Bollywood and culture in an emerging India
Preity Zinta’s comeback Bollywood film features the characteristic Zinta elements her fans have loved over the years. Effervescence and her famous dimples. Both are present in “Ishkq in Paris”, albeit in heightened form. Zinta is a little too bubbly, too jumpy and flashes her dimples far too often for them to be endearing. It’s like enthusiasm on steroids.
To counter her obvious efforts, co-star Rhehan Malliek narrows his eyes each time he is expected to show some emotion.
Together, the two of them play along with a farce of a film. One that borrows liberally from every romantic movie cliché known to audiences, cobbled together by director Prem Raj in the fervent hope that his leading lady’s charm will save the day.
It doesn’t. Even the presence of French actress Isabelle Adjani doesn’t lend a credible tone to “Ishkq in Paris” – when you saddle an actress of her calibre with a dubbed Hindi accent and a half-baked role that involves her batting eyes at Shekhar Kapur, it doesn’t do your film any good.
“We are just good friends” has to be the most overused phrase in Bollywood (or even Hollywood) for that matter.
A couple of years ago, each time rumour mills started working non-stop about a “friendship” between celebrities, the two concerned parties were sure to come up with a statement about how they were just good friends.
Watching Deepa Mehta’s “Videsh” is not a very pleasant feeling. Watching a woman getting bruised and beaten up never is.