AAMIR’S AVATAR
The ticket counters never had it so good, and Aamir Khan reaffirms that he’s a superstar like none other – but is box-office success reason enough to overlook other aspects of moviemaking?
JAN 17, 2010 – AS THE BOX OFFICE CONTINUES TO quake and tremble under the cumulative impact of Avatar and 3 Idiots, every single trade pundit – along with every single web site and blog devoted to film – has taken it upon himself to genuflect in unconcealed awe. The never-before daily totals are bandied about, the never-before second-weekend drops are hailed, and the never-before international grosses are being tom-tomed across the planet. This clamour is entirely justified, on one level, as both these films aren’t exactly what you’d call sure-shot blockbuster material. Looking back, it’s easy to point out that with the attraction of 3-D and with the star power of Aamir Khan, there simply was no way either film could have failed. But Avatar also carried with it a mammoth production budget and it was not based on existing material that audiences were pre-sold on, while 3 Idiots banked on our willingness to accept its fortysomething leading man as a college kid with a proclivity for life-altering sermons.
The unprecedented success of these films, however, rests with these very aspects – the attraction of 3-D and the star power of Aamir Khan, who is surely the most unique superstar Hindi cinema has known. Whether or not he is the biggest superstar ever, I’ll leave for the trade experts (and the fanboys) to duel out – but he’s certainly evolved into a superstar who’s the best guarantor of films of a certain quality. Even those who’ve professed to major problems with Taare Zameen Par or 3 Idiots (and I raise my hand) will not deny that these problems exist only in relation to the bar these films (and their filmmakers) have set for themselves. I have issues with these films because of what they settle for as opposed to what they promise to become, whereas if I’d compare them to the average mainstream movie, there’s absolutely no… comparison. They exist comfortably in a stratosphere of their own.
What Aamir Khan has accomplished is something truly phenomenal. He is the first superstar to have harnessed the traditional attributes of the successful leading man – namely, a practiced charm, a shameless willingness in playing to the gallery, and so forth – to the (relatively) upmarket sensibilities of the multiplex movie. I think it’s safe to say that it’s going to be a far easier task to convince a cineaste five decades down about the merits of Taare Zameen Par as opposed to, say, a pre-multiplex-era monster-blockbuster like Amar Akbar Anthony. Even today, I notice a marked suspicion about the traditional kitchen-sink Hindi film, and films of the seventies (thanks largely to Farah Khan’s spoof-tributes) are seen as a lark, or as camp viewed through the comfortable prism of ironic detachment. The fact that Manmohan Desai had a genuine “vision” – however demented – is a notion embraced only by those (again, I raise my hand) who grew up with that kind of cinema, and who can still remember that kind of India.
But as Aamir Khan’s films comfortably straddle the lowbrow and the highbrow – they are nominally highbrow in content, as they make us feel we’re watching something seriously worthy, and they’re simultaneously lowbrow in execution, in that they make a conscious effort not to alienate any section of the audience – and they give us the satisfaction of seeing good cinema that we don’t have to work too hard to appreciate. Decades hence, they aren’t going to be dependent on one’s knowledge of how things were – how India once was, how we once were, how our cinema once was – to fully get. They are modern in sensibility and ancient in appeal – or, in other words, they feature the traditional you’ll-laugh-you’ll-cry soul of an Indian film in comely, contemporary Western garb. Aamir Khan is the first superstar to have bridged this chasm, of making Indian films that you don’t have to be (even mildly) embarrassed about while recommending to foreign eyes. They’re not just “our” films, films that only we can understand and love, the way we love a flatulent uncle with clumps of ear-hair – they’re slick, universally viable products.
