Of late, everyone in the celluloid world wants a piece of the King, Shakib Khan!
So much is his popularity that, during a well known cine award event, a prominent television actress made a gushingrequest on stage, in front of ahall filled with people, to be given a chance to play opposite the person who can easily be defined as the actor who has defied the usual Bangladeshi filmdom formula of fame-obesity-oblivion.
Shakib was on his way to falling into the conventional route which made and then, unceremoniouslybrought down many stars. He became famous, gained weight, lost the sheen of the early years and, with a few less than average movies with plots that can be written on the back of a stamp, seemed to be on the decline.
But just when detractors were gleefully writing him off, the actor picked himself up and thanks to a few innovative directors, came back with a bang, transcending national boundaries.
Naturally, the world is at his feet now! As they say, the King did not lose the throne, he just got a bigger one!
Shakib has had five back to back hits and with houseful shows in major cities across the world, is poised for an iconic resurgence. For valid reason, this is uplifting news for the struggling film industry.
Last Eid,Shakib starred Taandob broke all records of previous hits, carving a solid new path for Bangladeshi movies, which deviated from the formulaic mould, leaving out the usual cloying sentimentality. The halls were packed, shows multiplied, a feeling of optimism around the film industry was aired by all quarters!
But most importantly, Taandob showed how a commercial movie, made with an intelligent plot withtwists in the storyline and the right amount of spice and action, can become a super hit. Unfortunately, one film cannot and should not define an industry, just like one actor cannot be the face of the commercial celluloid entertainment.
Glitz overdose makes way for fun family films: Full-length films in Bangladesh now follow a tried and tested strategic pattern under which movies are released during major religious holidays, Eid, Puja, Christmas, to ensure maximum audience response.
During these holidays, people usually spend on entertainment and with state of the art, plush Cineplex halls,the experience of movie watching itself is no less glamourous. But against two to three successful films, there are others which fizzle out.
“Often a movie is a box office disaster from day one because the promotion was inadequate, the script weak, the plot banal and the actors wooden,” observes, Hassan, a movie hall manager.
In such cases, we are compelled to take down the films, he adds. The cinema hall authorities cannot be blamed because they run an establishment as a business and will only showmovies that bring profit.
Shakib Khan movies are always money churners but last Eid, a family drama, Utshob, based on A Christmas Carol, by Charles Dickens, created a stir.
Talk about a dark horse in filmdom! The film is still running,illustrating that good old family dramas with a message,featuring seasoned TV/stage actors can pull audience too.
Utshob came at a time when the film industry is doggedly following the glamour and razzmatazz packaged commercial flick formula, with the usual death, destruction, bravado and raunchy item numbers.
This typical ‘over the top’ commercial template has been around for ages, although a refreshingupgradation in this style comes in the form of a well thought out story lines with sudden twists, aimed at keeping the audience in suspense. A few years ago, walking out of a film during intermission was common since the plots were predictable.
Not anymore!
Strategic plot crafting ensures you come back to the seat for the rest of the movie. Utshob, with its down to earth, almost TV drama like presentation, proved that people will come if the story has a message that resonates with ideals, values plus reality.
Mind you, this does not mean making an abstract art movie where the story is all about suffering with the ending compounding a feeling of doom. Packaged with reality, layered with laughter and garnished with optimism - the new formula, which Utshob has given us, is poised to resuscitate a genre that dominated the early years after liberation.
Audience of all ages enjoyed the film, coming out feeling refreshed and rejuvenated. The Utshob phenomenon should be an eye opener for future movie makers who are trying to find an alternative to the high budget, glossy productions. While there is a lot of excitement over the success of Utshob, the actual credit goes to Charles Dickens who wrote it.
The story was first published in 1843. This tale of redemption will forever remain relevant because it exhorts humans to be less self-centred, more liberal and benevolent. However, the casting of Utshob was also a reason why this movie pulled so many people.
Actors were mainly from the stage and television who have been part ofBangladesh’s evolving socio cultural fabric since the 90s. While finding another story like A Christmas Carol is tough, movie-makers can easily adopt local stories and use actors from the stage and TV drama.
Glorifying gangsters will become clichéd: For the time being, the local movie industry appears to be enamoured with the enraged underground gangster protagonist with a delectable blend of vice and virtue. Actually, this obsession with the dashing criminal as the hero had been a staple for sometimeand would have diminished had it not been for a new breed of innovative film directors.
These new movie makers added the key ingredient that had been missing for so long –compelling stories. Reportedly, the success of Taandob may spawn a sequel while last year’s hit, Toofan, also a gangster themed production, is supposed to have a second part.
Both films are commercial but with multi-layered storylines! Be that as it may, film producers and makers can take Utshob’s spectacular success as a guiding light for carving out a new social drama based genre that carries significant messages aligning with real life.
Understandably, getting Shakib Khan for a film, whether it’s action or social, is a dream for most film makers. However, lesson to learn from the overwhelming response of Utshob - a movie made with far less razzle-dazzleand cost can also be a crowd puller.
Naturally, the marketing has to be intelligent. For Utshob, the tagline was: it’s forbidden to watch this without family members!
This one line is enough to strike a chord with millions who crave a pleasant cinematic experience. The high budget, sumptuous films, characterised by machismo, exotic locales, superstars and provocative item numbers are welcome as well as the social drama based productions.
Tasneem, a regular movie-goer, enthuses: “both styles are winners, for anight out with buddies, a commercial movie with plotline that sustains audience interest is best while for a more reflective cinematic experience with family, the social dramas work best.”
However, the acting and the story line are of importance, she observes, adding: “If Utshob had been done with only new actors then this would not have become a smash hit.”
Mithun, a film buff, agrees: “if you got the dough then King Khan can be your choice and if not, then why not a heart warming family film!”
-The writer is a former journalist
