MUMBAI: Out of the 236 movies released so far this year, only about 15 have made it to the hit mark. The alarming number of flops in the year 2007 came as a huge shock, especially because it rained hits in 2006.

By the end of first quarter of the year, Bollywood had already suffered losses to the extent of Rs600 to Rs700 million. Till March, only one film, Guru emerged as a universal hit, with all the other ones like Nikhil Advani's Salaam-e-Ishq, Vidhu Vinod Chopra's Eklavya, Ram Gopal Varma's Nishabd, Vikram Bhatt's Red, Amrit Sagar's 1971, Milan Luthria's Hattrick, Anurag Kashyap's Black Friday, Deepa Mehta's Water, Meghna Gulzar's Just Married, Suneel Darshan's Shakalaka Boom Boom, hitting the dust. Nishabd and Eklavya turned out to be huge duds. Then Akshay Kumar's Namastey London was successful, bringing in the much-needed respite.

After July, films like Partner, Chak De India, Heyy Babyy, Bhool Bhulaiya, Jab We Met and the super hit Om Shanti Om attracted audiences, providing a bit of a breather for the distributors.   

Amod Mehra, trade analyst, says even then the trend is alarming. He says, "If you notice, apart from Chak De all the other films that have done well are those typical commercial formula films. We seem to have digressed back to the same tried-and-tested formula. People can scream their lungs out saying that script is the king, but the fact remains that the viewer is no longer ready to risk his money for anything that seems unlikely to entertain him, especially since multiplex rates have hit the roof.

The coming Friday will see the release of Sahara One Motion Pictures' Kay Kay Menon, Jimmy Shergill, Nadana Sen and Sonali Kulkarni starrer, STRANGERS. Though the film looks interesting, it is not expected to cut much ice with the audience because of lack of star power.

Coming to last Friday's releases, Sanjay Gupta's DUS KAHANIYAAN was not expected to take a flying start, but the dull opening in Bombay and the weak start almost everywhere comes as a disappointment. On the whole DUS KAHANIYAAN may be a different experience for the audience but the experience for the distributors may not be a happy one. The movie has also underperformed in the Overseas, grossing $80,447 from the UK and $176,726 from the US.

The second release, KHOYA KHOYA CHAND, may have got the critics excited, but not the audience, who expectedly rejected the movie from the first show itself. The Sudhir Mishra directed film had a horrifyingly weak first day in Bombay and a frighteningly poor start elsewhere. It is obvious that KHOYA KHOYA CHAND has disaster written all over it. The Shiney Ahuja and Soha Ali Khan starrer is also a washout in the Overseas.

Yash Raj's Madhuri Dixit starrer manages to get decent collections despite a dull start. It goes without saying that the only 'star' of AAJA NACHLE (as per the director), the last 'superstarni' of Bollywood, Madhuri Dixit, manages to show her star power to her detractors. During the week, the Anil Mehta starrer collected 1.92 crores from Bombay, 45 lakhs from Ahmedabad, 1.10 lakhs from Himmatnagar, 7.40 lakhs from Rajkot, 2.50 lakhs (gross) from Bhavnagar, 1.40 lakhs from Solapur, 5.35 lakhs from Nasik, 1.10 crores from Delhi city, 11.60 lakhs from Noida, 16 lakhs from Ghaziabad, 10.25 lakhs from Lucknow, 1.20 lakhs from Agra, 1.15 lakhs from Bareilly, 2.30 lakhs from Aligarh, 12.75 lakhs from Gurgaon, 5.50 lakhs from Faridabad, 11.80 lakhs from Nagpur, 1.20 lakhs from Akola, 13.50 lakhs from Indore, 1.20 lakhs from Sehore, 2.40 lakhs Bhopal, 14.60 lakhs from Jaipur, 1.40 lakhs from Bikaner, 1.45 lakhs from Guwahati, 42.25 lakhs from Calcutta, 1.30 lakhs from Vijaywada, 2.45 lakhs from Aurangabad and 33.75 lakhs from Hyderabad. In its first week AAJA NACHLE has netted a decent 11 crores, and given the cost, its a creditable effort. The real surprise comes from the Overseas, where AAJA NACHLE has held on quite well grossing $660,238 from the UK and $425,488 from the US, both up to the second weekend.