If there’s a niggle here, it’s that the staggering success of 3 Idiots and Avatar has eclipsed every other consideration about these films. In the face of such universal acclamation, you’re practically a pariah if you choose to be guarded in your response. I regarded Avatar a great visual experience but an extremely average film – and yet, from reactions to my review, I gathered that a great visual experience was the only criterion the film needed to be judged on. Who needs the traditional skills of moviemaking in the face of such an immersive theme-park experience? (Ask yourself: Would you condone such substandard storytelling in a 2-D movie?) And with 3 Idiots, any suggestion that the movie isn’t a masterpiece is apparently blasphemy. Never mind that the film is formulaic to the core, never mind that it’s preachy as a pastor, never mind evaluating the film’s merits across all aspects of filmmaking – it makes you laugh, and that’s all that matters. The audience has spoken. The case is closed.
Copyright ©2010 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Just Another Film Buff
January 16, 2010
I’m not sure why people are celebrating this highly self-contradicting movie. Even on the script level, it keeps revealing the absurdity of its own advise. And the tragedy is that Mr. Hirani doesn’t realize what a despicable, hypocritical character he has named as his hero. Chatur, in comparison, is a far more honest person…
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abhishek
January 16, 2010
i think u did not understand the movie
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abhishek
January 16, 2010
its for just another buff
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Gauri
January 16, 2010
My biggest problem with both movies is that they are ostensibly packaged as ‘highbrow’ fare.Even the biggest fan of Akshay Kumar comedies or the latest superhero franchise admits that the movies are ultimately entertaining pieces of fluff. But with 3 Idiots and Avataar so many in the audience are so convinced that they’ve seen something special than any criticism is like a direct insult to their intelligence. How does one look at something like this critically?
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Arun
January 16, 2010
I sympathize with your anguish. I am also quite disappointed to see that film critics who made mincemeat out of the narrative of 2012 and transformers 2,have fallen under the spell of Avatar’s lollipop, with quite a few going equating nostalgically to the experience of star wars. But, I guess this quote of critic Holden of nyt is quite relevant to this situation-
“I realized that falling in love with a movie is like falling in love with another person. Imperfections, however glaring, become endearing quirks once you’ve tumbled.”
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Dipali
January 16, 2010
I totally agree with you, in simple terms I liked the movie and not loved it. Only because I have lot of expectations from Aamir, and though he didnt disappoint in depicting a college boy I was a bit disappointed by his act at the start of depicting himself as a simpleton…his character is never that..he is a smart guy who finds smart solutions for problems , not merely stumbles across them. And apart from that, yes the movie is as formulaic as it gets, with Munnabhai overtones abound..so yes..Its not great but its as good as it gets..atleast in 2009..
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Just Another Film Buff
January 16, 2010
Abhishek,
I may be wrong here, but tell me this:
1. Doesn’t the mere fact that Rancho topping the class underline that the system allows for intelligence to succeed too?
2. Also, by actually encouraging Raju, after he refuses to take the stolen question paper, Rancho’s only happy to see his friend conforming to the system.
3. Also, also, by actually instigating his not-well-off pals to go against the system and himself winning within the system, Rancho turns out to be a hypocrite who’s worse off than Chatur, who at least doesn’t exploit people in the name of friendship. Mr. Hirani wants the audience to cheer for this jerk.
I’d choose a conscious genre stereotype like Chatur any day over this pseudo-guru who distributes gyan to others while steering clear of his own advise.
And what about this writing that consists of easy potshots at the system while knowing nothing about it at all? Pretentious I say.
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prasun
January 16, 2010
Compared to last year’s (Akshay Kumar’s ) movies, this might as well be a masterpiece.
Adding to your last bit, never mind that the movie undermines all that it stands for in that last few scenes where, except for Madhavan’s character, the others still have to fulfil parameters such as getting a job or getting 400 patents and making shitloads of money.
“A for apple, B for ball…” teachers are not deemed worthy of our respect.
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Tyler
January 17, 2010
This statement is false – “Aamir Khan is the first superstar to have bridged this chasm, of making Indian films that you don’t have to be (even mildly) embarrassed about while recommending to foreign eyes.”
The only one of Aamir’s recent movies that appealed to my non-Indian friends was Lagaan. The other movies – Fanaa, TZP and Ghajini – were just laughable to them. And even Lagaan had major plot holes but they were able to overlook them because it was a beautiful movie – cinematography, music, etc.
