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edited by
Gurbir Jolly, Zenia Wadhwani, and Deborah Barretto
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Once Upon a Time in Bollywood: The Global Swing in Hindi Cinema
is a fascinating
exploration of the industry of Bollywood and its impact on the
political/social landscape of India and the Indian diaspora.
The collection of essays provide an
in depth look at trends in Bollywood, as well as takes on specific
case studies of films. The introduction by Gurbir Jolly is beautifully
written, “Engaging in this kaleidoscopic range of steadily
intensifying influences always risks pushing the envelope of sensory
and imaginary overload, which is why watching Bollywood films, with
their grand, spiraling, rollercoaster-like narratives, so often
makes you feel like you are spinning in some hypervivid dream.”
One of the most interesting
discussions in the book is Jenny Sharpe’s “Gender, Nation and
Globalization in Monsoon Wedding
and Dilwale Dulhania Le Jayenge”
Sharpe has some enlightening observations that avid Bollywood movie
watchers might overlook. In her study of Mira Nair’s “Monsoon
Wedding”, she notes the types of television programs the children
are allowed to watch (Baywatch, popular American shows) and cites
this as a sign of increased globalization in India. She also makes a
comparison of Monsoon Wedding
and Dilwale Dulhania Le Jayenge,
stating that the two are not as far apart in genre as they appear to
be. Additionally, Sharpe addresses the concepts of Indian
traditionalism and Western modernism in the film Pardes.
Nitin Deckha’s essay, “From
Artist-as-Hero to the Creative Young Man: Bollywood and the
Aestheticization of Indian Masculinity” documents the
representations of the Indian male on screen, and how these
representations have evolved throughout the history of Bollywood.
Deckha pays careful attention to the ‘creative’ or ‘artistic’ man,
examining the characters Nikhil from Salaam Namaste
and Sid from Dil Chahta Hai.
Another section of the book
approaches the film Bandit Queen
and its impact on the world of Indian cinema. It throws into
question the right to tell ‘real’ stories, and the ramifications of
doing so. The section includes a letter from Phoolan Devi as well as
an interview with director Shekhar Kapur.
Overall, this collection is ideal
for the reader who enjoys Bollywood films but also has a keen desire
to learn about the theories and concepts that make the industry what
it is.
—
Sheniz Janmohamed
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