The paths of these two stars have intersected on several occasions due to their association with the luxury brand Bulgari
entertainment6 hours ago
Aamir Khan's Dangal, directed by Nitesh Tiwari, is said to be the highest-grossing Bollywood film ever. That sports saga was remarkable for its distinctly above-the-commonplace quality, enhanced by an excellent, nuanced performance by Aamir, and backed by an ensemble of newcomers and supporting players. Fittingly, it garnered great reviews.
By contrast, the most-expensively-mounted Bollywood film, the Vijay Krishna Acharya-directed Thugs of Hindostan - a pastiche of Hollywood's Pirates of the Caribbean and the desi Lagaan as well as certain elements borrowed from Manmohan Desai's Coolie (note the friendly eagle, please!) - attracted a lot of negative criticism. However, since the YashRaj banner-produced extravaganza instantly attracted staggering collections on the opening day itself, the knee-jerk reaction of the trade was upbeat.
It would be a strange world if reviewers were to turn into pure trade soothsayers instead of assessing a film by its cinematic standards - or the absence thereof. Two other expensively-packaged formula flicks this year - Race 3 and Baaghi 2 - were panned although they made chunky profits. Count also last year's execrable Golmaal Again and Judwaa 2 as major hits, which had left the reviewers squirming in their seats.
Despite such aberrations, critics, perhaps because of their sheer numbers (the tribe has swelled in recent years with the addition of multiple internet platforms, television channels and online blogs other than traditional daily newspaper columns), do make a vital difference. This is more than apparent when an unconventional whodunit like Andhadhun or the fearlessly-outspoken political comment Mulk, not to forget indie ventures like Masaan and Newton, are endorsed enthusiastically. The public curiosity is stoked rightaway.
The phalanx of reviewers have a tough call to take especially when it comes to projects fuelled by widely-adored star names. The coming together of Amitabh Bachchan with Aamir Khan, for the first time ever, in Thugs of Hindostan suggested that the audience would be willing to settle for less - what with the leading A-listers looming large up there on screen. Similarly, Salman Khan appears to have a readymade audience as long as he takes off his shirt in the finale to exhibit a grid of abs and packs. Ditto for Tiger Shroff, who seems to believe in the credo have-muscles-will-dazzle.
There's a loyal mass audience for Hrithik Roshan and Ranbir Kapoor as well. Sure, they slave at the gyms to sculpt their physiques. Yet, mercifully, like Aamir Khan, they do take care to segue into roles that demand a perceptible quotient of acting. Roshan with the upcoming Super 30, Kapoor with his collaborations - especially with directors Anurag Basu (Barfi! and Jagga Jasoos), Imitiaz Ali (Rockstar and Tamasha) and Rajkumar Hirani (Sanju) - and Aamir Khan, with his home productions Taare Zameen Par and Dangal, have strived to prioritise acting over their star chutzpah.
Thugs of Hindostan may still register profits way over its budget, but it is hardly likely to be canonised as a milestone. The advance sales of its TV, satellite and home entertainment rights have guaranteed that it can't be written off as a loser. En route are two more hefty, high-profile movies: the Rajinikanth-Akshay Kumar sci-fi spectacle 2.0, and the Shah Rukh Khan-topped Zero. In keeping with the market strategy of releasing them at the maximum number of screens and attracting the first-three-day crowds, their success seems to be pre-written. Chances are that the critics will do their carping or - who knows? - break into joyous cartwheels.
Yet, if I may say so, critically-bashed films do prove that reviews cannot be wished away like irritating mosquitoes by Bollywood satraps.
wknd@khaleejtimes.com
The paths of these two stars have intersected on several occasions due to their association with the luxury brand Bulgari
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