The other release of the same week, Myth Productions' GAURI THE UNBORN, was never expected to achieve anything and expectedly had poor collections to show. The movie collected 8 lakhs from Bombay, 1.15 lakhs from Ahmedabad and 2.25 lakhs from Delhi city. With barely 25 lakhs from India in its opening week, the Atul Kuulkarni, Rituparna Sengupta starrer, GAURI THE UNBORN is a disaster.

Meanwhile Vivek Agnihotri's John, Bipasha, Arshad and Boman starrer, DHAN DHANA DHAN GOAL, fell heavily in its second week. Looking at numbers, GOAL collected 42 lakhs from Bombay, 13.25 lakhs from Ahmedabad, 1.70 lakhs from Rajkot, 1.50 lakhs from Nasik, 35.50 lakhs from Delhi, 6 lakhs from Noida, 8.30 lakhs from Ghaziabad, 3.15 lakhs from Lucknow, 1 lakh from Agra, 8.20 lakhs from Gurgaon, 2.35 lakhs from Faridabad, 3.25 lakhs from Nagpur, 1 lakh each from Amravati and Jaipur, 4.45 lakhs from Indore, 1.20 lakhs from Aurangabad and 11.60 lakhs from Hyderabad. During the week DHAN DHANA DHAN GOAL collected another 3 crores for a two week all-India total of 14 crores. DHAN DHANA DHAN GOAL is a below average from India, based on its cost. GOAL has failed in the Overseas, grossing $117,101 from the US (up to 2nd December) and $216,941 from the UK.

Farah Khan's OM SHANTI OM continues its good weekend runs. During the week, OM SHANTI OM collected 73 lakhs from Bombay, 11.55 lakhs from Ahmedabad, 2.20 lakhs from Rajkot, 1.10 lakhs (gross) from Bhavnagar, 1.57 lakhs from Jamnagar, 1.05 lakhs from Solapar, 2.20 lakhs from Nasik, 39 lakhs from Delhi city, 6.10 lakhs from Noida, 8 lakhs from Ghaziabad, 8.25 lakhs from Lucknow, 1.30 lakhs from Agra, 1.50 lakhs from Bareilly, 6.40 lakhs from Gurgaon, 3 lakhs from Faridabad, 5 lakhs from Nagpur, 1.60 lakhs each from Jabalpur and Amravati, 1.20 lakhs from Akola, 1.45 lakhs from Raipur, 1 lakh from Chandrapur, 3.20 lakhs from Indore, 9.65 lakhs from Jaipur, 21 lakhs from Calcutta, 3.15 lakhs from Aurangabad, 1.70 lakhs (gross) from Vijaywada and 24.40 lakhs from Hyderabad. With another 5 crores, the Shah Rukh, Arjun, Shreyas and Deepika starrer has netted an unbelievable 81 crores in just four weeks from India. It is obvious that OM SHANTI OM is an ATBB (All Time Blockbuster). In the Overseas, OM SHANTI OM, already a blockbuster, continues its record breaking run. The film has so far grossed $2,612,385 from UK and a new record gross of $3,561,742 (up to 6th December) from the US.

Meanwhile the Shahid-Kareena starrer, JAB WE MET, continues its rock-steady reign at the ticket window. Looking at the numbers, JAB WE MET collected 20.50 lakhs from Bombay, 2.65 lakhs from Ahmedabad, 20 lakhs from Delhi city, 2.25 lakhs from Noida, 4 lakhs from Ghaziabad, 1.80 lakhs from Lucknow, 1 lakh from Agra, 3.30 lakhs from Gurgaon, 1.85 lakhs from Faridabad, 1.50 lakhs from Nagpur, 1 lakh from Indore, 1.40 lakhs from Jaipur and 4.75 lakhs from Hyderabad. With another 1.20 crores, the Imtiaz Ali directed film has netted 29.50 crores in six weeks from India. It is certain that next week, JAB WE MET will become the second superhit of Shahid Kapoor's career, the first being VIVAH. The movie is also a big success in the UK grossing $867,194, especially in view of the costs involved.

