A Study on Narrative Style and Direction Techniques on Selected
Filmography of Sanjay Leela Bhansali and Rajkumar Hirani’s Movies
A Dissertation by
SUJAN P
20TUSFMOO5
M.Sc Filmmaking,
Bangalore University.
FS 404 - Critical Study of Directors
Submitted to
M.Sc Filmmaking,
Dept. of Electronic Media
Bangalore University,
Jnana Bharathi Campus
Bangalore - 560056.
UNDER THE SUPERVISION OF
RAHUL RAMAN DEV
(Guest Lecturer, M.Sc Filmmaking,
Department of Electronic Media, Bangalore University)2021
0
DECLARATION
I, SUJAN P hereby declare that this dissertation entitled A Study on
Narrative Style and Direction Techniques on Selected Filmography
of Sanjay Leela Bhansali
and Rajkumar Hirani Movies is the
outcome of the original work carried out by me under the
supervision of Rahul R.D, towards the partial fulfillment of M.Sc.
Filmmaking degree of Bangalore University during the academic
year 2020-2022. This work has not been submitted elsewhere to
get any degree, diploma or certificate.
Date:
Place:Bangalore
Sujan P
2OTUSFMOO5
1
CERTIFICATE
This is to certify that the dissertation entitled “A Study on Narrative
Style and Direction Techniques on Selected Filmography of Sanjay
Leela Bhansali and Rajkumar Hirani Movies is prepared and
submitted by Sujan P (Reg No: 20TUSFM005) of M.Sc.,Film
Making, Department of Electronic Media, Bangalore University,
Bangalore under my guidance towards the partial fulfillment of
M.Sc. Filmmaking degree of Bangalore University during the year
2020-2021. This is an independent and original work carried out by
Sujan P.
Rahul Raman Dev
Supervisor
FS 404 - Critical Study of Directors
M.Sc Filmmaking, Dept. of Electronic Media
Place: Bangalore.
Date:
2
CERTIFICATE
This is to certify that the dissertation entitled “A Study on Narrative
Style and Direction Techniques on Selected Filmography of Sanjay
Leela Bhansali and Rajkumar Hirani Movies” is prepared and
submitted by Sujan P (Reg No: 20TUSFM005) of M.Sc.,Film
Making, Department of Electronic Media, Bangalore University,
Bangalore under my guidance towards the partial fulfillment of
M.Sc. Filmmaking degree of Bangalore University during the year
2020-2021. This is an independent and original work carried out by
Sujan.P.
Co-Ordinator
DR .T Sripathy
M.Sc. Filmmaking, Dept of Electronic Media,
Bangalore University.
Date:
Place: Bangalore.
3
ACKNOWLEDGEMENT
This dissertation entitled “A Study on Narrative Style and Direction
Techniques on Selected Filmography ofSanjay Leela Bhansali and
Rajkumar Hirani Movies " is the result of the help I have received
from many people. The first and the foremost gratitude to my
supervisor Rahul Dev Raman , for guiding me in my work till the
final formulation of my dissertation and making the work a
complete success. I would also like to wholeheartedly thank my
Coordinator & Professor Dr.T Sripathy and other Professors Dr.
Vahini Aravind and Dr. R Rajeshwari for their valuable support
and cooperation without which I could not have finished my
dissertation. All sort of support has been extended to me by our
technical and office staff Ravishankar C.P.Keerthi ,Veena
Shivakrupa, Dilip Kumar J. and Bhagyamma and along with all
sorts of help by our Guest faculty Suraj sir and Unnikrishnan sir
who I would also like to thank. I finally thank my family and friends
who have supported tirelessly co-operated and relentlessly helped
to complete the dissertation.
Sujan P
20TUSFM005
M.Sc Film Making
Bangalore University.
4
Index
Chapter
No.
