Since early times I was seized by the celluloid medium and it bore a very deep impact but not in the sense to pursue or take it up as a career for somewhere some kicks, rowdyism, and some wean influence deterred me and made me loose my liking, though appreciation for the same can be evidenced as everlasting.
The other day I was watching a section on Al Jazeera and what documentaries and investigative series they make – hats of to their creativity and talent, obviously. The one I watched was about Bollywood celluloid influence on Moroccans; imaging audiences and commoners in Morocco! An Amitabh, Shatrughan, Dharmendra or even the dominating Khans for their on screen as well as off screen acts and impressions.
I was dazed in the manner men, women of all age groups were clamouring for and jumping into animated discussions over films and songs. One even went on to demonstrate his singing skills by belting out a popular number. While the geographical separation between Morocco (audiences) and Mumbai (Bollywood – the celluloid factory of the world if not inappropriately named!) is just 7980 kilometers, even though the former seems perilously perched on the North Eastern most tip of African Continent, while the latter on the doorstep of Arabian Sea; the celluloid ‘connect’ remains astonishingly astounding.
The investigative documentary shows a Bollywood crazy fan seeking a profession in scripting dialogue subtitles on screen for establishing a direct communication with the acts and speech of the actors on the screen. Some said they learned the medium of communication – Hindi medium and attained mastery over translated sub titled for easy grasp of common Moroccans who sought alternate sources of entertainment due to nascent or non existent domestic creative industry as it is now known as today.
Documentary maker truly embellished his profession by selectively assessing and collating this one, that encompasses the spirit of a FAN and an aficionado singularly etching each one’s fascination as aspiration to see, to get enticed and at times, get in to the spirit of the film or the song via dialogue or lyrics.
It was indeed amazing to watch a young man hum Mohammed Rafi number in a very tuneful manner that his audience was joining in the chorus as well as shifting in to appreciative audience at the same time.
Another one starts dancing to the number filmed on the Bollywood Superstar Amitabh Bachchan imitating his screen moves in a copybook style.
It makes me wonder to what extent would this art influence a common man of the streets of Morocco as the documentary reels out a delivery man being grudgingly asked to bring in the required Hindi film CD as the quest to quench that insatiating thirst (rather love) for Hindi movies dissipates in the rumbling noises of the thick overflowing lane as he disappears to another destination of dreams ‘unwound’.
What better ode can this be to that art which has fascinated Indians and global audience from across the seven seas since its invention and has passionate appeal for both – the maker and one who watches – an over 108 years of screen affair since the debut of Raja Harishchandra by the great Dadasaheb Phalke.
Screen Pics Courtesy: Al Jazeera