Perfect shot: art seeps into Bollywood
Bollywood is evolving. The good looks are no longer restricted to bulky, ripped men and dainty, fair damsels in distress. Along with the shift in characters and themes the camera has also shifted its focus.bollywood Updated: Jul 29, 2013 19:53 IST
Bollywood is evolving. The good looks are no longer restricted to bulky, ripped men and dainty, fair damsels in distress. Along with the shift in characters and themes the camera has also shifted its focus.
Think Anand Gandhi's Ship of Theseus. Aida Al-Kashef's character reconciles with the ordinariness of her newly gained eyesight while witnessing the breathtaking expanse of The Himalayas. That shot, followed by the suddenness of her camera lens-cover falling into the rapids of a river is nothing short of an award-winner. The contrast is like letting life play its tune, one moment buried in complexities and the next, oh so regular. Exactly like the snap of a camera, you wouldn't know what you catch unexpectedly.
Zoom into the tiny black caterpillar, trying to find its way through a sea of briskly walking feet or the satirical comedy of a silver Accent getting stuck in the narrow lanes of a slum. The shots in the film serve as vehicles of unspoken conversation between the viewer and the director.
But then again. Gandhi's Theseus is not a departure from the mainstream, it is a whole new stream of its own.
A film like Vikramaditya Motwane's Lootera falls squarely in the realm of Bollywood drama. But remember the scene where Pakhi (Sonakshi Sinha) is desperately trying to write, but she is in a distubed state of mind? Remember how the pen rolls and paper balls are strewn all around her? Combined with the dark wooden flooring and her woolen sweater, the scene smells of winter. And you don't need 4D or 7D seating to feel that chill, the camera does it for you.
Motwane's attention to detail, although allegedly inspired by Sanjay Leela Bhansali's style is a far cry from Bhansali's grandeur. Where a beautifully decked up heroine in a Bhansali film would seem porcelain, Motwane's heroine Pakhi smiles at the arrival of her "Lootera" and the one beautiful thing about her lit up face is that her nose has a winter rash. It couldn't be chance now, could it?
The parting shot of Motwane's Udaan is yet another example of brilliant camera work. The yellow tinge adds to the light-heartedness of the young protagonist accepting his adopted brother as his own and taking him away from the authoritative parent. One can't miss the transition from dark frames to light colours, much like the tone of the film - one of hope.
(Inputs on Raanjhanaa and Kahaani are contributed by Sweta Kaushal)