Leading lights

Has Bollywood finally accepted that a heroine can power a movie just as well as a hero?

After all the brouhaha that surrounded the making of Mary Kom, the movie – most of it centering around why the filmmakers couldn’t have got an ethnic Manipuri rather than the very north Indian Priyanka Chopra to play the lead role – I must confess that I was rather curious to see how the film turned out in the end. So, for once, rather than wait for the DVD to come out, I actually ventured into a cinema hall to catch the movie, first day, first show.

And I wasn’t disappointed. Yes, it was over-the-top in parts, the usual Bollywood clichés were well in place, and some characters were played at the level of caricature. But what made the movie work was Priyanka Chopra. She didn’t just play Mary Kom; she was Mary Kom. And she achieved this not with prosthetics, make-up and mimicry, but by taking on the legendary boxer’s fighting spirit and making it her own.

Just a few scenes into the film, and you forget all about Chopra’s ethnicity. All you care about is her performance, remarkable in its range and nuance. She brings Mary Kom alive on the big screen: her rebellion against her father who didn’t want her to box; her slow-burning love for Onler, her devoted husband; her stormy relationship with the boxing federation; her fiery determination to make a comeback after the birth of her twins; and more.

Such was Priyanka’s dominance that you didn’t even notice the lack of a leading man in the movie (her on-screen husband is not just supportive but strictly supporting-actor material). And that’s what stayed with me after the film had ended (with an evocative playing of Jana Gana Mana, which had the entire hall standing in teary silence): the fact that this was a woman’s story, told from a woman’s point of view, without any pandering to masculine sensibilities.

Does this mean that Bollywood has finally grown up and realized that you don’t always need an over-muscled man in the lead for a movie to do well at the box-office? Is Hindi cinema finally willing to give its heroines what they have always longed for: a meaty role to sink their teeth into, and a film to carry on their own shoulders?

Well, it is early days yet, but the signs are rather encouraging. Last month saw the release of Rani Mukherji’s Mardaani, in which she plays an angry young cop, who runs down a trafficking ring with a combination of detective work, brute force and a liberal use of swear words. Yes, the kind of role that Amitabh Bachchan played in another lifetime; only this time it was a woman in the lead role. And though the movie was not a superhit, garnering only modest success at the box-office, Rani herself received good notices, proving that audiences are not entirely non-receptive to such women-centric films.

This is a change that has been a long time coming, but has become more and more evident over the last few years. Sridevi’s English Vinglish, released in 2012, was one of the first signs. A small-budget, quirky movie about a middle-aged housewife who discovers herself anew as she signs up to learn English in New York, when she arrives there to help organize her niece’s wedding, this became a surprise hit, on the basis of Sridevi’s sparkling performance (and a brilliant effort by writer-director Gauri Shinde).

The following year belonged to Kangana Ranaut’s Queen, in which she did a marvelous job of playing a West Delhi Punjabi kudi who is jilted at the mandap but decides to go off on the honeymoon of her dreams anyway, even if it is on her own. Yes, there was a hero of sorts, the man who jilts her, but this was Kangana’s show all the way. And she pulled it off with both nonchalance and elan, proving that a heroine can power a movie at the box-office just as well as a hero.

The pioneer of this trend, though, was undoubtedly Vidya Balan. She started off with Dirty Picture, playing a Silk Smitha-type character in one-size-too-tight clothes, and ooh-la-laaed her way to a superhit. She went on to make waves with Kahani, in which she played a woman who may or may not be pregnant but is indubitably in search of her missing husband. And though her latest outing as Bobby Jasoos, a wannabe detective who specializes in weird disguises, bombed at the box-office, Balan herself got rave reviews.

But while these breakout hits (peppered with the occasional flop) are all well and good, the proof of the pudding would be when big budget blockbusters like Happy New Year depend not on a hero like Shah Rukh Khan but on a heroine like Deepika Padukone to draw in the crowds. Or when a superhero is not called Krishh or Ra.One but Radha or even Sita.

Come to think of it, both Priyanka and Deepika would fill out a superhero (or should that be superheroine?) outfit admirably. Super Shakti: Rakshasa Slayer anyone?

Age is just a number...

