When people went back to the cinema

Someone once said, if you want to find out about the general outlook of a society, then look for their ways of entertainment. Seeking advance apology from those readers who think I write way too much on movies, the recently released film called Aynabaji can be used by sociologists to understand what celluloid fun for a wide number of people actually entails. In a time when celluloid entertainment had become formulaic, relying too much on copying ridiculous traits from Bollywood, Aynabaji proves one thing -- a navel exposing, cleavage showing item number with provocative lines are not essential for a film’s success. Balaka hall is running the film for a third straight week -- a rare practice in these days when a film is forgotten while it’s still on the screen. In recent times, there has not been any other movie which managed to fill the seats for such a long period. Well, I am not saying the film is flawless; attaining certain degree of cinematic perfection will take more such flick, but this is what can be called a milestone for Bangladeshi celluloid because not only does it shed the gratuitous display of female flesh, it gives a protagonist, who, all of us can relate to because he is not the super fit, virtue-filled one man army, pulversing 10 people at a time, always ready with moral sermons. Why did this movie, which is fairly simple in the plot, become the center of so much discussion? Some say, Amitabh Reza, the director is a seasoned advert guru and used all his skills to market it successfully. Others, however, go beyond the interest-arousing gimmicks to look for genuine value. Let’s discard the marketing side for now and concentrate on the internal worth of the production because, this one flick has flouted the law of a commercial yarn and yet, managed to hold millions stuck to their seats inside the hall.

When producers, cinema hall owners talk about bringing back the educated middle class to the cinema, they should emphasise that following a ‘done to death’ style is hardly a way to revive the film industry

Like I said, the plot is about a very average person with an extraordinary passion -- to act and become somebody else. In that transformation, one mundane existence metamorphoses into a fascinating escapade.

Well, what about lofty ethics? Nope, no place for that when pursuit of one’s obsession takes priority.

Aynabaji is where the protagonist, played by the versatile actor Chanchal, comes down from Mount Olympus to become just another guy, who lives by making compromises between virtue and a little vice. Our movie makers hardly go out of the template in which the main male role has to be an example of all things glorious. Ayna, the central figure of Aynabaji, is hardly that -- he is someone who is more eager to reach a conciliation, instead of going into a confrontation. This is a guy who resorts to disingenuous behavior just to make life a little more comfortable.

In following his work, scruples come second. A few years ago, a film director, who was facing a tough time selling his own idea of a movie to a producer, lamented by saying that there is a syndicate which imposes a formula and, if their path is not followed, deliberate obstacles are created in the country-wide marketing of the movie. This means three songs, four fights, two moments of bliss, two moments of despair, so on and so forth.

From what I know, Aynabaji did not go through this group and that’s why it could trash the unnecessary fights, the insipid dialogue plus many other clichés.

Like I said earlier, if one wants to look for errors, this is not without fault, though, I would say, if a local movie manages to keep the audience guessing till then end, then the film is a success.

In the past three years, I only finished two local movies in the hall -- a testament to what excreta is made for the big screen.

When producers, cinema hall owners talk about bringing back the educated middle class to the cinema, they should emphasise that following a “done to death” style is hardly a way to revive the film industry.

Copying Bollywood masala numbers won’t serve culture; regular commercial ventures, riding mainly on the liberal show of the female body may pull some people seeking titillation, though a little creative thought, adroitly packaged with some classy romanticism, can do both -- bring people from all classes and help secure the movie industry.

It’s not correct that, as entertainment, working people, who form the bulk of movie-goers, crave only blood, gore topped with racy songs.

Sometimes, I look at Shakib Khan and deplore the characters he plays. If only he was cast in a film which sidelined the common formula.

In the right hands, Shakib Khan can go beyond the ludicrous Mafia style underground killers that he has been portraying lately. Can anyone point to one Shakib movie and say, yes, this is not only commercially successful but also artistically/intellectually sound?

Many have expressed amazement at the accolades poured over Aynabaji. Some have even gone as far as to say, this hype is a manifestation of the whims of the people.

Well, instead of being so blinkered, one has to say, a production which did not follow the rules and still managed to create a stir, is proof that, innovative ideas/approaches, presented with the right dose of marketing strategy, can do wonders.

Perhaps this can work as inspiration for all those who are toying with an unorthodox plot.

As for Shakib Khan, well, he is already a top hero, but will someone come and bring out the actor in him?

Towheed Feroze is a journalist currently working in the development sector.