Levi Strauss (India) Pvt. Ltd. today announced that Deepika Padukone, the Bollywood beauty of the OM SHANTI OM fame will continue to be its national brand ambassador for their brand Levi Strauss Signature. The brand also announced their new "Dart-to-Win" contest that would provide an exciting once in a life time opportunity for fans of Deepika to meet and greet with her.

Youthfull, confident, and with a mind of her own Deepika has come a long way since her initial foray into modeling. Her entry into Bollywood with OM SHANTI OM has won her rave reviews and has been recognized as the most promising newcomer to take the numero uno position in the Indian film industry in the near future.

"Our association with Deepika is a perfect brand fit and we are delighted to partner with her. She signifies style, good looks, youth, fun and universal appeal - attributes that resonate with our brand values and positioning." said ATP Ramani, Business Head, Levi Strauss Signature.

Targeted at the young and trendy college-goer, brand Levi Strauss Signature depicts 'collective individuality' - a strong 'youth' phenomenon and highlights the "we are what we are" sentiment of the Indian youth.

Speaking at the occasion Deepika said, "It is my pleasure to be associated with a brand that provides such an extensive range of clothing for the urban youth. I look forward to working with Levi Strauss Signature and am happy to endorse the brand."

The Levi Strauss Signature "Dart to win" contest encourages customers and fans of Deepika to register their opinion on Deepika in the exclusive Levi Strauss Signature stores pan India. The most creative comment will be handpicked by Deepika herself. The winner will get their once in a life time opportunity to meet and greet with her and will avail an all expense paid trip & stay for one day. Open for all, the Dart to win contest starts on 11th December 2007 and will be open till 10th January 2008.

In addition to the contest is also a gaming activity scheduled at the Levis Strauss Signature exclusive brand outlets. Every purchase of Rs. 2500/- & above, will enable customers to partake of a dart game with three chances to aim at the dart board. The dart board depicts various freebies like one branded T-shirt, one pair of jeans, one watch & one travel bag. Customers could target any of the above by means of his/her darting skills and win any one of the valuable freebies irrespective of the number of right hits he/she accrues. This Dart-to-win consumer promotion is open from the 11th Dec'07 onwards and will remain till stocks last.

For all those who have watched and admired Dharavi, Is Raat Ki Subah Nahin, or the more recent Hazaaron Khwahishein Aisi…, Sudhir Mishra's Khoya Khoya Chaand is bound to be a keenly awaited film. This is also his best-budgeted movie, and better-promoted than his earlier films.

Khoya Khoya Chaand is set in the Indian film-making world of the 1950s and 1960s. Nikhat (Soha Ali Khan) starts out as a junior artist and a dancer, and wants to be an actress. Prem Kumar (Rajat Kapoor), a top artiste of the time, notices her and gets her the lead role in one of his films, in exchange for a certain proximity. Nikhat is reconciled to her situation when she meets an Urdu writer Zafar (Shiney Ahuja) who is also trying to find a foothold in the industry, again under the patronage of Prem Kumar. Disillusioned with the exploitative relationship with Prem Kumar, Nikhat gets closer to Zafar only to be sucked back in the mire that surrounds her. Unsuccessful in his relationship with Nikhat, Zafar also fails in his debut film as the director. Frustrated by his failures, Zafar goes away abroad and Nikhat tries to lose herself in self-destructive alcoholism. A few years on, Zafar comes back and cracks a film deal with the same set of people he was involved with earlier. The film is biographical where Nikhat, who is dying of a heart condition, plays herself.

With a film-maker's knowledge, Sudhir Mishra has successfully created characters and situations that are at once typical of their age and also universal. He deftly creates a world where fourteen year old girls have to sleep with producers to get roles; where the producer bullies the director but sometimes only for effect; where the shrewd actress latches on to a superstar for roles but also lends a hand to a sensitive director and his vision; where a coterie of powerful people dictate terms but a charming old director makes his kind of film nevertheless; where a mother lives off on her actress daughter's hard earned money but another woman mothers the actress without any obvious rewards (these are also some of the best executed scenes in the film). These characters and scenes look authentic and gives a glimpse of Bollywood's past, and do so without turning the film into a retro fashion parade. Sudhir Mishra makes them all seem credible and earns brownie points. But while Mishra, the director does well Mishra, the writer fails. And on several counts.