SubChapter
no
1
Content
Page no
Introduction
1
1.1
Introduction
industries
1.2
Film Direction and Responsibilities of 2
a film Director
1.3
Indian Cinema
4
1.4
Directors Chosen for initial study
5
1.5
Importance of the study
7
1.6
Scope of study
8
1.7
objectives
8
1.8
summary
9
Literature Review
10
2.1
Introduction of Literature Review
10
2.2
1st Director for the study -Sanjay 11
Leela Bhansali
2.3
2nd Director for
-Rajkumar Hirani
2.4
Articles Researched for the study
12
2.5
Summary
14
2
to
selected
the
film 1
study 11
Research Methodology
15
3.1
Introduction
15
3.2
Feminst
16
3.3
Formalism
17
3.4
Apparatus
18
3.5
Hypothesis
18
3.6
Films chosen for the study
18
3.7
Primary data
21
3.8
Secondary data
22
3.9
Descriptive research
22
3.10
Summary
23
3
4
Analysis and Results
4.1
Description
24
4.2
Direction styles
24
4.3
Directors objective of the films
30
4.4
Genres of the films
33
4.5
Technical brilliance of the films
35
4.6
Summary
48
Conclusion
5
5.1
Briefing
49
6
5.2
Hypothesis Answers
49
5.3
Limitations of the study
49
5.4
Impact of the study
50
5.5
Suggestions for the future study
50
5.6
Summary
51
Bibliography
51
7
8
Chapter 1
Introduction
1.1 Introduction to selected film industries
The film industry or motion picture industry comprises the
technological and commercial institutions of filmmaking, i.e., film
production companies, film studios, cinematography, animation, film
production, screenwriting, pre-production, post production, film
festivals, distribution and actors, film directors and other film crew
personnel. Though the expense involved in making films almost
immediately led film production to concentrate under the auspices of
standing production companies, advances in affordable filmmaking
equipment, as well as an expansion of opportunities to acquire
investment capital from outside the film industry itself, have allowed
independent film production to evolve. In 2019, the global box office was
worth $42.2 billion. When including box office and home entertainment
revenue, the global film industry was worth $136 billion in 2018.
India
India is the largest producer of films in the world and second oldest film
industry in the world. The country is home to one of the most important
cities in the global film industry, Mumbai (previously called Bombay). In
2009 India produced a total of 2,961 films on celluloid; this figure
includes 1,288 feature films. Besides being the largest producer of films
in the world, India also has the largest number of admissions. The
Indian film industry is multi-lingual and the largest in the world in
terms of ticket sales but 3rd largest in terms of revenue mainly due to
having among the lowest ticket prices in the world.] The industry is
viewed mainly by a vast film-going Indian public, and Indian films have
been gaining increasing popularity in the rest of the world—notably in
countries with large numbers of expatriate Indians. The Indian film.
1
Industry is also the dominant source of films and entertainment in its
neighboring countries of South Asia. The largest film and most popular
industry in India is the Hindi film industry, followed by Telugu cinema
and Tamil cinema. The Hindi film industry mostly concentrated
inMumbai (Bombay), and is commonly referred to as Bollywood, a
portmanteau of Bombay and Hollywood. Sandalwood industry
(Kannada cinema) concentrated in Bengaluru. The Mollywood industry
concentrating in the state of Kerala refers to Malayalam cinema. Both
Kollywood (Tamil cinema) and Tollywood (Telugu cinema) mostly
concentrated in Chennai and Hyderabad. Besides the mainstream
commercial movies, India also offers a different approach to cinemathe parallel cinema.The parallel cinema movement originated in West
Bengal around the 1950s. Parallel cinema has assumed various forms
throughout the years. Filmmakers associated with parallel cinema are
Satyajit Ray, Mrinal Sen, Ritwik Ghatak. Parallel films are characterized
by their rejection of popular forms like the songs and fight sequences,
their affinity for rural settings, use of method actors and toned down
color palettes.
1.2 Film Direction and Responsibilities of a Film Director
A director is the person who directs the making of a film. A film director
controls a film's artistic and dramatic aspects and visualizes the
screenplay (or script) while guiding the technical crew and actors in the
fulfillment of that vision. The director has a key role in choosing the cast
members, production design and all the creative aspects of filmmaking.
The director leads the viewer so the viewer gets the most out of the
movie. The director wants the viewer to see the story from a particular
point of view. A movie director tells the actors how to play a particular
scene, sets the scene for a specific type of mood, and moves the actors
around for a particular effect.
The film director gives direction to the cast and crew and creates an
overall vision through which a film eventually becomes realized or
2
noticed. Directors need to be able to mediate differences in creative
visions and stay within the budget.
A film director's task is to envisage a way to translate a screenplay into a
fully formed film, and then to realize this vision. To do this, they oversee
the artistic and technical elements of film production. This entails
organizing the film crew in such a way to achieve their vision of the film
and communicating with the actors. This requires skills of group
leadership, as well as the ability to maintain a singular focus even in the
stressful, fast-paced environment of a film set.
Basic Responsibilities:
●
●
●
●
●
●
●
●
●
●
●
●
Motivating actors to produce their best dramatic performance.
Reading scripts and working on its continued development.
Attending casting sessions and selecting actors.
Interpreting a script and understanding the story and narrative
style.
Overseeing rehearsals.
Identifying set locations.
Working within budgetary constraints
Managing conflict on set.
Adhering to a production schedule.
Coordinating with camera crew, art directors, costume designers
and musical composers to ensure a consistent creative execution.
