Bollywood and culture in an emerging India
There are some films that you watch, not because you want (as Vidya Balan claims in ‘The Dirty Picture’) “entertainment, entertainment, entertainment”, but because they are a reflection of the times we live in, and if these movies didn’t get made, these chaotic times wouldn’t be chronicled for eternity.
Dibakar Banerjee certainly seems determined to be that chronicler for India. In his fourth film “Shanghai”, Banerjee keeps the grittiness of “Love, Sex Aur Dhokha” or “Khosla Ka Ghosla“, but gets more ambitious, with his canvas, dealing with murkier issues like urbanisation, development and the politics of today’s India.
In less than two hours, he manages to make a telling comment on the country we live in, the people who govern it, and most importantly, the people we think govern it. After all, as a character in George R R Martin’s epic “Game of Thrones” series says — “power resides where men believe it resides.”
Banerjee sketches his characters with all the skill that he has displayed in the past. Emraan Hashmi is undoubtedly one of the stars of this ensemble cast – stripped of his loverboy image, wearing ill-fitting clothes and flashing a goofy smile, Hashmi shines as Jogi Parmar, a small-time maker of video films who is caught in circumstances he doesn’t always know how to deal with.
Obviously watching him every five years or so on screen, as yet another filmmaker tries to “interpret” him, really tries my patience.