But only if you are a hero in Bollywood; heroines come with an expiry date

There’s one thing that the three reigning superstars of Bollywood have in common. And no, it’s not that they all rejoice in the surname Khan, though God knows that has been commented upon a million times. What binds Salman, Shah Rukh and Aamir together is that they are all 48 this year.

Go a little further down the rung of super-stardom and it is pretty much the same story. Saif Ali Khan is 43; Akshay Kumar is 45; Ajay Devgn is 44; hell, even Hrithik Roshan is nudging 40 (he hits that milestone birthday next January). And all of them are doing very well indeed at the box-office, singing and dancing, romancing the ladies, and beating the bad boys to a bloody pulp, thank you very much.

Now, here’s a challenge for you. Can you name a single Bollywood actress who is still a top star past the age of 38? Yes, take your time. Scroll down the list of all the usual suspects. Use that old search engine thingie. Phone a friend. Found anyone who is still a significant player past that magical figure? No, I thought not.

Something mysterious seems to happen to our actresses as they creep – ever so slowly and oh so unwillingly; but honestly, given what awaits, can you really blame them? – towards their late 30s. One minute they are flying high on the helium balloon of success and the next they have crash-landed on hard ground. And no amount of Botox, Juvederm or plastic surgery can ever make them whole again. Well, not in the eyes of film producers and directors anyway.

When it comes to female stars, ageing seems to be calculated in dog years where 16 equals 25; 25 equals 30; and 38 equals death (at the box-office, at any rate).

No matter how brightly their star may have shone before, it tends to fizzle out around the mid 30s mark. Sridevi last big release was Judaai in 1997 and she effectively retired from the business at 34. And it is telling that she only put one cautious toe out to test the waters once she was pushing 50 and unambiguously past leading-lady age.

It is no secret that Madhuri Dixit struggled to find a decent role in her last years in the business. Or that Karisma Kapoor never managed a comeback after marriage and kids, even though she has never looked better. Rani Mukherjee tries hard to stay relevant with releases like No One Killed Jessica, but we can all see that this is a losing battle. And even Aishwarya Rai, delivered her last big movie, Guzaarish, in 2010, at the venerable age of 37 (though if anyone can make a sizzling comeback, it is her).

And these are the stars who have actually been on top of the heap for most of their time in moviedom. Those who were lower down in the pecking order fare even worse. Preity Zinta struggles on gamely at 38, but even she has to produce the movies she stars in (and it doesn’t help when they are like Ishkq in Paris). And Bipasha Basu seems to have slipped completely off the radar at a youthful 34.

But while the women fall by the wayside like so many dominoes, the men just go on and on. It’s almost as if with male stars the ageing process has been halted by some ancient alchemical process. Ever since Raj Kapoor and Dilip Kumar canoodled with actresses half their age, Bollywood heroes have seen it as a badge of pride to be paired with heroines who could well be their daughters. In fact, some of the heroines Amitabh Bachchan, Shashi Kapoor, Dharamendra have romanced on-screen could well have been their granddaughters.

And over the years we have become so inured to this December-April pairing that we see nothing incongruous about Salman Khan playing the romantic lead against Sonakshi Sinha who was two years old when he became a star with Maine Pyar Kiya. Or when Shah Rukh Khan sings and dances around the trees with Anoushka Sharma, who was five years old when he was stammering K.K.K.K.Kiran in Darr (Deepika Padukone was seven years old at that time, in case you are interested).

I wondered about this as I watched Madhuri Dixit (Shah Rukh’s co-star in Dil To Pagal Hai) play judge on the TV dance reality show Jhalak Dhikla Jaa, biding time, no doubt, till she is old enough to play the glamorous yummy mummy or the beatific badi bhabhi (given that her comeback vehicle Aaja Nachle didn’t exactly set the cinema screens on fire). Is this the way the cookie will always crumble for our Bollywood heroines? Or will the film industry change its sexist, ageist ways?

The way I look at it, Kareena Kapoor Khan will be the test case. At 33, she is veering close to the danger mark. Will she be able to change the rules? Well, I am sure we wish her the very best but if I were you, I wouldn’t hold my breath.

What on earth?

Here's the next update in the series labelled: the abiding mysteries of life...