Working with the editor to create the film in its final form.
Assisting in the marketing and promotion of the film.
The director most often has the highest authority on a film set. Under
European Union law, the director is viewed as the author of the film.
3
1.3 Indian cinema
Cinema of India consists of films produced in India. Cinema is
immensely popular in India: every year, more than 1800 films are
produced collectively in the various languages of India. Mumbai,
Chennai, Kolkata, Hyderabad, Kochi and Bangalore are the major
centers of film production in India. The history of cinema in India
extends back to the beginning of the film era. Following the screening
of the Lumière and Robert Paul moving pictures in London (1896),
commercial cinematography became a worldwide sensation and by
mid-1896 both Lumière and Robert Paul films had been shown in
Bombay. Father of Indian Cinema, Dadasaheb Phalke released the first
ever full-length feature film ‘Raja Harishchandra’ in 1913. The silent film
was a commercial success. Dadasaheb was not only the producer but
was also the director, writer, cameraman, editor, make-up artist and art
director. Raja Harischandra was the first-ever Indian film which was
screened in London in 1914. The first ever talkie ‘Alam Ara’ by Ardeshir
Irani was screened in Bombay in 1931. It was the first sound film in India.
The release of Alam Ara started a new era in the history of Indian
Cinema. Indian cinema is world – famous for the staggering amount of
films it produces: the number is constantly on the increase, and recent
sources estimate that a total output of some 800 films a year are made
in different cities including Madrass , Bangalore , Calcutta and
Hyderabad . Of this astonishing number, those films made in Bombay,
in a seamless blend of Hindi and Urdu, have the widest distribution
within India and Internationally.
4
1.4 Directors chosen for Initial Study
Sanjay Leela Bhansali (Gujarati: born 24 February 1963) South Bombay
into a Gujarati Jain family. His mother, Leela, used to sew clothes to
make ends meet. He speaks Gujarati at home and loves Gujarati food,
music, literature and architecture is an Indian filmmaker, director,
screenwriter, and music composer who is known for his work in Hindi
cinema.
He is the recipient of prestigious awards, including four National Film
Awards and ten Film fare awards. Having a reputation of depicting
historical events such as Bajiroa Mastani, and Padmaavat and
showcasing the plight of physiological and psychological issues like
Guzarish and Black. Earlier works like Hum Dil De Chuke Sanam and
Devdas dealt with exploration of internal conflicts among the
protagonists. With in-depth expertise in background score and lavish
set pieces, also he uses a parallel cinema like Satyajit Ray
5
Bhansali began his career as an assistant to Vidhu Vinod Chopra and
was involved in the making of Parinda, 1942: A Love Story and Kareeb.
However, they had a falling-out when Bhansali refused to direct Kareeb.
In 1996, he made his directorial debut with Khamoshi: The Musical, the
commercially unsuccessful but critically acclaimed narration of a
daughter's struggle to communicate with her deaf-mute parents.] The
film earned the Best Film (Critics) at Filmfare.
He rose to prominence in Indian cinema with a triangular love story,
Hum Dil De Chuke Sanam (1999), starring Aishwarya Rai, Salman Khan,
and Ajay Devgan, which established his individualistic stamp for visual
splendor and creating auras of celebration and festivity. The film
premiered in the Indian Panorama section at the 1999 International
Film Festival of India. It was a critical and commercial success, and won
numerous awards including 4 National Awards and 9 Filmfare Awards.
Rajkumar Hirani
(born 20 November 1962), also called Raju Hirani, is an Indian filmmaker,
director, producer and editor known for his works in Hindi films. He is
the recipient of several accolades, including three National Film Awards
and eleven Filmfare Awards. Hirani is one of Hindi cinema's most
prominent filmmakers.
6
His ancestors originally belonged to Mehrabpur, a city now in the
Naushahro Feroze District, Sindh, of Pakistan.His father Suresh Hirani
ran a typing institute in Nagpur. Hirani studied at St. Francis De'Sales
High School, Nagpur, Maharashtra. He did his graduation in commerce.
His parents wanted him to be an Engineer, but he was more keen on
theater and film. In his college days he was involved with Hindi theater.
He had many friends in Nagpur's medical college and hence, spent
much time in theater at the college. Suresh had his son's photographs
taken and sent him to an acting school in Mumbai. However, Hirani
could not fit in and returned to Nagpur after three days.
His father then asked him to apply to the Film and Television Institute of
India in Pune, but the acting course had shut down and his chances of
admission to the directorial course looked slim as there were far too
many applicants. Hirani opted for the film editing course, and earned a
scholarship.
