Same Same but Different!

Wanted to work on this cinematic parallels analysis since long but procrastination took over.

Today I finally present you parallels between Akash Malhotra (Aamir Khan) Dil Chahta Hai, 2001; and Karan Shergill (Hrithik Roshan) – Lakshya, 2004.

First let’s talk about the obvious:
– Both movies were directed by Farhan Akhtar, a master filmmaker, and a man of many talents. Dil Chahta Hai was Farhan’s directorial debut and a critical and commercial success. Lakshya, his second, however didn’t do so well but is now a cult film, and for all the right reasons! For a kick-ass analysis of Lakshya, please read this blog by one of my favourite writers Brinda and Neer! 😊


Both characters’ hairstyles were super iconic, thanks to Farhan’s former wife Adhuna Bhabani. For Aamir, she chose a short, spiked hairstyle and a soul patch, for Hrithik, she chose the shabby, low maintenance cut and later the military cut.

Preity Zinta played the role of Shalini and Romila Dutta, Akash and Karan’s love interests, respectively. We’ll talk about her characters a bit later. Nevertheless, she demonstrated her acting chops brilliantly in both roles.

Now, on to the more detailed analyses:
– Akash is a commitment phobic, flirtatious character, whose father is a businessman. He is unsure of his life and no clear ambition. His tendency to run away from commitment is displayed very vividly when he runs away from Deepa, and later not accepting the reality when he actually falls in love with Shalini.
– Karan, though not flirtatious, is as aimless as Akash. He is faithful to Romi, and treats her with dignity and respect, yet he’s not the typical romantic boyfriend that Romi wants him to be.
– Akash is happy-go-lucky and can’t take any situation seriously. He thinks he can joke and look cool but crosses the line when he makes unsavory comments on his friend Sid and Tara’s relationship. Even when he’s sent to Australia by his father, he doesn’t show sincerity at work.
– Karan, though very serious about his relationship with Romi, too can’t take his life seriously. Even when he manages to enter the Indian Military Academy, he doesn’t pay attention despite being reprimanded several times by his instructors, to the extent of being humiliated.
– Akash learns maturity by crossing the line with his friend, but what makes him serious about life is when Shalini is about to marry Rohit, in spite of having feelings for him.
– Karan learns maturity by crossing the line at the academy, and facing his upset father, who compares him with his elder brother Udesh, but what makes him serious about life is when Romi breaks up with him for not respecting his own decision of joining the Army.
– Both Akash and Karan had problematic relationships with their businessmen fathers
– Akash and Karan, when asked about their plans, parrot similar lines about their plans for the day instead of their lives, but are uncomfortable when they are asked to get real.
– When Akash is heartbroken and lonely in Sydney is when he calls his father and they have the first heart-to-heart conversation with each other
– When Karan is about to go on the final mission, a matter of life or death, is when he has the most heartfelt convo with his dad.
– Both characters show incredible maturity when it comes to dealing with heartbreak. Karan channels it to excel at the academy and become a well-rounded officer, Akash does not become vengeful or try to get even with Shalini.
– The scene where Karan is outside Romi’s engagement venue seeing her get engaged to Rajiv is as intense as the scene where Akash attends Shalini’s wedding, confronts Rohit and confesses his love for her.
– Akash could have thought Shalini led him on despite being engaged to Rohit, but he did not think of her in a bad light.
– Karan could have been rude to Romi when they met in Kargil but he was in the line of duty and let bygones be bygones.

Over to Shalini and Romi – two polar opposite female characters.
– Shalini could not get out of a toxic engagement as she was indebted to Rohit’s parents for raising her like their daughter. She couldn’t tell Akash she loves him either. Only when she was pushed to the edge on her wedding day did she speak out her mind. Such a miserable state to be in!
– Romila, on the other hand, was a gutsy, independent woman who knew her rights. Even in college, she was defending people’s rights. She told Karan she loves him, later refused to be with him, even went on to break her engagement with Rajiv after calling out his hypocrisy over letting her travel to Kargil to cover the war.

Perhaps Farhan Akhtar took bits from Akash’s character and put them into Karan’s character sketch – the circumstances were different, relationships were different, yet both are so similar! And so brilliantly performed by Hrithik Roshan and Aamir Khan! There’s a reason why these two are known as perfectionists and are names to reckon with in the field of acting!

Why Indians must disassociate from Bollywood’s political opportunism

Politics, Bollywood, Cricket are India’s three conversational ‘hotspots’. I had to elaborate on this because hotspot is not limited to wireless internet connectivity, or more recent, the centres of the deadly COVID-19 pandemic. While outside of our homes, a pandemic is going all guns blazing, humans are indoors, working, cooking, cleaning and also making whatever use of all the network bandwidth to spread a far deadly plague on social media – accusations, mudslinging, politicking of pretty much whatever is going on in the world right now. Be it the spread of COVID-19 and control measures taken by governments therein, the India-China issue, re-runs of Ramayan and Mahabharat on TV and Bollywood.