Am I the only one tired of the hyperboles regarding Aamir? Yes he has been successful in recent years but to be honest except for Lagaan the movies have been average fare.
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kanishk
January 17, 2010
Agreed! Sadly the success of three idiots has masked and submerged the chicanery emanating from the script debacle. How can you expect good films underpinned by strong writing to surface in such circumstances? That’s the sad dest part of success here.
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chhote saab
January 17, 2010
He is really onto something, isn’t he? Aamir Khan that is, as far as guaranteeing BO success of a movie. And you explained it well – high content with universally accepted (and liked) execution. Though I still feel that Aamir always plays the same character in all his movies – extremely confident, extrovert, witty bordering smartass, know-it-all kind of a guy. He’s never played an underconfident, dumb kind of guy character.
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Jaiganesh
January 17, 2010
I dont know if you reviewed Jurassic Park part 1.
It is a vision – story, script, actors, sound, music – everything else that a screenplay guru would tell in 100s of pages can comfortably rest in dustbin – if the film maker used his vision to see what he wants to show the viewers in the dark room. If what he sees in the mind’s eye is something spectacular like Jurassic Park or an Avatar – any arguments against it – are going to be like yours Vs rest of the Avatar loving world. The only other camp who hate Avatar are the folks in mainland USA who think the movie is against marines and Patriotic armed forces.
As far as 3 idiots is concerned, I think the only reason it worked is not Aamir’s charm or anything else (If there was any – I wouldnt be unaware as I am so far removed its sphere of influence), mostly the charm is the essence of ‘Munnabhai’ which is endearing one man standing up against an institution – not in an angry young man way – but a pleasant and playful banter – which is more of hrishikesh mukerji making a typical Amitabh movie. This quintessential feel good formula worked wonders for Rajesh Khanna in a bygone era and works superbly under hirani’s vision too. After typing this, one more director I kinda liken Hirani to is Radha mohan – the thamizh director expert in’feel good’ light weight capers.
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Fahim Farook
January 17, 2010
Humanity as a whole has a habit of switching off their brains when they begin to admire something – I think that comes into play a lot, especially with regards to our own pet projects, heroes, and politicians. People just can’t understand how you can’t love what they love even though you’re simply being objective. Sad, and a bit annoying, for logical people 🙂
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Suresh S
January 17, 2010
I would go with Just Another Film Buff here. I found most of the jokes not very funny. Some of them I already knew (like the induction motor stuff which every engineer knows) and some of the them I could anticipate what the joke would be. Then I realized that if you did not find the film funny, there was _nothing_ in it!! So as my family enjoyed and as the theater’s roof went up by a few inches when ‘balatkar’ was used instead of ‘chamtkar’, I sat stoically for haven’t we read this type of misplaced word or different context jokes a zillion times earlier!! What was lacking in almost all the jokes was a sense of originality. What was then left was some preaching, very predictable tears and a very predictable ending. Why would I want to show this to a foreign friend when most of the material for the jokes is taken from the internet? Can’t we do something more original in this department?
The success of the film has masked every sort of criticism. My friend recently told me that he just couldn’t connect to the characters and did not like the movie. When he said that same in his lab, he was been treated like an outcast!!!
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Suresh S
January 17, 2010
JABF,
Amir Khan’s character reflects well on the current state of ‘gurus’. Lot of them give you lot of ‘gyan’ about the need to be satisfied by what you have and not worry about money while they make tons of it by writing books, motivational sessions, corporate tieups and what not. These ‘gurus’ are in great demand and Amir Khan’s character exemplifies that and no wonder it is such a hit with people!!
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Vamshi
January 17, 2010
Leave aside Manmohan Desai, even monster blockbusters like Hum Aapke Hain Houn appear to have dated quite badly. A few years down the line, the same would happen to most of Shahrukh’s movies too.
And on a separate note, i don’t understand why Manmohan Desai is held us as the 70s iconic director. I think Prakash Mehra is even more deserving, had even more blockbusters than MD, his movies have aged quite well, well remembered for their music etc etc For the average cine-goer Amar Akbar Anthony is the only MD movie they remember while Mehra had loads which are worth remembering.
