Last week, one saw the release of ‘Loveyapa’ starring Junaid Khan, Khushi Kapoor. While this film was largely made for the Gen Z with new actors, one wonders, why is Bollywood no longer making those mature love stories? It’s a question which arises in our minds as we see old movies like ‘Sanam Teri Kasam‘ re-releasing and doing much better than it did when it released first. Not to mention, movies like ‘Dilwale Dulhania Le Jayenge’ continue to remain iconic. While the list of love stories re-releasing is long, Hindi cinema no longer is creating mature love stories which appeal to people. However, the south is still churning these love stories. Recent example being ‘Thandel’ starring Naga Chaitanya, Sai Pallavi which is a love story in its essence. Nithya Menen won a National Award for ‘Thiruchitrambalam‘ co-starring Dhanush, and that was a love story. ETimes talks to some industry insiders to find out, why is Hindi cinema lacking the art of creating fresh love stories which has always been its essence!
Writers are far and few?
R Madhavan and Dia Mirza’s ‘Rehna Hai Tere Dil Mein’ is a cult film today and recently when it re-released, it got a great response. People still root for Maddy and Reena and the film along with its music remains in the hearts of the audience. Talking about the lack of love stories today, Madhavan told ETimes, “I am so looking forward to such mature love stories being written, which are relevant in today’s world. The ones that show off not just the romance, but the companionship, the reason why the two people should be together more than just falling in love and the in-depth reason behind it, you know, we’re all scarred with our life experiences until then. And to find such a companion is difficult.”
He added, “So to find writers who understand that and write stories like that is very few and far between. I’m so dying to do films like Pretty Woman or Notting Hill or even how they used to do with Sanjeev Kumar Sir. The romance was so beautiful of the movies that he used to do. But again, I’m 55. So I might desire to do romantic films, but it should be age appropriate.”
Madhavan will be seen next in a love story with Fatima Sana Sheikh which is titled ‘Aap Jaisa Koi’. Since such films come so rare, the audience is already looking forward to it. But it is set to release on OTT.
Producers playing spoilsport?
Writers Siddharth-Garima who have worked with Sanjay Leela Bhansali on movies like ‘Goliyon Ki Raasleela Ramleela’, ‘Padmavat’ and also movies like ‘Kabir Singh’, opine that today, the writers do not have the kind of creative freedom which they used to have. “The writing is very clear on the wall. The producer of the industry has changed. The movies that are being re-released are those movies that were made with the producer who used to believe in his content, who used to believe in his story, his director and his writer. Today’s producer doesn’t do that. He wants to dominate the choices. Market preferences is equal to content. Whereas we have forgotten what our strength was. Our strength has to be love stories, our strength has to be stories for that matter, which are unique, which are more catering to the audience. Here, they have some other kind of an agenda,” they said.
Gen Z stories as opposed to mature love stories!
Earlier, we’ve seen film-makers like R Balki make a ‘Cheeni Kum’. Or the fact that ‘The Lunchbox’ was so loved and remembered. However, in the last few years, there’s clearly been a dearth of such human stories. Trade expert Girish Wankhede says, “Films like “Cheeni Kum”, “Life in a… Metro” and “The Lunchbox” have demonstrated the potential for nuanced storytelling that delves into the complexities of adult relationships, showcasing love that transcends age and societal expectations. These films were not only critically acclaimed but also resonated deeply with audiences, proving that there is a significant appetite for mature love stories.”
He added, “However, despite these successes, the frequency of such films remains limited. The industry often gravitates towards stories featuring young couples, driven by the belief that youth-centric narratives are more commercially viable. Movies like “Loveyappa” and “Azaad” typically cater to this demographic, focusing on the exuberance and trials of young love. While these films have their place, they often lack the depth and emotional resonance that mature love stories can offer. The challenge lies in the industry’s reluctance to embrace more complex narratives that explore the intricacies of adult relationships.”
South continues to make ‘Pushpa 2’ but also a ‘Thandel’ and ‘Thiruchitrambalam’
One sees that while the south movie makers are giving us a ‘Pushpa 2‘, they are also making a ‘Thandel’ or ‘Thiruchitrambalam’. Wankhede echoes that and adds, “In contrast, the South Indian film industry has made significant strides in producing mature love stories that connect with audiences on a deeper level. Films like “Thandel ” and “Thiruchitrambalam” exemplify this trend, showcasing relationships that are layered and relatable, often tackling themes of love, loss, and personal growth. These films have not only performed well at the box office but have also garnered critical acclaim, illustrating that there is a successful formula for mature storytelling that Bollywood has yet to fully embrace.”
He added, “One reason for this disparity may be the lack of filmmakers in Bollywood who are willing or able to tackle complex subjects with the same finesse as their South Indian counterparts. This results in a creative stagnation that limits the exploration of more sophisticated themes in love stories.”
Why re-releases are working?
The truth remains that love is a timeless emotion and will always touch hearts. While it was the action in ‘Pushpa 2’ which worked, one cannot stop talking about how Pushpa was such a green flag and the way he loved his wife Srivalli. Re-releases also bring in a sense of nostalgia. Writer Rajat Arora says, “Pyaar umaar nahi dekhta. Love story for any age and by any other name is a love story. Look at your own example… yeh jawani hain diwani…, it’s a timeless love story. It was a blockbuster when it released, it worked very well on its re-release. It Still resonates with every age group. I believe one doesn’t make a love story for a certain age group. A good love story works for everyone… age no bar.”
He added, “Then why don’t we have a memorable romantic movies in Hindi in recent times? In my opinion it’s because we haven’t made one in a long time. We are trying to be someone else when telling our stories. We are faking it. And the audience smells that from a mile away. I guarantee you if we make an honest love story, irrespective of who the actors are, well – known or new faces alike, people will watch it. I think romance will be the next big genre to make a comeback. A rooted honest love story. That’s what we need.”
Siddharth-Garima added, “It is not wrong to release a film. Audience are going to watch the releases because they are trying to relive those stories, such stories. If today I take out a story, which is like a pure love story, it’ll not get commissioned. Also, it is very difficult. You know, there is a very different subject thats and me are going around in the market right now, but ab below both subject timing here, it’s a family drama. It’s like a thing which is, it’s comedy, it’s got family moments in it, but people will go and watch it. But when, when we ask people to make it.”
The ball is in whose court?
After some action movies or horror comedies like ‘Stree 2’ have worked, film-makers and producers just want to make that. Siddharth-Garima said, “Pushpa goes ahead and does the business that it does is because it’s pandering to the masses. Money is important, but you can’t be blind about this. If a horror comedy works, it’s like, let’s all run in that lane. I can’t tell you the number of calls we get in a day, asking us to write or come up with a horror comedy. Concepts will come from what a maker feels like doing, what a maker believes in doing and what they think is relevant to the current audience, you know, but the problem is, we are not the guys deciding, the guys who are creating this content are not the ones deciding where and how it will go.” It is these guys were deciding it, you know, the one sitting in the studios, the one sitting in, wearing producers hats, or even sometimes actors agents, they’ll say, ‘this actor just wants to do this particular genre.’
They further gave an example of how not all the films made with formula will work. For example, Varun Dhawan’s ‘Baby John‘ made by south film-makers did not work, nor did Shahid Kapoor starrer ‘Deva’.