25 years of Karan Johar: Shubhra Gupta interprets the filmmaker’s evolution and predicts whether it’s time for Karan Johar 2.0 | Bollywood News
“You never like what I do.” When Karan Johar said this to me for the first time, I thought, “Whoa.” Here comes the barrage. Abkyahoga? Kuchithoga.
It’s not that I didn’t like “something” about what Dzhokhar did. But I went far beyond most film critics in that while criticizing the excesses of his films, I recognized the bright spots and enjoyed the parts that later became Karan Johar-style statements. I think he was enthusiastic.
Over the years, I’ve faced several filmmakers who have been angry or sarcastic about the reviews their films have received. This was the first time a bald person had made such a statement with a twinkle, a smile, and grace. Above all, it is a topic where two people who are in opposing positions (a film director and a critic cannot be more antagonistic than each other) can find common ground through it. It became. It branches out in different directions and culminates in an informative and illustrative conversation.
This “I don’t like anything I do” joke has been repeated constantly between us ever since. It delivers the expected laughs despite being spoken out loud and setting both boundaries and context. But what it belies is the mutual respect and love between the combative critic and the filmmaker, who has been on the cutting edge since his first film.Kuchikuchi hota hai‘ was released on this day 25 years ago and created the template for modern Bollywood romance.
From Rahul and Anjali in 1988 to Rocky and Rani in 2023, a lot has changed, but a lot has remained the same. Johar apologizes for using Kajol’s character in “KKHH” to invoke the loser tomboy trope It was after switching to chiffon and shy personality.
But what KKHH did back then was remarkable. We created a modern love story that reflected a part of India at that time. It was on-brand, aspirational, and most importantly, light-hearted and refreshing while doing the whole Girl Meets thing thing. -Shonen schtick.
Of course, Dzhokhar has forged a new path while drawing on old ways, reflecting a modernity that is far from obvious: just enough but not too much. It was no problem for It Girl Rani Mukerji to wear a mini, but she was also someone who knew her ‘Om Jai Jagdish Hare’. This is a film made for Indian viewers (and nostalgic NRI viewers) who crave newness but don’t want to be shocked by it, and Johar has found his sweet spot in that gap. Ta.
Long-legged Bollywood films have always been conscious of prevailing social trends, even though they are clearly outdated. Even his directorial films, where Dzhokhar has always played it safe, can pick up on what Au Courant was then, or what it will become in the future. Despite its monotony, Jaya Bachchan played the role of Shah Rukh Khan’s son in Kabhi Khushi Kabhi Ghum (Kabhi is the second letter of that annoying ‘e’ that always gets stuck). knows the exact moment he jumped out of the helicopter. She rushed towards her embrace, it was only for a moment. Dzhokhar knew exactly how big he was going to get, and it was always going to be big.
It seemed like the point of K3G was to get six big stars in one room. Despite all the shenanigans, what Johar relied on was our love for his big-budget stardom. And of course he was on to something. But even Dzhokhar wouldn’t have expected such an enduring love for Pooh, who today would be booed by a bunch of mean girls. More than the ultra-thin spaghetti worn by Kareena Kapoor’s character in K3G, almost every Indian bride continues to choose the zardozi to adorn her wedding lehenga, creating a genuine cultural ziplock did.
It was also this film that made Sangeet, a Punjabi language from North India, popular in the South as well. And only God knows how many young women took up Karva Chauth after Johar’s onslaught at the Mandap Mangalsutra market. With KKHH and K3G, Dzhokhar has become as much of a star as he is on screen, but his fans will be unhappy if he grows beyond the shiny surface that made him popular in the first place. I noticed it right away. His 2006 film ‘Kabhi Arvida Na Kehna’ featured his stars SRK, Rani Mukerji, Preity Zinta, Abhishek Bachchan and Amitabh Bachchan in a messy plot full of deceit, duplicity and infidelity. It was a work that depicts Johar trying to grow up. Although this film was flatly rejected by the audience, I think it is one of Dzhokhar’s best films, despite its flaws.
The only success of his desire to create change was in the 2010 film My Name Is Khan, which came under attack from right-wing, disability rights and anti-SRK groups. It was released after dodging and ultimately became Dharma Productions’ most successful film. The difficulty of going off the beaten path, even for an established production company, came up in a meeting shortly after the release of Khan, where we discussed his pseudo-gay starring role. We also talked about his 2008 film Dostana. Despite the film’s characters being the target of stereotypical depictions by gay rights groups, it sparked widespread chatter around men and, as a result, homosexuality. His own sexual orientation, which he is surprisingly open about without actually naming it, is clearly given wing in this film. And like any big Bollywood film that ends up being the starting point for a thorny topic, Dostana will always be remembered for the word “gay” and its meaning, meme or not. It will spread widely.
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At the end of our first conversation, I remember being impressed by how easily he answered my (most) difficult questions. From my distant vantage point as a critic appreciating Hindi films, this book was an eye-opener not only for how he makes his own kind of films, but also for his incisive assessment of the current state of the film industry. . Dzhokhar struck me as a man with a razor-sharp intuition for what makes his complex ecosystem work. He spoke openly about his dependence on stars and star children (the only kind he chose to direct). Sadly, the ‘n’ word and the need for the film industry to think constructively about nepotism has now become justice. Now you have one more stick to beat with Bollywood.
Dzhokhar is currently in a unique position. He is not only a hugely successful director and producer, but also a master of fashion. And parents whose Instagram feeds are full of warm fuzzies. And the new season of ‘Koffee with Karan’, the talk show host where everyone in Bollywood reveals their secrets, is just around the corner. And perhaps filmmakers who are proactively tackling urgent issues that we really need more of? Is this the beginning of Karan 2.0?
‘Rocky and Rani’ features some of the funniest and most destructive sequences in Bollywood in 2023. Ranveer Singh and Total Roy His Chowdhury gyrate on stage. The predominant color of their blood red lehenga matches the beat and gives it a push back. Against centuries of sexism and breaking down patriarchy. Yes, it’s a constructed moment, but it’s powerful and impactful. And it will always be with me.
Karan Johar, I said.