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B.H.Harsh
January 17, 2010
Now here’s how my interpretation of this entire Aamir phenomenon goes like –
Apaarently, Aamir has built up an image of “an entertainer who does sensible films” very carefully.
So much so that the audience are reassured that they are watching some true quality stuff. Aamir is like a major redemption factor reassuring his audience about their sane taste, even if the film isn’t.
Its never the case with SRK or Akki. Shah Rukh has to do a Chak de to come up with universal acclaim, while all Aamir needs to do is to do an entertainer – the rest will follow.
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B.H.Harsh
January 17, 2010
Brilliant write-up!!
(Sorry forgot to say that above, after having been lost in my self-indulgence[ 🙂 ])
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Arvind Halaharvi
January 17, 2010
reading your blog and its archives helped me improve my own standards of judging any movies… i had same apprehensions when i declared avtaar as a mediocre flick, people around were making way too much noise about its special effects and technical values, had the film been made a decade ago may be yes, script could have been ignored to an extent but even then it lacked the basic gripping narration which is such an essential ingredient for such movies…
3 idiots thought the director made a decent polish to fps but i still felt they were way tooooo many cliches in the second half of the film, predictable playing to the gallery kind of narration to every mini episode of the film and that done to death bridal escape in the climax.. the lead guy has all good qualities of all characters from the film and is shown as a super human whoz beyond success and failure & insignifcant things like fame and money…not saying hollywood is an exception to such cliches but at least these pioneers should take enough care to ensure that a more realistic ending is given to at least some aspects of the movie…
no doubt mr khan, the amir one is the greatest superstar of the last two decades.. kudos to him for rest good things hez done and has been doing…
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Arif Attar
January 18, 2010
Well I think for the next couple of years, at least, we would be seeing films from Aamir which would satisfy our appetite for more ‘serious’ cinema or whatever one might want to call it. He is producing 3 films at this stage, all of them off-beat (again, off-beat is something you cannot use to distinguish between his films). The trailers of Peepli Live are out, and although it still looks a bit more ‘mainstream’ than I had imagined it would be, this is what he has to say :
“This is the first of the films that I have produced with the hope of entertaining a world audience. It’s a world that I am unfamiliar with and scary. Let’s see how it goes.”
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shamoni8
January 18, 2010
yo man. 3 idiots wasn’t bad, and thankfully you’re not saying it was. with the quality of movies coming out, it was quite good. people pretending to be cool, or who are genuinely depressed are all sulking, but dude, 2008’s 2nd biggest hit was singh is king, and we’re still making movies like de dhana dhan.
they’d be hard pressed (like u) to name one good hindi comedy movie in the last 20 years. i mean u don’t like andaz apna apna ffs!
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argumentativeindian
January 18, 2010
Interesting comparison – TZP to Amar Akbar Anthony. Somehow the movies of the Manmohan Desai era seem more free-flowing, more natural as compared to the more constructed, thought-through TZP types of today.
Not that the movies of the time did not have constructs – the blind mother, the Helen shimmy. But it seems like moviemakers used to be content at manipulating emotion, whereas now they aim at manipulating intellectual pretension as well
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LS
January 18, 2010
It is a truth universally acknowledged that a successful person will be pulled down quickly from his/her perch, whether he/she deserves such treatment or not.And any supposed underdog will be elevated whether he/she deserves such compassion.
This is what is happening to Aamir Khan. He has dared to become a part of commercially viable good enjoyable feel good cinema that is artistic to a fair degree.
Some years back, Aamir was still the underdog, somebody who deserved more success than he seemed to be getting. After Sarfarosh, 1947Earth and Lagaan, he was sort of adopted by the so called arty crowd.
But having turned into a sort of Santa Khan, since past three years–Aamir has managed to alinate the arty-chatty set–the likes of B Rangan, other blogger critics, commenter-followers.
Aamir may dare to produce a Peepli Live–but he will never win back the affections if this set.
