Justice For SSR

Sushant Singh Rajput is unlikely to get justice. Why, you ask? Simple: Because the same factor that set the "Justice For SSR" ball rolling will derail the movement. And that factor is Us.

Sushant Singh Rajput

Have you ever wondered why the Palghar Sadhu Lynching incident didn't kickstart a mass movement of protest but the death of a 34-year-old actor did? Again, simple: It had nothing to do with "Oh Hindu Sadhus therefore ignored" (though that was definitely there), but the heinous, cold-blooded, long-in-the-making and utterly, absolutely ruthless manner in which a celebrity with a boy-next-door image was surrounded by a group of rich and powerful and pushed to a dark corner from which there was no escape except a long last fall over the edge into oblivion, and subsequently the media-police-politician-bollywood-underworld nexus that worked like a scarily well-oiled machinery to hush up the case, which reminded the country about the Dec 2012 atrocity in Delhi and roused the nation's collective conscience. It was, simply put, a question: "If such a terrible thing can happen to Sushant, then what hope do we commonfolk have?" It was a repeat act of the question that the country had asked itself at the time of Nirbhaya. This time, it was Sushant.

A major, major clean-up of the viper's den that bollywood has become has been overdue. Anyone not conforming to the rules is given a gentle push over the edge, a figurative hand in the back, and the rest is taken care of police investigations that find nothing suspicious, politicians who orchestrate their cadres in the guise of supportive fans, and media stooges who already have shiny, spanking-new clean chits out and waving in the air, pouring the milk of "child in a man's body" and "so much humanitarian work" and "weeps when he hears a 'lori' song and has to be consoled by his mum" on the blood of innocents dripping from the hands of the khans, the bhatts, the kapoors and the johars. Divya Bharti and Sridevi were drunk, Jiah Khan and Sushant and Parveen Babi were depressed... Same screenplay, different victims.

And this is where the secret of their escape route lies: the ability to orchestrate a whitewashing-and-hoodwinking campaign that has us eating out of their hands time and time again. We will forget all about Sushant the moment the next bachchan / srk / salman / ranbir kapoor film hits the theaters because to us, celebrating the glory of our stars who care two hoots about us matters more than innocent lives nipped in the bud in the most monstrous manner possible and justice and punishment...until the next dead body appears, hanging from the ceiling or drowned in a bathtub.

But remember one thing: the next guy or girl who falls victim to these hungry predators coming out of the scummy cesspool of unlimited power could be someone you love. I hope your breathless anticipation of the next bachchan / srk / salman / ranbir / deepika movie remains the same at that moment of utter despair.

P.S.: Here are some snaps of bollywood's A-listers with brothers Annel Mussarat and Nabeel Mussarat, two of pakistan's richest and most powerful businessmen, who often act as go-betweens between pakistan's ISI and the rich and the famous, esp of the Indian variety.
"Nothing wrong in being clicked with some businessmen, even if they're from pakistan," you say? Well, do remember that that is exactly how dawood ibrahim had dug his tentacles deep inside bollywood in the 1980s.

In Pictures below: Pakistani Businessmen Brothers Annel Mussarat and Nabeel Mussarat with various bollywood stars

'Moving On' in Hindi Cinema

 Considering the populist, across-the-floor and appeal-to-the-lowest-common-denominator pan-Indian (in name only; in actuality, Hindi Cinema has always a very pronounced North India-centric and Mumbai-centric tilt) format in which Hindi Cinema treats its narratives, the concept of 'moving on' from a relationship that is not working is not a common, or even remotely popular one. Here. at the end of the customary two and a a half hours, the hero and the heroine must unite, or (at least one of them) must die "to unite in the Afterlife". This is a concept that's more in keeping with Cinema of South India.

No wonder then that the best examples of 'moving on' I've come across in the highly unrealistic and often immature domain of commercial Hindi Cinema, the only two memorable instances, in fact, appear in two little-known Hindi translations of two South Indian films. Coincidentally, both Hindi films released within a few months of each other in the early years of this millennium and in the final years of the pre-multiplex era.

The first is Tusshar Kapoor's debut film 'Mujhe Kucch Kehna Hai' (2001), a remake of the Telugu film 'Tholi Prema' (1998). In the film, the hero is an immature and just a tad spoiled young man, who falls in love with a girl, the daughter of a family friend, who comes to live with his family. He's smitten and tries hard to get her, but keeps failing as she has her eyes set on higher studies and a career and doesn't want to lose focus of her goals. Ultimately he realizes that in order to get the girl of his dreams, he must grow up and make a man of himself, so he lets her go in the hope that when she is ready, she'll come back to him. The film ends on an open-ended but hopeful note. Most importantly, the hero harbours no bitterness, because by now he has figured out what he needs to do with his life.

The next one came a year later, in early 2002, and starred Aftab Shivdasani and Ameesha Patel. 'Kya Yehi Pyaar Hai' was the remake of the Tamil film 'Love Today' (1997). It is somewhat similar in terms of plot premise to MKKH, but different in that at the end, after the hero has lost his elder brother who was a friend philosopher and guide to him, he realizes that there's more to life than romantic love, and that more often we are in love with the idea of being in love. So he decides to make something substantial of his life as a tribute to his late elder brother, and although by now the heroine has fallen for him, he rejects her, though not spitefully or sadly, and goes off to chart out his own life path.

I believe it's because of the fact that both the films had their genesis in South Indian Cinema, we get to see a rare brand of maturity that's always been missing in the populist overindulgence of Hindi films.