I recently contributed a snippet on my most favourite Bollywood moment in 2012 for the year-end special podcast on Upodcast (listen to this mammoth 3 hr special here). And I got my thinking hat on, and recapped the year 2012 in Bollywood cinema. It has indeed been a year of lovely moments that stayed with me, long after the end credits had rolled. I had to squeeze out just one moment out of the following, and I’ll leave the guess work to you, as to which one I chose for the podcast.
But for now, here are my 10 most amazing and awesome Bollywood moments of 2012 (in no particular order).
[Of course, as I will be discussing specific scenes, these are mega-spoiler material. So, you’ve been warned ]
The janam-janmaantaro ki pyaas ( closest English translation: The thirst of ages ) is going to be quenched with this Baap of all sequel posts. This was demanded since the first snake charmer from the gang of Samri was killed in the dark realms of the Purani Haveli. And before all of this mish-mash of lovely sounding words start dismantling into meaningless pieces of guano, let me cordially welcome you to the Return of the Top 20 Villains of Bollywood aka Top 20 Villains of Bollywood – Part 2 (Nope, we are no SrBachchan to yell out Dwitiya). Jaani, if the first list [ read here , if you haven’t ] left you high and dry, this one should definitely leave you stoned and soaked in awesomeness. We @ OKS are so committed to bringing you all the desi-awesomeness, that we have gone back and dug out these jurm ke pujari, brashtachari, durachari and those who never say sorry (obligatory Jaane Bhi Do Yaaro reference). Bollywood owes a million and one titles to these villains, coz they are the ones inspiring titles like - Zaalim, Kutte, Kaminey and the like. So, show some respect for ..
*The Next Top 20 Villains of Bollywood*
Prior to the year 2001, Indian cinema screen space was primarily occupied by the run-of-the-mill popcorn entertainers, mildly interrupted by the multiplex movie – an attempt to cater to the urban audiences who were fed on MTV, Star World and international sitcoms. The Bollywood blockbuster had turned into a potion of ingredients best known to the ones who incorporated the star sons and daughters, copied scripts from Hollywood blockbusters, diamond merchant producers and South Indian technicians into the perfect recipe. Most often than not, these recipes failed, with only those suceeding at the Box Office which genuinely appealed to both classes as well as masses. The top list from the entire decade of the ’90’s-produced’ blockbusters consisted of DDLJ, DTPH, K2H2, KNPH, HDDCS and other multi-worded titles, delving deep into the world of romance and romantic storylines spicened up with sub-plots of obstacles to romance such as a father who is never pleased with a love marriage. The time was nigh for the recycled storylines to be discarded and to embrace new ideas and challenging scales of storytelling.
The year 2001 marked the rising of a new sun in the horizon of Indian cinema. June 26 2001, things were about to change dramatically. LAGAAN was released and in every sense of the term, it was a game-changer.
In this post, I will be discussing about LAGAAN and how its influence can be seen in today’s Indian cinema. The magical glow of this cinematically brilliant masterpiece still shines bright even today, 10 years after its release, and here’s why.
There are not many movies in Indian cinema where you can name each and every character of the ensemble. It has been 10 years since the release of LAGAAN, and even so, the excitement and enthusiasm as well as the anguish and misery of the many characters of LAGAAN is as fresh and graphically vivid in my memory as it was when I finished watching it the first time. The only other movie that can claim to have attained such a feat is (no points for guessing) the immortal blockbuster – SHOLAY. So why not reflect upon these colourful members who complete this massive painting of LAGAAN with their various shades.
Outside the LAGAAN XI:
Aakshvaani – Sutradhaar (Amitabh Bachchan)
The voice which introduces us to the world of Champaner, and also concludes the tale with the words – “Itihaas ke Panno mein kahin kho gayi hai” [ Lost somewhere in the pages of history ]
‘Maa’ – Yashodamai (Suhasini Mulay)
“Hey Ram! Bakhat se pehle hi khushiyaan!” [ Hey Ram, premature celebrations ]
The quintessential mother, but not Bollywood-ish. She sees the reflection of her lost husband in the courage and daring nature of her son.
[WARNING: Image heavy post ]