Khoya Khoya Chaand seems undecided about its central characters and sequence of events – is it the story of Nikhat or, is it the story of Nikhat and Zafar (as a 'stray' voiceover suggests)? What is the importance of the background stories on Bollywood period characters, practices and ethics? Are they central or incidental to the unfolding human drama of Nikhat and Zafar? Strange at this may sound, a clear decision on these points would have solved most of the problems that the script has. As it is, the film cannot hold itself as the story of Nikhat, for Nikhat is as one dimensional as they come. She seems to be happy as a linnet being a junior artist and just equally happy when spotted by the star Prem Kumar. When it becomes obvious what he wants in return she doesn't seem to complain too much. She cries when Kumar's marriage is announced, but it's not clear why, for she is not in love with him. Her relationship with her family remains unexplored and so her refusal to get married so she can earn for them is baffling. She refuses to go away with Zafar despite her love for him, because, as she puts it, she wants to think only about herself. Then she actually destroys her career by excessive drinking and B-grade films. The most intriguing aspect of her character is that one never discovers her passion (or a lack of it) for acting. Nikhat's character is so flat one only wishes she was all that Zafar accuses her of being. She would have been a wonderful and attractive character if she was shown exploitative, if she got involved with this out of work writer just to taunt Prem Kumar, if she refused to marry Zafar because she did not want to put an early end to her career, if she had refused to go with him as a revenge for his not casting her, or, indeed, if her drinking had led to better performances! (But I say this in retrospect, and this solution, at best, is a speculative one.) Zafar's character, on the other hand, with his jealous frustrations and moral ambiguities, is better defined, if somewhat unlikeable (he often comes out as an attention seeking and a wronged writer assured of his genius). Zafar's background story is needlessly long and detailed, and there seems an unnecessary emphasis on his regret for not making peace with his father, so much so that this factor becomes and remains the central axis of his creative universe.

The screenplay lacks a clear narrative purpose and combined with a somewhat muddled editing, many (often, eminent) themes and scenes jostle with each other without finding specific and meaningful place in the film. There are way too many sequences establishing the ways of the film industry and yet Khoya Khoya Chaand carries an apologetic character. It never dives into the heart of the darkness of how Bollywood operates. The sadist power structure, difficult crass producers, opportunist collaborators and exploitative families are only referred to and talked about (not showing them is risking a plain assemblage of the hackneyed and cliché). The film suggests the rampant sexual exploitation but strictly avoids showing it (Mishra's obvious discomfiture with filming love-scenes doesn't help the matter either).

Khoya Khoya Chand affords Soha Ali Khan her meatiest role till date and she has worked hard to do justice to Nikhat. She looks good and delivers a performance that is strong; what she to some extent lacks though are the nuances. Shiney Ahuja holds himself well as the disgruntled writer but slips in the more emotive scenes. Rajat Kapoor gives a controlled performance but one misses the menace or meanness of Monsoon Wedding. The supporting cast of Vinay Pathak and Saurabh Shukla are noteworthy. Sonya Jehan performs with an effortless ease and a steely smile that seems also to be dancing in her head.

The Cinematography is admirable and produces a mixed palette using a wide variety of lighting and compositions. However, unfortunately, it has not aided in distinguishing the core story of the film and that of the films-within-the-film which was sorely needed. Music does well in holding the mood of the film without crying out loud to be noticed.

Sudhir Mishra has no doubt made a sincere effort in making this period piece on the workings of the Indian film industry, or, to put it the way he would like it, he has tried his best not to bullshit. But it has been my long-held view that a director who goes out with a weak screenplay is guilty of the sins committed. More so, if he has written the script himself.

Minissha Lamba

Minissha Lamba wooed everyone with her superwoman antics in HONEYMOON TRAVELS PVT LTD and her very commendable tango dance became the talking point of the film. The petite YAHAAN actress is now looking forward to 2008 as four of her films are lined up for release. Minissha gets candid in a freewheeling chat.

