Bollywood and culture in an emerging India
Given that director Rumy Jaffry’s film “Gali Gali Chor Hai” deals with the burning issue of corruption, one would assume there would be no lack of material. Jaffry concentrates on corruption at the lower level and the everyday struggle of the common man who has to deal with this malaise as he tries to get on with life.
Akshaye Khanna plays Bharat, a meek bank cashier who lives in a dilapidated house with his wife, father and a pretty paying guest. When he rubs off a local politician the wrong way, trouble starts.
On the pretext of returning stolen goods, a local constable (Annu Kapoor) traps Bharat in an unending maze of red tape and corruption — all for a decrepit fan which doesn’t even belong to him in the first place.
Like I said in the beginning, Jaffry has a good idea — to portray the struggle of a common man against a corrupt and inefficient system, and to use satire as a medium to depict that struggle — and it does sound good on paper.
Somewhere in Bollywood, there has to be a movie-making machine.
All you do is insert a reel, change a few specifications (perhaps the hero’s name and occupation or the reason for a romantic obstacle with his leading lady) and wait for a “masala” movie to pop up, fresh and ready to hit unsuspecting audiences.
How else do you explain a movie like “Short Kut: The Con is On“?
This one is supposed to be a sometimes funny, sometimes emotional comedy about a struggling filmmaker and his double-crosser friend. It turns out to be neither.