After giving a flurry of hits, some of Bollywood's master storytellers seem to have lost their flair

Mona

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Where are the Bollywood’s master storytellers when the industry needs them the most? This is one question every fan is asking. Hindi cinema has seen the glory of packed halls, serpentine queues outside them, super-hit music, hero-heroine’s attire dictating fashion trends and the dialogues making it to common parlance. As cinemas await footfall and films that can lure cinephiles back to the halls, here is getting to know some master storytellers and their tryst with the box-office.

Picking up themes from real life and turning them into hard-hitting cinema has been Madhur Bhandarkar’s signature style. Crime and prostitution in Chandni Bar; Page 3 and its fake society; Traffic Signal and the world set around it (it won Bhandarkar the National Award for Best Direction); Fashion and its highly competitive stakes, Bhandarkar rose as someone whose cinema strived to make a difference.

Retaining their mojo are Bhansali, Hirani

Interestingly, while most Bollywood directors are failing to reignite their magic, Sanjay Leela Bhansali has kept his promise to present a larger-than-life spectacle. After the grand success of Hum Dil De Chuke Sanam and Devdas, he recently again tasted BO success with Gangubai Kathiawadi. Even Rajkumar Hirani has retained his Midas touch. After Munna Bhai M.B.B.S., 3 Idiots and PK, his last offering Sanju did good business too.

Not that he stopped exploring varied themes, but after Fashion (2008), none of his films have enjoyed much success, including Babli Bouncer, Indu Sarkar and Calendar Girls. Even Kareena Kapoor-starrer Heroine couldn’t make a mark. Tenacious as Bhandarkar is, he has continued portraying strong women as the lead in his films. His next is going to be India Lockdown, which will be released on OTT.

Black Friday, Dev D, Gulaal, That Girl in Yellow Boots and Gangs of Wasseypur, director Anurag Kashyap has built a world hostile and noir. While his films might not have earned commercial success, but he has been the forerunner of modern-day cinema. Ugly (2014), though appreciated critically, did not see much footfall in cinema hall. Bombay Velvet, Raman Raghav 2.0, Mukkabaaz, Manmarziyaan, Choked and Dobaaraa have also diluted Kashyap’s films, though he tasted great success on OTT with crime thriller Sacred Games.

Lagaan was director Ashutosh Gowariker’s ticket to the big league. A commercial success, it o won eight awards, including Best Popular Film at the 49th National Film Awards. The Aamir Khan-starrer also made it to the top five, after being nominated for the Academy Award for Best Foreign Language Film.

Swades and Jodhaa Akbar were loved; even if the former didn’t set the BO on fire, the latter was a hit. But ever since, Gowariker is failing to repeat that feat. What’s Your Raashee?, Khelein Hum Jee Jaan Sey, Mohenjo Daro and Panipat failed to impress. His next is an untitled project with Aamir Khan, which is due to release in 2024.

What’s amiss?

With Tanu Weds Manu (2011), Raanjhanaa (2013), Tanu Weds Manu: Returns (2015) to his credit, Aanand L. Rai has enjoyed both critical and commercial acclaim. His last outing, Zero, despite the presence of superstar Shah Rukh Khan, failed to impress. Akshay Kumar-starrer Raksha Bandhan, which hit the screens this August, too raised doubts about the master storyteller’s craft. His next film, Gorkha, will also witness Akshay as the leading man. Aanand will also produce the film.

Jab We Met, Highway and Tamasha to his credit, Imtiaz Ali launched his own label of Indian romcoms that won over viewers. If the first was a hit, the second did average business while Tamasha failed at the BO. His Jab Harry Met Sejal also failed miserably, as did his next film Love Aaj Kal (2020 film). Ali has been for long working on Punjab’s popular singer Chamkila’s biopic.

Veteran filmmaker Mahesh Bhatt created meaningful cinema with movies like Arth and Saaransh right at the beginning of his career. His fame was further cemented by blockbusters like Aashiqui and Raaz, memorable hits like Naam, Sadak and Hum Hain Rahi Pyar Ke. While Bhatt left direction for a significant time, his comeback film Sadak 2 recovered the costs but was panned by audiences and critics alike.

Sooraj Barjatya defined Indian cinema in a unique way. Starting with Maine Pyar Kiya, Hum Aapke Hain Koun and Hum Saath-Saath Hain, he painted Indian family in all colours of the rainbow. The music in his films was super-hit, as were his cinematic outings. However, despite the same basic structure, even if Prem Ratan Dhan Payo did crunch good numbers, it was panned by the critics. All eyes on his Uunchai now, which hits the cinemas in November.