Journal of Indian Cinema

Vol. 1. Iss. 17 | May 2020

Film Critics Circle of India

Rishi Kapoor — Tujh mein kya hai deewane

Amborish Roychoudhury | May 07

The mainstream Hindi film industry… was experiencing its worst phase back in the 1980s. So much so that many were declaring it dead… Precious few films were able to recover their investment, even fewer reported hits at the box office. In the middle of this dry spell, Rishi Kapoor had a blockbuster in Nagina (1986).

It was around this time that Rishi appeared in an interview for a Canadian television channel, which remains his only televised interview from that time.

”Jo cheez badi routine ho, usey aap ek novel tareeke se karke dikhaaye, uss cheez ko main bahut maanta hoon kyonki main khud ek spontaneous kism ka actor hoon”

He was, of course, referring to his approach to acting. Nobody at the time bothered too much about “the craft”. Nobody spoke about it, nobody wanted to hear about it. But here Rishi Kapoor, a “commercial cinema” actor, was talking about his “craft”. And this brings to light another aspect that was unique about that era.

Like in the rest of the world, the cinema of India was undergoing a shift in the 70s. A commitment to realism and what was seen as an emphasis on substance rather than form, gave rise to the Parallel Cinema movement.



Irrfan Khan: the journey towards an ‘actor’s film’

Sayantan Dutta | May 13

With The Warrior, Irrfan Khan marked his presence as a lead performer in cinema. Stylistically, the film locates itself in the arena of international art-house cinema, where the presence of actors is historically more important than the typical mainstream films… Nasiruddin Shah, albeit modestly, noted the rare quality of Irrfan’s performance in The Warrior, the kind of which, he claims, he himself hadn’t mastered at that young age


A 40-year-old Love Story

Utpal Datta | May 09

Rahul Rawal’s specialty was to adorn Love Story with his own aesthetic skills,  ignoring the prevailing notions. The name Love Story evokes a kind of poetic tone and the director was keen to preserve that tone and mood through out the film… Even later, Rahul Rawal’s harsh and rude reality based films like Dakait and Arjun were a continuation of the poetic beauty of the loneliness and the elegant picturisation. Rahul Rawal and especially Love Story are still relevant today because of the creativity shown in making a mainstream commercial film, a sensitive work of cinematic art. Sadly, the identity of Rahul Rawal was not engraved on the body of the film in which he was established.


Dadasaheb Phalke     Ratnottama Sengupta
Irrfan Khan     Aseem Chhabra
Irrfan Khan     Sreehari Nair
Irrfan Khan     Sukanya Verma
Irrfan Khan & Rishi Kapoor     Baradwaj Rangan
Michel Piccoli     Baradwaj Rangan
Rishi Kapoor     Aseem Chhabra
Rishi Kapoor     Jai Arjun Singh
Rishi Kapoor     Sukanya Verma
Rishi Kapoor     Sukanya Verma
Rishi Kapoor     Sukanya Verma
Review - Film Review - short fiction, docu, TV & web series Feature Interview Sexuality, Bias, Equality
Karthik Dial Seytha Yenn | Gautham Menon     Ashameera Aiyappan
Smart & sassy     Deepa Gahlot
Traitor to the cause?     Deepa Gahlot


Journal of Indian Cinema

Vol. 1. Iss. 01–29.

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