Om Shanti Om
The biggest distributor of Indian films, Eros International, recently announced a distribution deal with Lions Gate, in which Lions Gate will handle many of Eros’ films in the states. May they do as well. Last year Eros distributed 13 Indian films here, and, though 12 of the 13 never played on more than 100 screens at a time, seven still made over $1 million. Salaam-E-Ishq, which played for three weeks last January and February, still made more money ($1.7 million) than many U.S. films that played in six times as many theaters.
But their biggest success, in both the U.S. and abroad, not to mention back home in India, was Om Shanti Om. It played for five weeks in November and December and still made more money ($3.5 million) than Sony Classic’s The Jane Austen Book Club, Paramount’s Things We Lost in the Fire and Picturehouse’s Gracie, despite playing in a fracture of their total theaters (570 theaters vs. 2,674, 2,615 and 2,524 respectively). It nearly made as much money as Warner Bros.’s The Assassination of Jesse James by the Coward Robert Ford, a good, atmospheric western with a huge international star (Brad Pitt) and a great supporting performance (Casey Affleck), which is just another of the many recent and shameful mishandlings by that studio. Remember Kiss Kiss Bang Bang?
Anyway, curious, I watched Om Shanti Om last night. It’s only my second Bollywood film and it made me wish I’d seen more. Not because the film was great, although it was fun, but because — besides being a reincarnation-revenge flick, a romance and a musical all rolled into one — the movie is, one suspects, an homage to the Bollywood of both the 1970s and today, and I had no point of reference. Jokes, both visual and verbal, flew by and I had no clue. Interesting situation to be in.
The plot? Get ready. Om Prakash (Shahrukh Khan), a “junior artiste” (extra?) in Bollywood in the 1970s, who wishes to be a “hero” (star?), falls in love with a true star, Shanti Priya (newcomer Deepika Padukone). After he rescues her from burning fields, they become friends; then he discovers she’s already married, secretly, to the producer Mukesh Mehra (Arjun Rampal), who, when he finds out she’s pregnant, leaves her in a burning building to die. (Somehow, public knowledge of the marriage/pregnancy will ruin both their careers.) Om tries to save her, dies, and is reincarnated. Thirty years later he’s what he always wanted to be — a movie star — but slowly he begins to realize who he was and how he died.
Shahrukh Khan, particularly in his first, more comedic self, reminds me a little of Jackie Chan, while Deepika Padukone is deeply deeply gorgeous. The film is silly, melodramatic and lavish in the way of Cinemascope films of the 1950s. Some of the songs I can't get out of my head, particularly “Dhoom Taana,” which you can see here, and which shows off nicely: 1) her beauty, 2) his comedic talents and 3) the whole Bollywood homage.
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