SHORT CUTS
INTRODUCTIONS TO FILM STUDIES
OTHER TITLES IN THE SHORT CUTS SERIES
THE HORROR GENRE: FROM BEELZEBUB TO BLAIR WITCH Paul Wells
THE STAR SYSTEM: HOLLYWOODS PRODUCTION OF POPULAR IDENTITIES Paul McDonald
SCIENCE FICTION CINEMA: FROM OUTERSPACE TO CYBERSPACE Geoff King and Tanya Krzywinska
EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA David Gillespie
READING HOLLYWOOD: SPACES AND MEANINGS IN AMERICAN FILM Deborah Thomas
DISASTER MOVIES: THE CINEMA OF CATASTROPHE Stephen Keane
THE WESTERN GENRE: FROM LORDSBURG TO BIG WHISKEY John Saunders
PSYCHOANALYSIS AND CINEMA: THE PLAY OF SHADOWS Vicky Lebeau
COSTUME AND CINEMA: DRESS CODES IN POPULAR FILM Sarah Street
MISE-EN-SCNE: FILM STYLE AND INTERPRETATION John Gibbs
NEW CHINESE CINEMA: CHALLENGING REPRESENTATIONS Sheila Cornelius with Ian Haydn Smith
ANIMATION: GENRE AND AUTHORSHIP Paul Wells
WOMENS CINEMA: THE CONTESTED SCREEN Alison Butler
BRITISH SOCIAL REALISM: FROM DOCUMENTARY TO BRIT GRIT Samantha Lay
FILM EDITING: THE ART OF THE EXPRESSIVE Valerie Orpen
AVANT-GARDE FILM: FORMS, THEMES AND PASSIONS Michael OPray
PRODUCTION DESIGN: ARCHITECTS OF THE SCREEN Jane Barnwell
NEW GERMAN CINEMA: IMAGES OF A GENERATION Julia Knight
EARLY CINEMA: FROM FACTORY GATE TO DREAM FACTORY Simon Popple and Joe Kember
MUSIC IN FILM: SOUNDTRACKS AND SYNERGY Pauline Reay
MELODRAMA: GENRE, STYLE, SENSIBILITY John Mercer and Martin Shingler
FEMINIST FILM STUDIES: WRITING THE WOMAN INTO CINEMA Janet McCabe
FILM PERFORMANCE: FROM ACHIEVEMENT TO APPRECIATION Andrew Klevan
NEW DIGITAL CINEMA: REINVENTING THE MOVING IMAGE Holly Willis
THE MUSICAL: RACE, GENDER AND PERFORMANCE Susan Smith
TEEN MOVIES: AMERICAN YOUTH ON SCREEN Timothy Shary
FILM NOIR: FROM BERLIN TO SIN CITY Mark Bould
DOCUMENTARY: THE MARGINS OF REALITY Paul Ward
THE NEW HOLLYWOOD: FROM BONNIE AND CLYDE TO STAR WARS Peter Krmer
ITALIAN NEO-REALISM: REBUILDING THE CINEMATIC CITY Mark Shiel
WAR CINEMA: HOLLYWOOD ON THE FRONT LINE Guy Westwell
FILM GENRE: FROM ICONOGRAPHY TO IDEOLOGY Barry Keith Grant
ROMANTIC COMEDY: BOY MEETS GIRL MEETS GENRE Tamar Jeffers McDonald
SPECTATORSHIP: THE POWER OF LOOKING ON Michele Aaron
SHAKESPEARE ON FILM: SUCH THINGS THAT DREAMS ARE MADE OF Carolyn Jess-Cooke
CRIME FILMS: INVESTIGATING THE SCENE Kirsten Moana Thompson
THE FRENCH NEW WAVE: A NEW LOOK Naomi Greene
CINEMA AND HISTORY: THE TELLING OF STORIES Mike Chopra-Gant
GERMAN EXPRESSIONIST CINEMA: THE WORLD OF LIGHT AND SHADOW Ian Roberts
FILM AND PHILOSOPHY: TAKING MOVIES SERIOUSLY Daniel Shaw
CONTEMPORARY BRITISH CINEMA: FROM HERITAGE TO HORROR James Leggott
RELIGION AND FILM: CINEMA AND THE RE-CREATION OF THE WORLD S. Brent Plate
FANTASY CINEMA: IMPOSSIBLE WORLDS ON SCREEN David Butler
FILM VIOLENCE: HISTORY, IDEOLOGY, GENRE James Kendrick
NEW KOREAN CINEMA: BREAKING THE WAVES Darcy Paquet
FILM AUTHORSHIP: AUTEURS AND OTHER MYTHS C. Paul Sellors
THE VAMPIRE FILM: UNDEAD CINEMA Jeffrey Weinstock
HERITAGE FILM: Nation, Genre and Representation Beln Vidal
QUEER CINEMA: SCHOOLGIRLS, VAMPIRES AND GAY COWBOYS Barbara Mennel
ACTION MOVIES: THE CINEMA OF STRIKING BACK Harvey OBrien
BOLLYWOOD
GODS, GLAMOUR, AND GOSSIP
KUSH VARIA
WALLFLOWER
LONDON and NEW YORK
A Wallflower Press Book
Published by
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
cup.columbia.edu
Copyright Kush Varia 2012
All rights reserved.
