Dear Indian Filmmakers: It’s Time to Bring Back Superficiality in Cinema

When was the last time you really switched off and relaxed while watching an Indian movie? I remember getting lost in a make-believe world whenever I watched Yash Raj or Karan Johar films. But sadly, over time, these filmmakers were pushed to make more realistic movies, at the cost of “superficial” ones.

Right now, I can’t seem to switch off completely while watching an Indian movie and drift into a world completely different from mine. I don’t watch movies for reality; I watch to escape it. If I wanted reality, I’d just take a walk outside, not sit down for a movie. But times have changed, and I don’t think we can expect Indian filmmakers to go back to creating movies with grand sets, stunning scenery, and actors with natural beauty and amazing chemistry. The current trend is all about violence, gore (often to the point of regression), and hyper-realism (and plastic surgeries).

Nowadays, if by chance a superficial movie gets released, we have to endure actors with little to no acting skills or the kind of magical chemistry we used to see with iconic pairs like Shahrukh Khan-Kajol, Shahrukh Khan-Juhi, basically Shahrukh with any actress, or Aamir-Juhi.

It’s a very dull era for the Indian film industry when it comes to making feel-good movies. Movie-watchers like myself, who want to escape into a world that isn’t focused on realism, end up turning to Korean or Pakistani dramas. The fact that so many Indian viewers are enjoying these shows proves there’s still an audience for feel-good romantic movies. The demand is there, but unfortunately, the quality supply is missing in the Indian film industry.

Part of the blame also lies with the audience, who now look for realism even in make-believe movies. If many of the romantic Korean or Pakistani dramas were released in India, they’d probably face intense criticism, with thousands of critics dissecting every single scene and evaluating it based on reality. This is why feel-good movies from the past (except maybe Wake Up Sid) are heavily criticized in today’s India. Such criticism discourages filmmakers from making more feel-good movies. Movie watchers like me, who yearn for superficial, romantic cinema, end up feeling dejected in the process.

I hope we get to see some romantic films, but since filmmakers are minting more money and fame from realistic and violent movies, I don’t expect the trend to change anytime soon.

We have good-looking actors like Ibrahim Ali Khan making their debut probably this year. Let’s hope he gets cast in some feel-good movies and his acting skills are as impressive as his looks. However, the current crop of actresses seems too focused on plastic surgeries, leading to a lack of diversity in looks. In the 90s and early 2000s, actresses like Kajol, Juhi, Sonali Bendre, Madhuri Dixit, and Raveena Tandon had distinct appearances. Sadly, that can’t be said now. So, the question arises—who will pair well with Ibrahim Ali Khan in a romantic movie? No one really comes to mind, except maybe Pratibha Ranta.

An Ode to Kabhi Main Kabhi Tum

I came to know about the Pakistani drama Kabhi Main Kabhi Tum from YouTube recommendations. This was one of those times when YouTube got its algorithm right.

I wasn’t initially sure whether I would like the drama, but once I started, I was hooked. It is no surprise that Kabhi Main Kabhi Tum has gained popularity in India. The reasons are plenty.

Focus on Relationships

The story focuses on everyday relationships. It does not aim to convey any profound social message. The drama is not entirely progressive, but as the audience, the onus lies on us to accept the fictional world of those characters.

We are at an age where we look into political correctness in every movie or drama. This mentality somehow has ruined the movie-watching experience for people like me who prefer rawness over perfection. Indian filmmakers have become too cautious and afraid to offend, which is understandable considering the polarized times we live in. However, they can still develop unique story ideas that are family-oriented.

Most Indian movies and dramas getting appreciated nowadays are dark. If, by chance, a love story gets released, people are quick to dismiss it as cringe, misogynistic, or fake. Box office numbers also reveal that romantic movies have lost their appeal in India. Or maybe it’s because we are not coming up with a captivating love story. Due to this, many filmmakers stay away from making out-and-out romantic, feel-good movies.

So, considering the lack of romantic content, it’s understandable why many Indians are drifting towards Korean and Pakistani dramas like Kabhi Main Kabhi Tum that keep the old-world romance and family-centered stories alive.

