AWARDS, THEIRS AND OURS

There, all nominees, technicians and stars get equal treatment. Here, because the event is marketed as a television show, the emphasis is on the stars

It’s Oscar time again and all eyes are focussed on Hollywood’s most glamorous event, the Academy Awards. Every year around this time, the media raises the same debate: Why is it that for a country that produces the largest number of films, we fail to make our presence felt at the Oscars? The reasons are several. Unrealistic assessment of the product by the applicant entering his film for competition and underqualified jury scrutinizing entries it deems fit to represent the country, are some of them. In the last so many years, Satyajit Ray was the sole exception to be awarded a Lifetime Achievement award. Bhanu Athaiya won it for the Best Costumes for Richard Attenborough’s Gandhi, followed by Shekhar Kapur’s Elizabeth adding to the honours by winning Best Make-up. Manoj Night Shyamalan of Sixth Sense came close, but eventually didn’t make it!

To begin with, the comparisons are unfair. The odds against us are too many. Our limited budgets, our out-dated equipment and the cross-section of language, region and culture we cater to. Besides, why must the Oscars be the barometer for our self-worth? That we make over 1000 films a year, out of which at least half (500) break even, is in itself an achievement. That we continue to experiment and re-invent cinema with pathbreaking films, whether acknowledged or awarded, is an accomplishment too. Perhaps we lose out because we lack the killer instinct. We lack their professionalism that is obsessive. We are more laid back, have an attitude. It reflects in our award ceremonies as well. After watching so many global award events over the years, I have significant observations to make in the behaviour patterns of stars abroad and back home.

There, the guests value punctuality and the auditorium gates are shut once the show begins. Here, the stars roll in two hours late and don’t feel embarrassed about volunteers struggling to organize their seats. There, all nominees, technicians and stars get equal treatment. Here, because the event is marketed as a television show, the emphasis is on the stars. There, the presenters are assigned aisle seats to facilitate movement. Here, no matter where you place them, they choose their own seats and company. There, lead stars feel privileged to give away technical awards. Here, stalwarts negotiate to give away popular awards. There, the trophy dominates the backdrop. Here, the sponsors hog equal limelight. There, the show is organized by the Academy, therefore in a way it becomes incestuous. Here, film journals host the show and therefore it becomes controversial. There, seating arrangement is protocol. Here, it is a status symbol. There, if two names share the credit, both get a trophy. Here, only one gets it and most of the time, the one to grab it, is also the one to make the speech. There, they ignore foreign nominees (not a glimpse of Shekhar Kapur on the camera). Here, we gloat over them like deities. There, invitees attend with an escort. Here, they come with entire families, friends and sometimes, even neighbours.

Thought for the week:
Kaho Naa Pyaar Hain and Mohabbatein were the only hits of the year 2000. Ever since, there has been a drought at the box-office and the earthquake in Gujarat has further diminished attendance in the cinema halls. With Gujarat forming 45 per cent of the entire collection of the Bombay circuit, distributors are hesitant to take up new releases. With Bharat Shah still detained in jail and no solution to the rising problems related to video piracy, there is a gloom in the film industry. That no major releases are due in the near future, is a cause for concern to all. Something has to be done quickly. Is the I&B Minister Sushma Swaraj reading this?

Bhawana Somaaya>>>>

email: bhawanasomaaya@express2.indexp.co.in