Lately we haven't seen too much of you onscreen.
I was just shooting all this while which is why you haven't seen much of me. One of my films DUS KAHANIYAAN has just released. I have four releases lined up next year. Samar Khan's SHOURYA where I get to play an investigative journalist, Sanjay Gadhvi's KINDNAP where I'm playing a 19-year old girl, Ananth Mahadevan's ANAMIKA which has me as a simple girl who gets married in a rich household and Siddarth Anand's Untitled film which is a romantic comedy.

Tell us about DUS KAHANIYAAN?
My story is called POORANMASHI which is adapted from Kartar Singh Duggal's short story of the same name. It's about a mother-daughter relationship and how one full moon night changes their life completely. I play a rustic village belle where pride, honour and virtue are top most qualities people abide by. It's directed by Meghna Gulzar and I had a blast doing it. It was a fulfilling experience.

Is life looking up for you? Are you happy with the way things are shaping up?
I am extremely happy with the way my career is shaping up. I have chosen the films I have believed in and those I always wanted to be a part of. And if this means doing fewer films, so be it. I am proud of all the films I've done and God has been very kind and gracious. It has been a beautiful journey so far. I came from a non filmi background with no Godfather here in the industry. YAHAAN was my debut film and I've learnt a lot since then. But regardless of your lineage and stature, you have to go through the grind as no one has it easy here. I am eagerly awaiting 2008 and things are definitely looking up for me.

In hindsight, what do you think of ANTHONY KAUN HAI and ROCKY? ANTHONY KAUN HAI was a fantastic film but unfortunately because of its untimely release, it got sandwiched between two other films. That probably impacted its fate but I'm still glad I did it. ROCKY was an interesting experiment. It was going back to how films used to be made. I have absolutely no regrets doing both the films. I think both the films helped me evolve as an actor.

How do you zero in on a film?
I should enjoy reading the script and it has to be a story I believe in. My co-stars, banner and other issues are secondary. The script has to be invigorating enough to sustain my attention.



Is there a dream role on your wish list?
I want to do a full action film and a hardcore comedy film.

One actor you'd like to romance onscreen?
We have so many amazing actors. It's extremely difficult to single out one. I'd love to romance them all.

Lately there were reports about you getting cozy with Aftab Shivdasani at a Mumbai nightclub. Also, a lot was made out of your off-screen chemistry with HONEYMOON TRAVELS… co-star Abhay Deol.
I choose to be nonchalant. The fact is simple. If entertainment journalism thrives on gossip and hearsay, we don't have a way out. As an actor and a public figure, you are bound to be written and gossiped about. And if you can't handle it, you shouldn't be here.

What else is happening on the professional front?
I think it's just the right moment for me. Time is ripe for my filmi career. I am looking forward to a variety of roles.

Tata Young

What do you think viewers! Bollywood hottie actress Neha Dhupia deserves the glamorous image like seventy's fiery actress Zeenat Amaan. Now it may be clear because Neha Dhupia has been chosen for the lead actress in the remake of Feroz Khan's hit movie Qurbani. Bollywood most stylish director Feroz Khan has decided to make a fresh version of his own blockbuster movie.  Even many bollywood hot cakes beauties were in Feroz Khan's memory like Murder Queen Mallika Sherawat etc but finally Neha Dhupia resembled as Zeenat Amaan to Feroz Khan.

If you didn't forget the two piece scene of Neha Dhupia in her first movie 'Qayamat' you easily guess how she attracted this director. Heartthrob Fardeen Khan is the main hero in the film and Saif Ali Khan selected as supporting actor in the role of Vinod Khanna. Feroz Khan made the hit movies like Qubani and Zaabanz which proved big hits in the cinemas. So this wouldn't be easy for Feroz Khan to re-create his movie and Fardeen Khan could act like his Dad.

 

Filmmaker Vinta Nanda is all set to direct two new projects titled MAGIC and TINSEL TOWN. A year ago, her directorial debut WHITE NOISE starring Rahul Bose and Koel Purie received rave reviews and critical acclaim. However the commercial success quotient somehow eluded her.

Vinta, who is simultaneously writing the script of MAGIC and TINSEL TOWN, plans to roll both the films in the coming year.

MAGIC is on a slightly bigger scale with a mix of established actors and newcomers in the cast, TINSEL TOWN which revolves around dancers, will feature all newcomers in the ensemble.