Yes, I know, I have mentioned these before: those abiding mysteries of life that keep me awake at night. But you know what, I wasn't quite done. So, here's the next edition of what threatens to become a recurring series (don't say you weren't warned!)


* Why is it that the moment an 'expert commentator' begins praising a batsmen at the crease as he nears a milestone (50, a century, 10,000 runs in Test cricket), the batsman in question gets out? I'm pretty sure you've noticed this as well. In fact, so well-documented is this phenomenon that it even has a name: 'commentator's curse'. But nobody seems able to explain why this happens. The players on the crease certainly can't hear what's going on in the commentary box. And yet, no sooner have the encomiums started flowing than the batsman starts his trudge back to the pavilion.

* Why do shower stalls in hotels only have shampoo bottles placed inside while the bath gel is kept next to the bathtub? Do hoteliers really believe that people first bathe in the tub and then tip-toe across on soapy feet to the shower stall to wash their hair? Did I hear a resounding no? Okay, then, how about you place a shampoo bottle and a bath gel at each location. At the prices you charge you can certainly afford it.


* How on earth does Sridevi look the way she does? The actress, who turns 50 this year, looks younger (not to mention considerably thinner) than she did during her heyday as the reigning superstar of Hindi cinema. Gone are the chubby cheeks and the thunder thighs. Instead we have a slim, svelte woman with miraculously-smooth skin with nary a frown-line in sight. The actress insists that it's all down to careful eating and regular exercise. I'm sure she is right but I have to say that her appearance in English Vinglish reminded me of that old joke. How can you tell the young actresses apart from the old ones in Hollywood? The young ones have wrinkles.


* And while we are talking about 50-ish women who look better with every decade, what is up with Nigella Lawson? If she does indeed eat all the food she twit-pics every day, where do all the calories go? Surely, they can't all be burnt away by her daily treadmill-pounding (wearing only a bra – no, I am not making this up; we are indebted to Lawson herself for this little nugget of information)? So why don’t all those doughnuts and fry-ups settle around her waist?


* Why is it that the moment you find a perfume that is just you, or even a lipstick that is perfect for your skin tone, the manufacturers decide to discontinue the line? Is this part of some giant conspiracy by cosmetics companies to keep us fickle and uncommitted so that they can benefit from our 'experimentation'?

* Why does the traffic lane you choose always move the slowest? Ditto, queues at banks, immigration counters at airports, and the like. And you can be sure that if you decide to ditch the line moving at a snail-like pace for the one that is galloping on ahead, the two will switch personas as soon as you switch sides.


* And while we are on traffic, why is it that you always get a red light at every intersection when you are running late? On the days when you have all the time in the world, the lights stay resolutely green, in a classic display of contrariness. If this is something that happens to you as well, here's a little trick that works like a charm for me. On days that I want to speed through, I leave home without my kajal on, telling myself that I will apply it at the first red light. And guess what? The lights stay green throughout my route.


* Why do people follow you on Twitter only to berate you for what you tweet? Do they not realise that they can just click on 'unfollow' and never have to hear from you again? And that this is a far less stressful (both for them and you) option than letting loose with a volley of insults and verbal abuse for having failed/annoyed/angered them? It really is a bit like calling up someone you don't know on the phone only to complain that you don't like the sound of their voice.

* Why does the Snickers bar keep shouting 'Eat me' whenever you open the fridge? And is there any way to shut it up?


* Why are the mirrors in the changing rooms of all clothing stores so unflattering? Not to mention the nasty neon lighting that makes everyone look even more pasty-faced than usual. Do store owners and managers not realise that they would move more merchandise if buyers could look at themselves in flattering light in a mirror that didn't make their ass look big in everything? (Or is that down to the Snickers bar?)


* Why is it that the day you can sleep in late is when you wake up at the crack of dawn (and then can't fall asleep again no matter how hard you try)? And on the days when it is imperative that you get up early, you can barely drag yourself out of bed? Is this your body clock’s idea of a joke? And when will it understand that we are not amused?

