The 63rd National Awards seem to have swung in favour of Bollywood this time. Nearly all the biggest hits this year have scored at what is considered the nation’s highest honour in film appreciation. From some of the greatest money-spinners like Baahubali, Bajrangi Bhaijaan, Tanu Weds Manu Returns and Bajirao Mastani to the humble-budgeted well-received films such as Piku, Dum Lagaa Ke Haisha, Masaan and Talvar have all bagged awards across categories. This is the first time so many Bollywood commercial hits have swept the awards all at once. So have the National Awards gone the mainstream way this time?
Film critic Raja Sen feels that this year has been “a more populist one”. He says, “What surprises me is that when you’re awarding films like Bajrangi Bhaijan, Piku, Baahubali and Tanu Weds Manu Returns — all giant mainstream films — how then do you single one of them (Bajrangi Bhaijaan) as the best wholesome entertainment because your whole award show is becoming a wholesome entertainment.” Unlike other film awards, the National Awards are looked forward to, to see what is appreciated in regional cinema, in fringe cinema he adds.
“Basically, it highlights cinema that people would otherwise not be aware of. I think this year it has been a little disappointing because there are lot of films that are already very popular and talked about. Mr Bachchan winning for Piku is an interesting choice but Kangana Ranaut winning for Tanu… is ridiculous.”
The winners of course are ecstatic and Juhi Chaturvedi who won the award for best screenplay with Himanshu Sharma (for Tanu Weds Manu Returns) calls it a victory of good content. “I am humbled and ecstatic about the win. It still hasn’t sunk in — this is just too big an honour. I don’t think National Awards have gone mainstream. Films like Dum Laga Ke Haisha, Masaan and Talvar had good content — today’s films are no more for the elite. It takes a lot of effort to put these stories across to audiences. Regional films sure do have good content but if big production houses and actors have been roped in to take a story to the masses, why shouldn’t they win? I think the hard work put in Hindi cinema is finally showing.”
Film critic Anupama Chopra agrees with Juhi. She underlines how the definition of mainstream has been changing. “Today’s mainstream is vastly different than what it was 10 years ago. Today, the writing is strong, and the stories have an impact. Winning critical acclaim and grabbing audience’s eyeballs is the definition of good cinema. I think Hindi cinema is finally doing things right. And it was only a matter of time that good stories from Bollywood would be acknowledged.”
Sharat Katariya whose Dum Lagaa Ke Haisha won the Best Hindi film award, says that a recognition like this will only encourage him to better his craft. “I t’s always encouraging when your film is acknowledged on a national platform like this ,” he said.
But in the middle of the euphoria Raja draws our attention to what, he feels, the Awards have missed out. “The whole point is that suddenly all these major awards seem to be going to the giant films. I think it’s a little unfortunate especially in a year when we’ve seen films like Killa, Thithi, Asha Jaoar Majhe, where we’ve seen real creative and intellectual resurgence from the regional cinema. It seems to be very similar to what happens to the magazine award shows in India, where they try to give every film some award or the other.”
