The Punjabisation of Bollywood has meant that on-screen depictions show a very polished version of Punjab. Fluttering dupattas, lush fields, glitzy weddings and lively dancing are what Punjab is all about, but Sameer Sharma’s “Luv Shuv Tey Chicken Khurana” doesn’t stick to any of the stereotypes, which is a relief.
My very first Yash Chopra film was a disappointment.
I remember watching “Lamhe” as a kid, almost without blinking, on a grainy television screen on a newfangled device called the VCR and thinking to myself, what is this story about? To my young mind, it didn’t make much sense. But the memory of “Lamhe” and that lazy summer afternoon I watched it with my cousins is still vividly etched.
Is it possible for a film-maker to regress with each film? Wouldn’t logic dictate that you learn and therefore progress with each film? But Karan Johar, who otherwise comes across as one of the most savvy, intelligent and knowledgeable people in the industry, doesn’t seem to apply that same logic to his films.
“English is a very funny language,” said Amitabh Bachchan many years ago, and many Indians agreed. In Hrishikesh Mukherjee’s comedy “Chupke Chupke”, a character makes fun of the English language, ridiculing its pronunciations and syntax; and when Kamal Hassan sang “come fast, come fast, don’t be slow”, no one blinked an eyelid at the bad grammar in the song.
Almost three years since his last full-length release “3 Idiots”, actor Aamir Khan is back with a new film. In between, he’s had a baby, produced a couple of movies, made his debut on Indian television, met the prime minister and appeared on the cover of Time magazine.
Akshay Kumar, wearing an outrageous hat, is dancing with a long-haired, ash-smeared, nearly naked holy man perched on his shoulders. At times, Kumar pats the man’s stomach even as the “baba” waves a “We Love Aliens” placard. No one will blame you if you ask — What exactly is going on here?