The triumph of the older woman

It’s the season when the 30 and 40-pluses are crawling out of the woodwork – and not a moment too soon

As someone who grew up seeing Sridevi and Madhuri Dixit light up the large screen with their 1000-watt smiles, I must admit to taking a particular pride in their recent return to the limelight. While Madhuri made a slight misstep with the massively ill-judged Nach Le (which wasn’t as much comeback vehicle as a car crash waiting to happen) she has recovered lost ground with her mega-glamorous judging stint on Jhalak Dhikhhla Jaa. Certainly, more people tune in to see her work that old magic on the dance floor rather than watch the actual contestants.

And then, there’s Sridevi. What can you say about a woman who looks better today, at the cusp of 50, than she did during her 20s and 30s? (Except that she should patent her diet and exercise regime and flog it to make an absolute fortune.) An actress who can come back to the movies after a 15-year old hiatus and make us feel like she was never away? A star who doesn’t need a huge production house to bolster her chances, but has the confidence to take on a small, simple movie like English Vinglish, knowing that she can make it sparkle and shine with her own charisma?

There’s really not much to say, apart from ‘Welcome back’ and ‘What took you so long?’

But who knows, perhaps both Sridevi and Madhuri have judged the zeitgeist well. And that, in India at least, this is the exact right moment for the older woman to make her claim for a spot in the sun.

In the West, of course, women stars of a certain age have been flourishing for a while now. In Hollywood, Meryl Streep still rules, churning out hit after hit (Mamma Mia, It’s Complicated, Julie and Julia, The Iron Lady), and manages to exude a mature sex appeal even though she is now a venerable 63. This year, she won the Oscar for best lead actress for her portrayal of Margaret Thatcher – and among the rivals who lost out to her were Glen Close, 64, nominated for playing a cross-dressing waiter in Albert Nobbs and Viola Davis, 46, nominated for her portrayal of an African-American maid The Help.

On American television, the most popular female comic star today is the 42-year-old Tina Fey, who created 30 Rock, based on her experiences as a part of Saturday Night Live, and plays the central character of Liz Lemon. The biggest global hit to come out of US network television in recent times is the series, Modern Family. And of its female stars, Julie Bowen (who won the Emmy this year for her role of harried mom-of-three Claire Dunphy) is 42, while the Colombian bombshell, Sofia Vergara, who plays her step-mother (and is gloriously pregnant in the latest season) turned 40 this year.

In fact, if you took a good look across the auditorium where the Emmy awards were being held, it was hard to spot an A-list actress who was under 30. The heavily-pregnant Claire Danes who went up to receive her award for lead actress in a drama series for Homeland is 33; Christina Hendricks who was nominated for Mad Men but lost out is 36; while the award for the best supporting actress in a drama series went to Downton Abbey’s Dame Maggie Smith, now a majestic 77. The biggest loser of the day was the 26-year-old Lena Dunham, whose comedy show, Girls, didn’t win a single gong – though she was memorably pictured naked on a toilet eating cake, in a comedy skit preceding the show.

On Indian television, too, the older woman seems to be coming into her own. Sakshi Tanwar, who is arguably the best-known female TV star after her lead roles in Kahaani Ghar Ghar Kii and Bade Achhe Lagte Hain (now that Smriti Irani has abandoned acting for politics), is now just one year short of 40. The anchor of choice for reality shows, Mini Mathur, is 36. And on news TV as well, the biggest female stars are all well over 30: Sagarika Ghose of CNN-IBN is 47; Barkha Dutt of NDTV is 40; Nidhi Razdan, also of NDTV (clearly a very woman-friendly organisation), is 35.

Yes, the day of the teeny-bopper seems to be well and truly past. This is turning out to the era of the mature woman. A woman who has lived a little; a woman who has the wisdom of the years behind her; a woman who just gets better with age. A woman like Sridevi and Madhuri, who may be past the first flush of youth, but can still hold her own against the teenage sensations of today.

And if you ask me, it’s not a moment too soon.

Movie magic

Listing my top ten film fashion moments

I have to admit – all those carping critics notwithstanding – that I quite liked Agent Vinod. I relished the twists and turns of a sometimes-improbable plot, I enjoyed the caper movie elements, I thought Saif Ali Khan did a great job of portraying a R&AW agent, and I was quite taken with Kareena Kapoor’s portrayal of an ISI asset.

