Much accent on mayhem

HRITHIK ROSHAN has proved that he is not a one-film wonder and the unprecedented opening to Culture Company's ``Fiza'' is proof of that. His acceptance in an unconventional role liberates the star of his albatross image and encourages him to take risks in his future choice of roles.

Consequently, film maker Vidhu Vinod Chopra's ``Mission Kashmir'' and Hrithik's third release will enjoy the maximum mileage and carry the minimum baggage of his current box-office craze.

Either way ``Fiza'' becomes a significant film for it is the eighth venture in the last six years to dwell on the subject of anti-communalism. Beginning with Mani Ratnam's ``Bombay'' in 1995 chronicling the mayhem during the civil riots, Gulzar's ``Maachis'' 1996, on the growth of terrorism in Punjab, J.P. Dutta's ``Border'' 1997, addressing Pakistan as an enemy.

Mahesh Bhatt's ``Zakhm'' and Lateef Binny's ``Dahek'' 1998 on the identity crisis in the wake of a religious battle. John Mathew Matthan's ``Sarfarosh'' 1999, told of the suffering of an alien, ``Refugee'', the yearning for returning to roots and finally Khalid Mohamed's ``Fiza'' recounting the story of a Muslim family in search of their missing son. The wound has been touched upon too many times and in months of festival at least, the heart isn't ready for introspection!

Yet another film directed by Satish Kaushik has been released within eight months and this one too is a social drama! On the issue of rape, Satish emerges as a closet feminist. It is the first instance probably when friendship is projected positively.

The regressive moments, unfortunately, come in large doses - in all the happy and the sad scenes. The frames often appear over- crowded, even though Kaushik tries his best to balance the narrative with surprise twists. But he does not succeed always. With most of the new releases, the disappointments spring from the misleading promos. Either film makers are hiring outside talent to shoot their trailers or they are plain indifferent to the exaggerated expectations such packagings create.

Week after week, the gullible public is exposed to dazzling billboards and later glossy promos. It is described as consumerist culture, but recurring failures have now made the audience feel angry and manipulated.

The month witnessed four major disappointments. Raj Kanwar's ``Har Dil Jo Pyaar Karega'', Dharmesh Darshan's ``Dhadkan'', Harry Baweja's ``Deewane'' and A. Muthu's ``Tera Jadoo Chal Gayaa''.

The only saving grace of ``Tera Jadoo Chal Gayaa'' is hero Abhishek Bachchan, who is sincere to a point of devotion and does not cheat with his craft even when the camera is not watching. What has gone against Abhishek is the media hype.

As Sharmila Tagore analysed, the media cannot forgive itself for building up a debutant and having to take their word back. A perfect example of an error of judgement. I guess, there's no escaping perceptions.

Or for that matter comparisons. In this case, with the other star son, Hrithik Roshan. The scales are currently tilting in favour of Hrithik naturally. It will continue that way until Abhishek gives that one major hit, hopefully ``Dhai Akshar Prem Ke''.

If Rajesh Khanna and Amitabh Bachchan had co-ruled, there would have been no ravage following Khanna's debacle and no phenomena turning Bachchan into a one-man-industry. Our past should teach us to not turn one actor into an obsession.

Today, we are fortunate to have two candidates with distinctive personalities and appeal. Hrithik has brawn. Abhishek has intensity. Both have a flair for action and comedy, both are unafraid to experiment and court new cinema and most important, both have acting in their genes.

Let us help the debutants alter the equations of cinema. They can do it, provided there are no artificial obstacles.

BHAWANA SOMAAYA

Editor `g' Magazine

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