THE GREAT INDIAN CIRCUS OF BOLLYWOOD: The Freefall of the Once Beaming and Successful Filmmaking Industry of India

As Anurag Kashyap makes his exit from Bollywood and movies like Nadaaniyan, starring mega star kids Ibrahim Khan and Khushi Kapoor, fracture one’s brain, one is bound to question the cancerous state of Bollywood. Kashyap says that he is “disgusted by his own industry,” and guess what? So is the audience.

The same industry that produced legends and experimented with diversity is now a hub of capitalism. The industry reeks of money, thinks of money, wants money, but unfortunately has to depend on re-releases to capture money rather than create it. With movies like Sanam Teri Kasam, Laila Majnu, and YJHD being re-released, one is forced to sympathise with the plight of the industry people. Are there no writers, no better directors, no better actors to save Bollywood? Even if there are, are they getting any creative freedom in the first place?

Mahesh Bhatt’s recent insight on Kashyap’s exit, where he mentions how “the industry prescribes conformity like a rule that punishes unpredictability,” uncovers the ugly picture of contemporary Bollywood. Bhatt highlights how the industry has stopped experimenting altogether and become “risk-intolerant”. This portrays the declining state of Indian cinema, where the same old stories are repeated, old songs are horribly remixed, and even when it provides something new, the movie turns out to be a remake of some good Tollywood or Hollywood movie. It is safe to say that the state of Bollywood is pathetic and disastrous. The industry is facing a creative drought like no other.

Commercialisation has become the only end goal that directors, actors, and producers seek. Franchise filmmaking has seen a rampant increase to bring in more and more money. From the art-house films of the 70s and 80s to the parallel cinema wave of the 90s, Bollywood has been bereft of its magnificent roots in recent times, owing to its own deeds. Movies by directors like Kashyap, Bhardwaj, and Omprakash, who are known for producing gritty drama, offbeat narratives, and social realism, are becoming fewer and fewer by each passing day. The prime focus of the industry is on marketable movies, which have a romantic plot, a sexy villain, some songs here and there, the ultimate hero vs. the villain fight scene, and finally, a happy ending. These movies are shallow, no-brainers, and lack any depth or character.

The production of ‘nepo’ kids and their debut has been another silly spectacle in the industry. With Karan Johar acting as the “Karta Dharta” (the God) of star kids, all star kids become internet sensations in every wrong way possible. Internet users troll them, and they, in turn, enjoy this attention to its fullest. An example of this is the recent Nadaaniyan movie produced by none other than Karan Johar, starring Khushi Kapoor and Ibrahim Khan in the lead. The movie failed miserably everywhere, yet Ibrahim Khan went on to share the 4.5 IMDb rating on his Instagram story, trying to prove Lord knows what. While the parents, much to their disgrace, claim that their kids will improve, one can’t help but notice how these movies are increasingly becoming acting schools for star kids.

If not the star kids or the good-turned-worse romantic plot, then adding a bit of Hindu-Muslim controversy, showcasing the hero fighting some Kashmiri terrorist, the India-Pakistan nemesis, or adding Gen Z references that even the Gen Z doesn’t relate to, are the only ways popular and established Bollywood filmmakers think they can carry their films to good box office numbers. The result is a series of flops, making a joke out of themselves, and a frustrated audience. Satyajit Ray might have once said that India has a “backward and unsophisticated audience,” but seeing the utter idiocy produced by Bollywood nowadays, it is significantly visible that an average Indian is thwarted and utterly annoyed, wanting something new and culturally vibrant.

The rise of OTT platforms has also notably led to the demise of Indian cinema, causing it to rot to its core. Platforms like Netflix, Hotstar, and Amazon Prime might have, on one hand, provided space for creative minds to explore and produce better, if not excellent, content. However, on the other hand, they have contributed to the decline in films produced for the theatre. Theatres are being flooded with formulaic blockbusters designed to appeal to a wide audience, whereas OTT platforms are producing more niche, bold, and experimental content. The contrast between the two has left audiences feeling disconnected from the more traditional film experience, which often feels stale and predictable. Hence, who can really blame the dependence of theatres on re-releases? After all, one has to keep the money coming.

Bollywood seems to be stuck in a rut, making no progress and appeasing no one. However, the current state of the industry is not without hope. It critically needs a cultural shift to rebalance commerce and creativity. If things continue as they are, Bollywood will undoubtedly lose a plethora of creative minds and eventually all its charm. This also puts a certain level of responsibility on the viewer to willingly embrace films that provide more than just mere entertainment and brain rot. Only time will tell whether Bollywood will be able to reclaim its glory or if it will remain just a capitalist money machine.

Sharmeen Shah is a student pursuing Psychology from Jamia Millia Islamia.

Edited By: Sidra Aman

Disclaimer: The opinions expressed in this publication are those of the author. They do not purport to reflect the opinions or views of The Jamia Review or its members.