office buzz. Are they only confirming the obvious: that the world of passion and intensity has been replaced by hype and heart-string manipulators, panting to get into the fast lane, at any cost?
Neither too serious nor overtly passionate, they brought in style, chaal, ada every time he ‘pharmaoed’ ishq. From Suraiya to Tina Munim – Dev’s love scenes ("Manzil", "Paying Guest", "Jab Pyaar…", "Asli Nakli", "Guide", "Des Pardes") have always been sprinkled with rare flamboyance. His style of talking, walking and mannerisms have turned-on not only his heroines, but millions of adoring fans down the decades. Oh, there was Guru Dutt too, who blazed with all cylinders firing and lit up the screen with lady love Waheeda Rehman in classics like "Pyaasa", "Kagaz Ke Phool", "Chaudin Ka Chand", "Sahib Bibi Aur Ghulam", but his was a different scene.Interestingly, all these big-dads emoted much better (as their films reveal) when in love and deeply entrenched in their heroine’s soul. The only real inheritor of their legacy was Rajesh Khanna, who in the early 70's brought back love to where it belonged - center-stage! Such was the hysteria his early romantic films ("Aradhana", "Kati Patang", Amar Prem", "Sacha Jhootha", "Roti", "Aan Milo Sajna", "Apna Desh", Aaoki Kasam", Do Raaste") generated that girls actually were known to have married his photograph and applied sindoor, sometimes in blood! Today, in year 2009, Shah Rukh Khan and Kajol may well be voted the “most romantic couple of the day” through an opinion poll and "DDLJ", their “all time favourite movie”, but somehow, it isn’t the same … Pure, raging, insane, passion – love that you could die for – has been replaced by love parading as a designer emotion, a fashion statement, fun and cool, with sensuous body language in place of the inarticulated expressions of love, loss and longing … Further, today, in a world where ‘speed’ is the watchword and ‘quantity’ the cardinal turn-on, love has become a publicity gimmick, a marketing tool, a selling force often designed to psyche and hustle the turned-on mobs into a storming a movie. As can be gathered, this blitz is normally machine-gunned before the release of a film. What these dumbbells don’t understand is that publicity can’t sell a lousy movie. Nor can curry-dipped rumours. At most they can create a climate of excitement which, however, could – and does – dangerously boomerang if the promise does not match the performance.
At the time of writing, new star-teams (Akshay-Kareena in "Kambakht Ishq"; Saif-Deepika in Love, Aaj Kal) are caught in the spectacular race for box-office buzz. Are they only confirming the obvious: that the world of passion and intensity has been replaced by hype and heart-string manipulators, panting to get into the fast lane, at any cost?
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Source : IIPM Editorial, 2008
An IIPM and Professor Arindam Chaudhuri (Renowned Management Guru and Economist) Initiative
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