Raanjhanaa, The Lunchbox: Bollywood's 2013 refresher course
- Narendra Modi tears into the dynastic politics of Naveen and Rahul, calls Orissa CM 'nikamma'
- Mumbai Shakti Mills gang-rape convicts sentenced to death for repeat offence
- Bukhari supports Congress, says communalism bigger threat
- Arvind Kejriwal punched during roadshow in Delhi, AAP supporters thrash attacker
- ICC World Twenty20: Virat Kohli special takes India into final
It was a year of great learning. Here's what Ranjib Mazumder learnt at the movies.
Don't Look Now
Our cinema has a lot of faces – all too beautiful, all too packed and all the same. But did you notice that grin on Kundan's face? That's the charming street urchin face, throwing himself upon your mercy. Dhanush's turn as the heedless lover in Raanjhanaa showed that it's acting prowess that matters most.
All You Need is a Star
Indie or mainstream, making good films is not enough. The Lunchbox and Ship of Theseus showed that to pull in audiences to the theatre, you need stars, those directors and producers with the faces who can convince you that it's a good film. How impressionable are you, dear audience?
What Manhohan Desai did in 1977 with four back-to-back hits in a single year, Deepika Padukone did in 2013. She is more than a Khan. And no, she didn't have meatless roles that make her contemporary Barbie dolls very happy and cheery. Deepika is the star, and ready for those cameras that are incapable of looking away.
The Sound of Money
The success of Aashiqui 2 told us that the Bhatts are not walking around blind, without a cane. Call it earworm or great music, it swept the nation like its predecessor, and made a blockbuster out of a film with non-starrers. Tum hi ho… let's
Sequel to Hollywood
As far as franchises and their success rates are concerned, Hindi cinema is going the Hollywood way. The safe formula of sequels that makes Hollywood cash rich every year is taking over our cinema too. Look at the splendid success of the Dhoom, Krrish, Masti and Race series.
Do the Right Thing
The Lunchbox with its warm reception worldwide couldn't make the cut as India's official representation at the Oscars. The selection of The Good Road, the consequent hullabaloo and its ouster from the Oscar shortlist cemented the age-old fact again—that an Indian film does not need to represent exotica of the east to the west, it needs the "correct" film.