Fashion

The problem with Madhur Bhandarkar films is that they operate on some basic modes and refuse to look beyond. Bhandarkar has been rehashing the same plot and beating it to death. Even his characters are almost the same and so it he narrative; identification with the underdog in the first few reels of the film and after that it’s the same journey laced with realizations that the world isn’t a pretty place. For some reason these half-baked tales of the proverbial underdog in a cruel world really seems to work with people. These would be the only films in the world where the mere setting is enough for people to lap up. Otherwise how does one explain that Bhandarkar’s mediocrity in the name of Traffic Signal, Corporate and Page 3 has won him the National Award in some category or the other?

The basic formula for any Madhur Bhandarkar film is as straight as it gets. The underdog usually comes from some godforsaken small town to the biggest baddest city in the world called Mumbai. Here the protagonist, usually a woman, starts to work in some fancy setting- a page three news desk, a traffic signal, some corporate outfit. As she is exposed to the workings of the business she is told that no one, absolutely no one can make it to the top without bartering a piece of their soul. She, being the idealistic woman, refuses but for how long. Somewhere in the middle she comes across people who are sympathetic and nice to her. Watch out she will hurt them eventually. Going thorough the throes of mundane existence she trades her morals for success. She is aware that even though she might do what is doesn’t believe in, this is just temporary. Predictably she changes into just the thing she loathes. Then something will go wrong, really wrong. In the bargain this person would be forwarded as a compromise candidate. This person will come a full circle and that will be the end of it. Their confidence would be shattered and they won’t believe in anything and continue with their lives.

Its strange that in spite of these very apparent shortcomings Bhandarkar gets to the winning post nine out of ten times. His films might not have been as good as they are perceived to be but they make money and more importantly they make news. Take the latest film for instance. Fashion suffers from so many shortcomings that I forgot that it was a film. This is the first time that Bhandarkar concentrates more on one central character rather than an ensemble after Chandni Bar. Meghna in Fashion is so flawed that it's not even funny. She does things for no real reason but for the fact that there are stereotypes of the fashion world and she being the protagonist and this being a film called Fashion has to walk the line. Bhandarkar just does scratch beneath the surface. He is happy relying on the headlines and busy making hay. For Bhandarkar there is more drama in showing his lead falling into the darker depths of the bad fashion world and sleeping with a black man who looks like a drug peddler rather than exploring the high pressure lifestyle and work atmosphere that pushes people to the limits. In spite of the obvious flaws Fashion is an interesting watch largely for Priyanka Chopra. She embodies the diva to near perfection. Previously Chopra wouldn't get enough to chew on be it Don or Krissh and she would left to trying hard to add some value to the project. But here she gets the role of a lifetime and she grabs it with both hands. Even the supporting cast does a decent job and in spite of the near stupidity that accompanies the film, Fashion works