Satya’s uncouth gangsters talk a lot like uncouth gangsters might, unless you personally happen to know a slick mobster who, as lyricist Gulzar once remarked, would invoke Ghalib instead of ‘Goli maar bheje mein’. DCH wowed us with a fresh depiction of urban realism. In other words, what Satya did to ‘realism’ what Farhan Akhtar’s Dil Chahta Hai did to urbanism, a game-changing debut that laid the groundwork for every urbane comedy that came after it. According to the maverick RGV, today reduced to being a ghost from the past, Satya’s grittiness, starting with the title, was influenced by Govind Nihalani’s haunting Ardh Satya. Set in Bombay’s gangster-land, it was, on one level, perhaps more fantasy than reality. Satya practically invented modern Bollywood realism. Scratch the surface and they do have a few things in common. But give yourselves a moment to let the comparison sink in. Don’t be surprised if the first person to take offence at that declaration is Ram Gopal Varma himself, Satya’s ‘lost genius.’ And the man who had redefined the grammar of romance way back in the 1990s with Rangeela. Both so outrageously different from each other in their subject matter and visual styles that their very utterance in the same breath may sound like an outrage to cinephiles. Think of ‘modern’ Bollywood and two films stand out.
Take a look at our pick of Bollywood and indie films from the 21st century.
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