At last, the film industry is relishing the sweet smell of success!
With MURDER proving a universal hit and MASTI opening to packed houses, a flurry of activity can be witnessed in the film industry. Bigger and better projects are being planned and announced, the almost-extinct tribe of distributors is back - enquiring with producers about their films and the exhibitors are hoping that the forthcoming releases this summer will only compel the audiences to return to the cinema halls in a big way.
But, most importantly, the smiles are back on the faces of everyone I encounter these days. It's as if the harrowing time we faced in the first three months has been erased from their memory. Optimism rules, pessimism is pass?BR>
Moderately-priced MURDER continues to hold well in its second week, despite the multi-starrer MASTI making a slight dent in its business. But let's not forget that MURDER is not a Rs. 40 crore film - it was made in a modest budget and the price tag is very, very nominal.
On the other hand, with MASTI begins the flow of big films. The opening of the film has been in the range of 90 to 100% and thanks to a terrific start, half the battle is won.
MASTI may have received its share of flak for the witty and sexual double entendres, but so what? It's time the Indian audiences accepted an AMERICAN PIE brand of comedy in Hindi films.
In the recent past, Hansal Mehta attempted a similar genre in YEH KYA HO RAHA HAI, but it failed not because the viewers were not ready for a change, but because the plot lacked a solid foundation.
Similarly, N. Chandra succeeded in STYLE, but floundered in its sequel, EXCUSE ME.
Haven't we accepted Dada Kondke and David Dhawan's films in the past? Haven't we accepted Basu Chatterjee's SHAUKEEN in the early 1980s? So why nail Indra Kumar just because he dared to change tracks and attempt a sex-comedy that is aimed at the front-benchers?
After all, what is the definition of escapist cinema? Escapist cinema transports you into a world of make-believe, taking you away from reality, entertaining you for the next three hours. Films that make you forget your worries and sorrows in those three hours is what matters eventually.
At least MASTI makes no pretensions that it's an intelligent film. Nor has Indra Kumar ever claimed that the film is meant for pseudo-intellectuals or the festival circuit. Strangely, a section of the media loves to glorify films like MEENAXI [which only added to the tally of flops] and write-off films like SHOLAY, HUM AAPKE HAIN KOUN and even KAL HO NAA HO.
Let's treat MASTI as a commercial film that is making an attempt to revive a badly-hit industry, not a painting by Picasso!