This deadly plague has taken its worse form more recently after the shocking demise of Sushant Singh Rajput (aka Sushant Singh, or Sushant, or SSR). Every conversation relating to films has now become about nepotism, favouritism, groupism and what have you. Not to forget the media trials and social media warriors trying to prove that Sushant’s passing was a murder, a conspiracy and not just a suicide arising out of a mental health problem. No one seems to understand that the person in question is no more and can never explain what happened to him in the morning of June 14. Prime-time news shows which must focus on more ‘serious’ issues that concern the 135 crore Indians have unfortunately become about what one single woman thinks of an industry that has given her the fame, money and the accolades she has right now.

But this is besides the point. She will do what it takes to remain relevant and the talking point of the media. The larger issue at hand is that Indians are increasingly falling prey to the kind of political opportunism which is present all over Bollywood right now. With the right-wing BJP rule in the country since 2014, which looks like it is here to stay (whether people agree or not) and a tattered opposition so invested in hating the BJP rather than showing actual concern for the nation, it is natural for the Bollywood celebrities to take sides. While some celebrities are genuinely interested in politics and have also worked in the field for decades, others merely want to encash the political wave to seem politically correct. Whether it is Kangana Ranaut, Taapsee or Anurag Kashyap, or Swara Bhaskar – all have their personal agenda to prove a point and score political as well as media mileage, and eventually, trend on Twitter, by hook or by crook.

Kangana has realised that she has become a favourite among the Indian right wing, at least on Twitter. After being honoured with three National Awards and the Padmashri, she is riding high on the back of the larger wave of nationalism in India. Hence, she along with her team, are smartly raising issues pandering to larger right wing – her recent statements with respect to cow slaughter to promote her film ‘Manikarnika’, the brutal lynching of the sadhus in Palghar, the whole Black Lives Matter controversy and colorism in India, and ofcourse, her ‘new-found’ activism for Sushant’s justice.

Truth be told, she herself has been accused and been charged of stalking, mental harrasment of her former co-actor Hrithik Roshan, who has, with all the evidence, proven that he has had no relationship with her as she has made it out to be. She is also accused of discrediting the work of writer Apurva Asrani, who wrote the dialogues for her film ‘Simran’. Further, she was accused of forcing Krish to walk out of his dream project ‘Manikarnika’, due to her interference in the directorial process. Interestingly, Sonu Sood, who’s emerged as the savior of several lakhs of migrants during COVID-19, also walked out of the project owing to constant harrassment on the film’s sets. Other supporting cast of the film also raised similar issues. The result was that the film went over budget, suffered from production delays and resultingly, received a lukewarm response from the moviegoers. Does she deserve to talk about Sushant’s justice, and advocate for a clean film industry? No, definitely not.

On the other spectrum of things are actresses like Taapsee Pannu, Swara Bhaskar who are themselves accused of raising the issues fancied by the Left liberal ideologists. Taapsee’s tweet on the Ram Mandir ‘Ho Gaya. Ab Bas?’ – irked several sections of society when clearly it was a day of justice being delivered in a clear, and transparent manner. She is not the only one. Swara Bhaskar’s controversial, ill informed and often ignorant remarks on key issues of national interest like the CAA and NRC and milking (to her advantage) the suicide of Rohith Vemula, a Ph.D scholar at the Hyderabad University is a classic case of hypocrisy. Do they deserve to talk about a clean film industry? Absolutely not.

The only thing all of them are interested in, is unfortunately, political brownie points, and relevance. Because if they don’t tweet/talk to prime-time superstar journalists or make noise about the issues in this country, they will lose their chance to bask in the few minutes of fame, or lose out on awards. The award shows on TV are all scripted and made solely for entertainment, while the National Film Awards are based upon who in the jury is connected to which Bollywood celebrity.

Hence, we, as a collective society, must disassociate completely with Bollywood’s political opportunism, and not waste our energy in labelling them as brave, outspoken, gutsy. The celebrities will do whatever it takes to be on the convenient side of political discourse. But common citizens like us need to call out whoever is wrong for being wrong, and support whoever is right. Being a fan is okay, but be a fan of the person’s work and their attitude, not of their political opinion, because it’ll change in a whiff, leaving fans disappointed. Let us leave the stars to do their politics, and just enjoy/critique their movies like the olden times.

As for Sushant, I sincerely hope he gets justice and an unbiased investigation must be conducted by the concerned agencies, as his fans need closure. Let this issue be about him and the reasons for his demise. Celebrities need to be sensitive to this and not make it about themselves, and movie lovers like me must not get carried away and create chaos on social media, because whatever we say there just helps in creating buzz for the celebrity only and they stay in the news for good or bad reasons. Remember, any publicity is good publicity?

Therefore, I am concluding with a shloka from Niti-Sara, authored by Kamandaki, a disciple of Chanakya.

अवश्यमनुभोक्तव्यमं कृतं कर्म शुभाशुभं |
नाभुक्तं क्षीयते कर्म कल्पकोटिशतैरपि ||

The shloka means that a person must inevitably experience the fruits of his good/bad deeds. Karma never diminishes, even after several re-births, years or ages, unless its fruits are tasted. Let Karma, not us, judge people by their deeds and words. How we choose to behave comes back to us only.

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