The power dynamics in Bollywood are in for a mega changeover. While a multi-starrer like ‘Jhoom Barabar Jhoom’ flops, ‘Chak De India’ sans glam frills (both Yash Raj films) emerges the victor.
While the star-loaded ‘Salaam-e-Ishq’, fails to bewitch audiences, writer-director Sagar Bellary’s low-budget ‘Bheja Fry’ (Rajat Kapoor -Vinay Pathak) gets a thumbs-up.
Closer still, the comedies ‘Heyy Baby’ and ‘Dhamaal’ (a no-heroine film) have their makers laughing all the way to the bank thanks to scriptwriters Milap Zaveri and Parritosh Painter (with Balwinder Singh Suri) respectively.
Yesterday’s platitude, ‘the script is the hero of the film’, is today’s success paradigm. “While earlier, scripts were woven around stars, today it’s the script, which is the ‘star’ of a film,” asserts Parritosh, whose resume boasts of several hit plays.
Writer-director Anurag Basu, whose urban caper ‘Metro’ has certified him as the master of the human predicament says, “Films are made on paper.
It’s the actors who go on the floors. I spend more time writing a film, than executing it. A script should move you-make you laugh and cry.”
Magnanimously, Anurag lists peer scriptwriter Jaideep Sahani as ‘the brightest’ amongst Bollywood’s new pack of pen-wielders.
A former computer engineer, Jaideep chucked up software to log on to human emotions in films including ‘Jungle’, ‘Company’ , ‘Bunty Aur Babli’, ‘Khosla Ka Ghosla’ and ‘Chak De India’ to become Bollywood’s highest paid screenwriter.
Jaideep, who relies on ‘observation’, revealed that ‘Chak De’ was inspired by a newspaper column. To write it, he hung out at national hockey training camps pretending to be a research student.
On this emerging supremacy of the scriptwriter, trade analyst Amod Mehra avows, “The script is the protagonist of the film-be it ‘Iqbal’ or ‘Partner’.
Even if ‘Chak De’ didn’t have SRK, it would’ve been a hit. To sell a film, stars are important but for a film to become a hit, it’s the script that counts. That’s why the script is king.”
Javed Akhtar (formed a formidable team with writer Salim Khan between 70s-80s), emphasised the primacy of a script saying, “A good script can be made into a bad film. But bad scripts can never me made into a good film.”
Article from DNA
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