But even though it was Saif who was all over our TV sets modelling his sharply-cut suits and tuxedos in the run-up to the movie, it was an entirely different outfit that got the audience’s retail juices flowing. No sooner had the promos rolled out than the ladies were salivating over the pink sharara that Kareena Kapoor wears during her mujra number in the film.

Brides-to-be came clutching pictures of the outfit so that their darzis could make a similar one for their big day. Designers quickly drew inspiration from the look for the next collections. And cheaper copies flooded the high street and flew right off the shelves.

Perhaps the last time a film costume had had such an impact on popular tastes was when Madhuri Dixit sang Didi tera dewar dewaana in Hum Aapke Hain Kaun in a purple, crystal-encrusted sari accessorised with a daring backless blouse and spawned an entire generation of women who wore exactly the same style for years thereafter.

Of course, if you think about it, films have always been the biggest influence on our fashion scene. Right from the days when Sadhana’s punishingly-tight churidar kurtas and cropped fringe (quickly dubbed the Sadhana cut) became all the rage to when Sabyasachi-style saris have become a design staple in every Indian woman’s wardrobe after Vidya Balan and Rani Mukherjee were seen wearing them in the movies. Not to forget Manish Malhotra, to whom goes the credit for re-styling such actresses as Karisma Kapoor and Urmila Matondkar and becoming a trend-setter in the bargain.

Yes, films and fashion have always had a symbiotic relationship in India. So here, in no particular order of importance, are my top ten film fashion moments:

1) Sadhana, in her tightly-cinched churidar kurtas in such 60s hits as Woh Kaun Thi? And Waqt, looks like an epitome of grace and elegance even five decades later. In her day, she completely revolutionised how young women dressed, with her sharply-tailored sleeveless kurtas and skin-tight churidars, bringing body-con dressing to Hindi cinema with style and panache.

2) Zeenat Aman in Hare Rama Hare Krishna. Those over-sized tinted glasses; the hippie-chic bell-bottoms and bright flowery tops; that orange kurti accessorised with yellow marigold garlands as she gets high in the Dum maro dum sequence, complete with an incongruous red bindi on her forehead. Aman’s flower-power style of dressing brought boho-chic to Hindi cinema long before we had even heard of the term.

3) In an era when styling was unheard of Dev Anand created his own distinctive look in the movies, with his high-collared shirts and jackets, dressed up with a casually-draped scarf, and topped off with that signature quiff of hair modelled on his childhood idol Gregory Peck. And once he had found his look, he stuck to it gamely until the end even though the rest of the world had moved on.

4) Who can forget Dimple Kapadia in Bobby? And no, not the famous orange bikini scene, in which all of Kapadia’s baby fat is put cruelly on display, but the outfit she changes into immediately after: a short polka-dotted knotted blouse which leaves her midriff bare and references a similar ensemble that Nargis had worn in an old Raj Kapoor movie.


5) This one is a no-brainer. Amitabh Bachchan in that now-iconic poster of Deewar, all smouldering eyes and pouting lips, his fingers thrust into the pocket of his blue jeans and completely rocking a red shirt knotted at the waist. So successful was this look that, not surprisingly, Bachchan reprised it in such movies as Hum as well.

6) Ek do teen may have been the song that turned her into a star, but Madhuri Dixit will always be remembered for another number: Didi tera dewar dewaana. The purple satin, crystal-encrusted sari and backless choli she wore in the sequence launched a million knock-offs in an instant.

7) The moment Sridevi sashayed into frame wearing another of her diaphanous chiffon saris with a halter blouse you knew that a thunderstorm – that would leave her drenched to the skin – could not be far behind. And the lady – and the weather gods – never ever disappointed.

8) Kareena Kapoor as the vivacious Punjaban Geet in Jab We Met convinced us of the impossible: that we could pair T-shirts with Patiala salwars and still manage to look stylish.

9) And then there was Bunty and Babli in which Aki Narula styled Rani Mukherjee in colourful Patiala salwars (yes, them again) and short kurtis and started a trend that every woman below the age of 30 bought into.

10) Sushmita Sen as the sexy school-mistress in Main Hoon Na. Her sleeveless blouse, midriff-baring chiffon sari look had all the schoolboys – and their older brothers – salivating and wishing that their chemistry teachers had been half as hot. Sigh.