The primary takers of romance are women. Most of us understand that the romance shown in movies is make-believe and not realistic, yet we crave a world that we can deep-dive into when we are stressed. Unfortunately, there are not enough choices for us nowadays. This is why dramas like Kabhi Main Kabhi Tum come as a refresher.

Clean Love Story

Kabhi Main Kabhi Tum meets the bill of sweet, clean love stories that we used to enjoy in the past. No one is making out the moment they meet; no one has an “I am cooler than you” attitude. The chemistry is there for your eyes to see. They look lovingly at each other with slight smiles, enjoy quiet dinners sitting on their bedroom floor, and mesh into each other’s lifestyles even if they are poles apart. Small things that make a significant impact.

Beautiful and Relatable Styling

I absolutely love Sharjeena’s free-flowing Pakistani outfits. The styling gives you a feeling that you, too, can pull off the outfit. The hair is not overstyled; the fit is comfortable and suitable for all body sizes, and there is a feeling of relatability when you see it. Nothing seems out of reach for the regular person.

No Realism Fatigue

I personally do not wish to experience realism fatigue while watching a movie or drama, so a good balance of relatability and aesthetics is ideal. To clarify, you might have seen several scenes in Indian dramas/movies shot in the bathroom where the main character is shown answering nature’s calls. They are realistic but not aesthetic. So, in my opinion, such scenes are better avoided in a make-believe world. We don’t need to know if the character peed or pooped or has a runny nose or sweaty face. Some things are better left for the real world.

Conclusion

I believe Indian filmmakers should take note of the popularity of Korean and Pakistani dramas in India. They should recognize that there is a market for such content, which they are currently neglecting to cater to. To create such wholesome dramas or movies, first and foremost, we need better storytellers. Korean dramas are written by female writers, which brings a unique female perspective to the stories. Perhaps Indian filmmakers should consider hiring female writers to bring back the charm of feel-good content in our films.

Quick Bytes: As a Centrist Hindu, I Did Not Find Netflix’s Maharaj Problematic

Indian politics cannot be easily categorized as “right” or “left” in the truest sense. However, it is easier for an apolitical person to understand whom you are referring to when you mention “left” (parties like CPI(M), but we generally include any non-BJP party in India) and “right” (NDA). I would call myself a centrist as I find a lot of things from both sides problematic. I can never swear allegiance to any one party, as I often look at the party’s performance and form my judgments based on that.

Now, the left-leaning crowd is naturally praising Maharaj, Netflix’s new movie starring Aamir Khan’s son, Junaid Khan. In contrast, the right-wing supporters are asking Hindus to boycott the movie. Truth be told, I haven’t read much about the Maharaj libel case, so I cannot pinpoint with utmost certainty which part of it is anti-Hindu. My opinion here is based on what I saw in the movie. Here’s why I, a centrist Hindu, did not find the movie problematic.

In Maharaj, Karsandas is portrayed as a reformist who is a practicing Hindu, but he asks questions and is not swayed easily by godmen. There is a monologue at the end where he says he fell more in love with his religion when he studied it in detail. He accuses the religious leader, Maharaj, of misusing it, misinterpreting the Sanskrit Vedas to further his vulgar agendas. This is not anti-Hindu in any manner. The court must have thought the same as well, which is why it got a clean chit.

The only material I referred to after watching the movie was a Wikipedia article on Karsandas. Interestingly, I found the following information, which was not covered in the movie.

He was deeply influenced by the English culture to an extent that he had dislike for institutional religious authority and had penchant for reading Christian sermons and later started translating English sermons & conduct manuals into Gujarati, thereby also bringing a distinctively Protestant ethic into Gujarati’s cultural world.

I am of the belief that community members and religious leaders should openly criticize the bad elements of their religion. If there is an extremist misusing and spoiling the name of your religion, why not openly oppose them? This applies to all communities. It’s only when you distance yourself from the fringe elements of religion that society truly reforms. As long as haters get support in the form of words or silence, radicals will continue to flourish.