On to the next worthy underdog–Abhay Deol.
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brangan
January 18, 2010
Gauri: Reg “with 3 Idiots and Avataar so many in the audience are so convinced that they’ve seen something special than any criticism is like a direct insult to their intelligence,” you’ve hit the nail on the head. It’s like people have had such a religious experience with these two films that they feel the need to get defensive about anyone who says otherwise. It’s as if they want to “protect” the sanctity of their experience more than anything else.
Arun: Give me 2012 any day. I had a rip-roaring time watching this in the theatre. A bit overlong, but good fun.
Tyler: Oh, I don’t think Aamir’s films are masterpieces myself. Just that compared to the films of others, it’s easier to say “this is an Indian film” to foreign eyes. I’d think there isn’t much of a leap to be made with, say, TZP (which follows a standard, western “disease movie of the week” template).
Vamshi: Actually, I prefer Desai and Nasir Hussain to Prakash Mehra, primarily because the latter took himself very seriously. I prefer the antic, skit-like approach of Desai and Hussain.
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Jaiganesh
January 18, 2010
I loved the way 70s guys churned out stereotypes after stereotypes
Bad daakoo
Ailing mother
To be raped by villain Sister
Blind brother
honest inspector
Bad inspector
innocent village do gooder
AAA took all these kinda stereotypes and added a few of its own and still came out as an engaging entertainer – without all this volume of stereotypes no one would be sitting and laughing at a Farah Khan movie and making her richer for just painting the stereotypes with a spoofy brush.
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Arpith
January 19, 2010
“The audience has spoken. The case is closed.”
And film ‘critics’ have become parrots of audience trends.
There are so many inconsistencies in what you’ve said just in the piece and how you’ve downgraded it in the comments section: when someone asked you about “recommending it to foreign friends” for instance. Say it like it is, man.
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Srinath A
January 19, 2010
Agree with your assessments about both Avatar and 3 Idiots.
Avatar was a very mediocre film with fantastic special effects. And 3 Idiots was a very well executed formula film.
I think what makes 3 Idiots (the Munnabhai films fall into this category too) unique is that 3 Idiots was made with the multiplex crowd in mind and went on to become a huge hit with the masses. Unlike say Hum Aapke Hain Kaun or Maine Pyaar Kiya which were “massy” films which managed to charm the critics.
I think what Aamir is doing with his choice of films is trying to “educate the masses” to appreciate films other than the standard song & dance routines. Yes, his films do not reach their potential, but that is probably a good thing. Because if they did, the films would be too high brow and end up losing mass appeal.
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raj
January 20, 2010
Jai, you haven’t endeared yourself in these parts by comparing hirani to radhamohan 🙂
Lol, perfect comparison.
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The Normal Guy
January 21, 2010
@brangan : Curious to read your review of 2012.Your words “The visuals are expectedly eye-popping,but couldn’t they have diverted a few dollars more towards the script?” in the review of Avatar fits here better.
2012 had so many script issues and stereotypes you had mentioned in Avatar and many more.Then,why did you enjoy 2012 more?
Because it was unpretentious? Because you knew it was gonna be bad ? Because Roland Emmerich’s name on the film meant ‘dont ask questions just sit back and watch the world crumble’ ?
Even I didn’t like Avatar on more than a superficial level.Thats the same for 2012.Definitely not one above the other.
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brangan
January 21, 2010
The Normal Guy: Main difference was that 2012 didn’t take itself seriously, IMO. It followed the standard disaster-movie template to the T (including obligatory scene with dog), and in its own cheesy way, it was fun.
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SDSD
January 17, 2011
Why would you recommend Indian films to your dumb, ignorant and possible inbred white friends anyway?
I’m pretty sure most white people (Americans) can’t even point out India on a map.
Stop trying to get a ‘Gora stamp of approval for Hindi/Tamil films’
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Doba
February 15, 2017
You should repost this. It is again relevant when you consider the success of Dangal. Your remark that it is ancient in appeal (it makes you laugh, it makes you cry) and modern in garb is as relevant now.
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