Simply put, what happens in a private enterprise (and that’s what Bollywood is a private enterprise) is none of our business. And it’s a question for the actor to ponder over: Is it worth signing this contract and losing my freedom, or should I try my luck on my own? Is this “correct”? In my eyes: NO! It’s a kind of slavery. They signed stars and then dictated the career of these stars. This is how the old Hollywood studios functioned, too.
All this hand-wringing over his contract with Yash Raj Films makes me wonder if no one’s heard of “exclusivity contracts” in the media industry, for instance, which prevent a writer from writing for a rival publication or publisher. Sushant Singh Rajput’s death is a terrible, terrible tragedy, but whatever happened, it’s for a legal court to thrash over, not the people’s court of Twitter. In other words, this is what he’s asking: What is this naive idealism that expects a “pure” and “uncorrupt” industry, where everyone is treated equally and unicorns fly around leaving rainbows in their wake? What is this naive idealism that equates a woman’s “virtue” with a count of her marriages? When the world appreciates you and your work, what difference does it make if two or three people do not? Why give so much power to someone, that their yes or no or a pat on the back from them defines our existence? One man’s praise is enough to keep you working.” (Translated to movie terms, we’ve made this affair a “blockbuster”.) For the record, I am with Anurag Kashyap, who recently said something to this effect: “The film industry is more visible and written about in the newspapers, but it is no different from any other industry.” He added that a lot of people, outsiders and insiders, had done a lot of things to him as well, in the 27 years he’s been in the industry, “but I have never needed their validation or acknowledgement. The developments around Sushant Singh Rajput’s demise have been a much bigger draw for us - the “audience”. We seem to be “commenting” about this ongoing real-life drama the way we’d “review” a movie on our social-media platforms.
How are her actions relevant to anyone but her own friends and family? I saw a bit of the spat with Lakshmy Ramakrishnan, and the comments that ensued showed more about us - the “audience” - than they did about either Vanitha Vijayakumar or Lakshmy Ramakrishnan. Why do we care so much about how many broken marriages Vanitha Vijayakumar has had, or whether she put out a photograph kissing Peter Paul at their wedding? The tweets about this actor’s personal life have been shockingly invasive. The last instalment in this saga is a ‘catfight’ the actor had with Kasthuri Shankar and Lakshmy Ramakrishnan.
Ms dhoni the untold story movie wallpapers series#
Meanwhile, down South, Vanitha Vijayakumar’s marriage to Peter Paul has resulted in a series of… next-day headlines sown with words like “explosive” and “shocking”. Kangana Ranaut went on air with Arnab Goswami, and said things that resulted in next-day headlines sown with words like “explosive” and “shocking”. We may not be talking about cinema, but every day, we wake up to a new episode of He Said, She Said, And Then This Is What Twitter Said. But are we, really? We seem to be talking about the film industry more than ever. A scary virus struck and locked the world down, and we were meant to be missing the movies. This period was supposed to be a breather from the movies.
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