Nowadays there are these unconventional — a thousand cheers for that — but dissatisfying films which leave me rattled. Is it enough just to be decidedly different? Shouldn’t a film appeal on its own terms, whether hyper-commercial or raw-‘n’-realistic?

For me, at least, Amar Akbar Anthony and in recent times, The Dirty Picture, are as vital as any tough-knuckled document on the inequities prevailing in the nation’s hinterlands.
So when I’m neither ecstatic nor agonised about Shanghai or Gangs of Wasseypur, I’m asked, “How come? Don’t these kick the formula fantasies?” To that, I can only say, yes they do buck the Bollywood system of filmmaking. But that is not sufficient.
Despite innumerable merits, they didn’t connect with me at the emotional gut level. And I’m a sucker for being shaken and stirred. I’m also quizzed, “How come you liked Ra:One?” To that, I can only say read the review again please. I stated the reasons — the boy-daddy bonding theme, and the technical chutzpah which took Mumbai-confected FX material to another level. Proof: the thrill-packed train action sequence. For that very reason, Ra:One picked up the National Award in the Best Special Effects category. Now, no one’s questioning that.
To come now to an unarguably positive aspect of the ‘breakaway’ movies. They do defy the star system unequivocally. Dibakar Bannerjee’s Shanghai showcased Kalki Koelchin. With a hike in the budget, A-listers Katrina Kaif or Kareena Kapoor could have been cast in the enterprise, which would have then immediately raised the product’s value in the market. Bannerji didn’t.
Anurag Kashyap’s Gangs of Wasseypur is commendable for featuring relative newcomers, of whom the lead female protagonist is more than likely to be pursued by the frontline producers. Just like Shabana Azmi (Ankur), Smita Patil (Charandas Chor, Manthan) , Nandita Das (Fire), Chitrangada Singh (Hazaaron Khwaishen Aisi) and Konkona Sen (Mr and Mrs Iyer).
All of them, including Nandita Das in Aks, have carromed between films, big and small. Auspiciously, Richa Chadda who has been feted with glowing reviews for Wasseypur, is now in the position to move to the glamour elite. Her credentials as an actress have been corroborated, after her cameo in Oye Lucky Lucky Oye. On a personal note, I sensed her capabilities as a serious-cum-glitzy actress when she played the lead in my stageplay Kennedy Bridge last year. Am I being biased, then, in favour of Ms Chaddha? I think not. I tend to be tougher in my appraisal of actors who have worked with me. The Delhi-girl has stuck it out in Mumbai for her big break. With Wasseypur, she’s here to stay.
Nawazuddin Siddiqui and Jaideep Ahlawat will for sure be absorbed by the mainstream afer their terrific performances, again in Wasseypur. Siddiqui has been hanging around in the fringes, playing miniscule roles, till he was noticed as the uptight cop of Kahani. Jaideep Ahlawat’s, earlier seen to disadvantage in Khatta Meetha, transmitted such a steel-strong presence in the opening reels of Kashyap’s gangland epic, that if he plays the game right, he’ll be all over the place on the Bollywood scene shortly.
Plays the game right? Alas, that’s a must. Much hinges on the image-building factorand media projection. Richa Chadda, Nawazuddin Siddiqui and Jaideep Ahlawat have what it takes to be pucca Bollywoodwallas. To make an impact the decidedly different cinema is fine, as long as it’s the first step taken on Bollywood’s stairway to heaven.