E-ISBN 978-0-231-50260-3
Wallflower Press is a registered trademark of Columbia University Press.
A complete CIP record is available from the Library of Congress
ISBN 978-1-906660-15-4 (pbk. : alk. paper)
ISBN 978-0-231-50260-3 (e-book)
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
CONTENTS
It was my former tutor and now dear friend Rachel Dwyer who suggested that I write this book, and it could not have been completed without her continued encouragement and enthusiasm. I would also like to thank her for her assistance during my research trip to India.
India: At Rajshri Media and Films I would like to thank Rajjat Barjatya for his constant stream of information and correspondence. For information, interviews and stills I would like to thank Akshaye N. Widhwani at Yash Raj Films, Meghna Ghai-Puri at Mukta Arts and Whistling Woods for her interview and support throughout the project and, Dharma Productions. Rinki Roy for her lovely hospitality and discussion of her father Bimal Roys work. Gayatri Chatterjee for her informative insights. Mr Shashidharan and the staff at the National Film Archive, India for opening their treasure troves to me. Thanks to Shapoorji Pallonji for the Mughal-E-Azam still; to Shekhar Kapur for the Mr India still; and to Roy Wadia for the Fearless Nadia still. Finally a huge thank you to Jerry Pinto for his non-stop availability in India whether it be finding the finest Gujarati food in Mumbai or trekking through back alley haunts in search of mythological VCDs.
UK: Stella Bruzzi has always been a huge inspiration since my undergraduate days and I would like to acknowledge the continuous friendship and guidance she has offered over the years. I would also like to thank Laura Mulvey and Michael Allen, Richard Dyer, Stacey Abbott, Janet McCabe and Kim Akass for their guidance during the early stages of this books development. A special thank you to the Royal Society of Asian Affairs and the School of Oriental and African Studies, University of London, for inviting me to lecture on my work in progress. I would also like to thank the staff at the British Film Institute and the India Records Office at the British Library.
Nasreen Munni Kabir deserves special mention for her pioneering work in bringing the wealth of Bollywood to British television and without whom I would not have fallen in love with Bollywood or have such happy memories of viewing clips and movies with my parents.
My thanks to Yoram Allon at Wallflower Press for inviting me to write this book, and further thanks to him, Jodie Taylor and Tom Cabot for all their support throughout the project.
Friends have expressed enthusiasm and shown much patience during long writing periods and provided much needed companionship during breaks. Thank you for getting me here: Laura Blears, Zeb Buchanan, Cathy Campbell, Luis Carrasquerio, Jake Cassels, Emily Crosby, Rebecca Demott, Michael Dwyer, Adam English, Matthew Francis, Siobhan Flint, Richard Goldthorpe, Darren Haynes, Charlie Henniker, Miikka Leskinen, Arian Levanael, Kate Maddigan, Romily Menzies, Paul Maidment and Sarah Moore, Harriet Osborn, Alex Stolz, Julian Taylor, Roydon Turner, Andrew Utterson, Alan Waller and Lisa Williams.
Special thanks to Kirsi Matikainen and my in-laws in Finland, Markku and Anneli Matikainen. For never-ending support: Hetty Malcolm-Smith.
Mostly I would like to thank my partner Harri Matikainen for keeping me fuelled with smiles, patience and encouragement. Life is wonderful with you.
This book is dedicated with love to my parents
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