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Directions Q. (11 – 15) : Read the following passage and answer the questions.
After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going? The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhash Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.
This is Manoj Kumar’s Desh Ki Dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).
All four films areheralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades.The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.
After almost three decades of contemplating Swarovski-encrusted navels on increasing flat abs, the Mumbai film industry is on a discovery of India and itself. With budgets of over 30 crore each, four soon to be released movies by premier directors are exploring the idea of who we are and redefining who the other is. It is a fundamental question which the bling-bling, glam-sham and disham-disham tends to avoid. It is also a question which binds an audience when the lights go dim and the projector rolls: as a nation, who are we? As a people, where are we going? The Germans coined a word for it, zeitgeist, which perhaps Yash Chopra would not care to pronounce. But at 72, he remains the person who can best capture it. After being the first to project the diasporic Indian on screen in Lamhe in 1991, he has returned to his roots in a new movie. Veer Zaara, set in 1986, where Pakistan, the traditional other, the part that got away, is the lover and the saviour. In Subhash Ghai’s Kisna, set in 1947, the other is the English woman. She is not a memsahib, but a mehbooba. In Ketan Mehta’s The Rising, the East India Englishman is not the evil oppressor of countless cardboard characterisations, which span the spectrum from Jewel in the Crown to Kranti, but an honourable friend.
This is Manoj Kumar’s Desh Ki Dharti with a difference: there is culture, not contentious politics; balle balle, not bombs: no dooriyan (distance), only nazdeekiyan (closeness).
All four films areheralding a new hero and heroine. The new hero is fallible and vulnerable, committed to his dharma, but also not afraid of failure - less of a boy and more of a man. He even has a grown up name: Veer Pratap Singh in Veer-Zaara and Mohan Bhargav in Swades.The new heroine is not a babe, but often a bebe, dressed in traditional Punjabi clothes, often with the stereotypical body type as well, as in Bride and Prejudice of Gurinder Chadha.
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