While TINSEL TOWN will be produced by Asad Sharif along with a group of enterprising under-25s namely Marc D'Souza, Debo Kini and Aakash Thakkar, Vinta will co-produce MAGIC.

Earlier, Vinta has been the force behind some of Indian television's biggest serials and soaps including 'Tara', 'Raahat', 'Rahein', 'Shatranj', 'Umeed', 'Deewar', 'V3 Plus', 'Agnichakra', 'Sansar' , 'Aur Phir Ek Din', 'Papa', 'Kabhi Kabhi', 'Hero Uncle' , 'Caf� 18', 'La Bellas', 'Sheila', 'Kasbaa' , 'Deewane Toh Deewane Hai' and 'Miilee'.

Life post-CBB has been one of mixed splendour for the actress. Her newly-found fame in Britain did not translate into foreign box-office gold: both of her post-win releases, Life in a Metro and Apne, crashed in the UK. As Tanuj Garg, former Head of UTV, which distributed the film, says: "Shilpa undoubtedly bagged a lot of publicity courtesy of CBB, but high media value is not the same as box-office clout, and the audience is cognizant of the difference."

Her ventures outside the film industry were more successful, if not particularly imaginative. Her jasmine-scented perfume, S2, became a bestseller and a box set has now been released for Christmas, which includes a Shilpa body cream.

Then there was Miss Bollywood, which premiered in Berlin in September amidst charges of alleged plagiarism by a leading Bollywood choreographer. It opened to mixed reviews in the UK last month and ends its run next week. In the "dancical", as Shetty calls it, she plays Maya, a "fresh off the boat Indian" who lands in London and dreams of establishing her own dance academy. Does the character encounter any bullying and racism? "She is bullied by a diva!" Shetty laughs.

Although officially single, Shetty's personal life has been just as high profile as her career over the past year. Her squeaky clean image took a beatingk when she was accused of being a home-wrecker by the wife of a businessman and film producer, who sold the story to a UK tabloid. Then a kiss with Richard Gere at a function in New Delhi created controversy, although most of the anger was directed towards the Hollywood actor, who was accused of indecency.

Life has certainly changed since January, when Shetty first entered the CBB house. Back then the former model's film career was on the wane. After debuting opposite Shah Rukh Khan in Baazigar (1993), Shetty enjoyed a golden period in the late Nineties sizzling in hits like Main Khiladi Tu Anari (1994) and Dhadkan (2000), opposite her alleged cheating ex-boyfriend Akshay Kumar.

But by 2003 the lead roles had dried up, and younger actresses such as Kareena Kapoor and Bipasha Basu had emerged and raced past her. No major director was willing to cast her. An attempt at arthouse cinema with the film Phir Milenge (2004), in which she played a woman discriminated against because of her HIV status, failed to revive her career.

At 31, Shetty was at a professional crossroads and faced a hard career choice: dye her hair and take on mother roles or get married and quit acting. Shetty chose to gamble it all instead.

The risk paid off. CBB rejuvenated her flagging career. Not only did she emerge as the eventual winner, but she created international headlines after her fellow housemates were accused of alleged bullying and racism towards "the Indian". A diplomatic row between India and Britain very nearly erupted.

But if it was a year of far-flung fame, Shetty's future Bollywood prospects now appear bleak. She has no major forthcoming films, Hollywood beckoned, via the upcoming Pink Panther sequel, but Aishwarya Rai won out.

What's next for the surgically enhanced star? Shetty tells me: "I want to consolidate my current position, release a yoga DVD, write my autobiography and a cookery book and I want a tattoo!"

Whether Shetty can reinvent herself in 2008 remains to be seen, but it is undeniable that the dignified diva has been responsible for firmly entrenching awareness of Bollywood on the global cinematic map, especially in the UK. Today, if you ask a Brit if he knows anything about Bollywood, the answer will most likely be: "Shilpa Shetty".

I  am not much of a Hindhi movie buff but somehow I happen to see many of the movies because of the company I keep. There are two Hindhi movies which I saw last week - 'Om Shanthi Om' and 'Sawariya'.

The much hyped Sawariya is based on the novel 'White Nights' by Dostovesky. It is horribly picturised and so intolerable that I had to walk out of the movie after thirty minutes. After the huge pre-launch publicity this movie featuring two new Stars is relegated as a flop. Being a Dostovesky fan I am now on the look out for the english movie based on 'White Nights'.

'Om Shanthi Om' is the other blockbuster movie to hit the box office. It is proving to be the biggest hit of the year. This movie has all the elements, spices and masala of Hindi cinema and is quite an entertainer. This movie is a spoof of the bollywood of the 70s.  Reincarnation is the main theme of the movie. A young aspiring non descript junior artist is in love with the leading actess of the 70's. He dies along with her while saving her from her husband who kills her by burning up a big building.  He is reincarnated as the son of a bollywood star and starts up in his new life as a superstar. He also inherits the traits of his previous life, recollects  them and fulfills all his aspirations from his previous life. He eventually takes revenge on the person who had killed him in his previous birth. Karma is a recurring theme in this movie. The hero of the movie repeats several times in the film that life is a cycle and as you sow so shall you reap.  This is a cookie cutter bollywood movie with typical elements like poor boy falls in love with rich and famous girl, disappointment and breavement, elaborate song and dance sequences, good versus bad, hope and retribution even spanning across lifetimes.  Also it features the number one reigning superstar Shah Rukh khan as the hero of the movie. No wonder it is a box office hit.  There have also been other bollywood movies like 'Karz', which had reincarnation as its main theme.

Bollywood and Indian television are accussed by some sections of the media that it propogates the mainstream culture of Hindus. This accusation is made by many 'Progressive' thinkers in India who are very much into Hindu bashing and they take pride in sub altern and leftist themes in cinema. Bollywood itself is an offshoot of the tradition of Dance-Drama of Indian folk theatre. This is quite an old tradition and probably dates back to Bharatha's natyashastra, Kalidasa and Bhasa. In a way every bollywood movie has the typical elements of love, hate, song, dance, tragedy, comedy and fantasy. Bollywood directors have the strange knack of stealing hollywood themes and fitting them into the dance drama mould of Hindi cinema. But finally they like to produce what sells.

Some of these sub altern writers are now wondering why 'Om Shanthi Om' showcases Hindu ethos inspite of having a muslim director, Farah khan and produced and starred by the muslim Shah Rukh khan. The movie showcases hindu customs like breaking coconuts during Muhurat, depicts reincarnation and karma which are all the usual Hindu customs and beliefs. Of course most of the characters in the movie are Hindus.

 Ramachandra Guha, the leftist historian and author from Bangalore has mentioned in one of his books that there are two things apart from the demoractic state which keeps indian people united. The two are bollywood and cricket. Now with the subaltern studies getting increased funding from christian and muslim organizations, these two fields have come under attack as many claim that these represent the worldview and lifestyle of the upper caste people in India. The caste concious sub alterns accuse that cricket as a game is dominated by the upper caste people, they completely ignore the cricketers from other castes and religions. Bollywood has its share of muslim hereos and heroines but again they all work towards the same hindu worldview and message. This irks the so called progressive thinkers. They want and dream of a world which has no elements of hinduism in it. Over the years they have built up effective propoganda to demonize and reduce hinduism. They had movies on so called progressive themes which never could match the popularity and success of the surreal bollywood  melodramas.

Inspite of so much of propoganda it is indeed strange how the modern day bollywood dramas have survived and thrived. But one thing quite noteworthy is Bollywood has never showcased hatred towards communities other than the imagined hatred by these sub altern writers. The overall message of harmony, peace and love projected by Bollywood is quite noble. Except for some stray violent and jingoistic themes there is not much of divisive themes in Bollywood films.  Like the hindu puranas most films are noble fairy tales.

Bollywood is also quite popular in many asian and african countries. It is the largest film industry going by the sheer number of films it churns out every year. In a way  Bollywood acts as a messenger for the Hindu propoganda machinery.  Hinduism lacks the missionary zeal and evangelizing mission of the christian and islamic religions and also it has very little defence against devious designs of the petro dollar and cash rich mullahs and missonaries. And it is through these mediums it keeps the culture intact and as long as it is humanistic why should anyone bother. Some of the themes might be unrational and superstitious but as long as it does not espouse hatred it is much preferred.