His movies are often lighthearted but revolve around significant societal
issues..Hirani is considered as one of Hindi cinema's most prominent
filmmakers famously known for movies like Munna Bhai Mbbs, Lage
Raho Munna Bhai, 3 Idiots, PK , Sanju these are the five movies directed
by Hirani movies which are very popular movies which made Hirani the
potential director his all movies are listed to blockbuster.
1.5 Importance of study
Film analysis helps us understand what we're watching and how it
affects us. It can help us to understand important themes expressed or
encoded by filmmakers that would otherwise be missed. The fact that
it’s all fake yet we react so strongly to it, means that movies are a
fantastic opportunity for us to understand our inner selves. Because out
Of all the different art forms, movies are the ones that come closest to
matching the complex thoughts and emotions that determine our own
identities and behavior in real life.
They develop an enhanced
understanding of other movies without being handheld through the
7
process. When films are analyzed in terms of semiotics, narrative
structure, cultural context, and mise-en-scene we get a deeper
understanding of all the aspects used in the making of the film.
1.6 Scope of study
Film students,critics and film enthusiasts will be benefited from this
study,the character development how the characters are developed
with different aspects which will help the writers to develop their
characters,and also about the art design is very important for a film like
historical films this study will help the Art designers to understand the
importance of designs of arts in a film ,the story aspects like adaptation
where the we get inspired reading from novels we can adapt the
elements to our stories which makes the story looks strong.
What started as the film industry has now expanded its scope as the
entertainment industry. It encompasses television, short films and,
lastly, a fast growing OTT platform. The innovations and developments
in the communication field changed the way entertainment is
delivered now.
Film students, critics and film enthusiasts will be benefited with this
study. They can get a deeper understanding of the director's point of
view, what the director is trying to convey through the narrative and the
techniques used in making the films. This study will also provide
information regarding the characterization and the character arc.
1.7Objectives
-
To evaluate the speciality of Sanjay Leela Bhansali's direction style.
To identify and evaluate the How Sanjay Leela Bhansali uses Color
and Setting
To Study the elements where the music makes the main
important in Sanjay Leela Bhansali movies.
To study how Rajkumar Hirani movies work.
To identify Rajkumar Hirani Writing style.
To compare and study the screenplay and treatment of the films
“PK ” and “3 idiots”.
8
1.8 Summary
The film industry is a major industry in which a lot of revenue is made
and apart from the revenue filmmaking is a blend of art and
techniques. There is so much which goes behind in making a film, all
these should be studied to get a broader understanding capacity about
film and its world.
9
Chapter 2
Literature Review
2.1 Introduction to Literature Review
A literature review is an overview of the previously published works on a
specific topic. The term can refer to a full scholarly paper or a section of
a scholarly work such as a book, or an article. Either way, a literature
review is supposed to provide the researcher/author and the audiences
with a general image of the existing knowledge on the topic under
question. A literature review surveys books, scholarly articles, and any
other sources relevant to a particular issue, area of research, or theory,
and by so doing, provides a description, summary, and critical
evaluation of these works in relation to the research problem being
investigated. A literature review establishes familiarity with and
understanding of current research in a particular field before carrying
out a new investigation. Conducting a literature review should
enable you to find out what research has already been done and
identify what is unknown within your topic. Literature reviews are
secondary sources and do not report new or original experimental
work.
A literature review can be a type of review article. In this sense, a
literature review is a scholarly paper that presents the current
knowledge including substantive findings as well as theoretical and
methodological contributions to a particular topic. Literature reviews
are secondary sources and do not report new or original experimental
work. Most often associated with academic-oriented literature, such
reviews are found in academic journals and are not to be confused with
book reviews, which may also appear in the same publication. Literature
reviews are a basis for research in nearly every academic field.
10
2.2 1st Director for the study - Sanjay Leela Bhansali
Sanjay Leela Bhansali (Gujarati: born 24 February 1963) South Bombay
into a Gujarati Jain family. His mother, Leela, used to sew clothes to
make ends meet. He speaks Gujarati at home and loves Gujarati food,
music, literature and architecture is an Indian filmmaker, director,
screenwriter, and music composer who is known for his work in Hindi
cinema.Bhansali began his career as an assistant to Vidhu Vinod
Chopra and was involved in the making of Parinda, 1942: A Love Story
and Kareeb. However, they had a falling-out when Bhansali refused to
direct Kareeb. In 1996, he made his directorial debut with Khamoshi:
The Musical, the commercially unsuccessful but critically acclaimed
narration of a daughter's struggle to communicate with her deaf-mute
parents. The film earned the Best Film (Critics) at Filmfare.
He produced the biographical sports film Mary Kom starring Priyanka
Chopra, which premiered at the 2014 Toronto International Film Festival,
becoming the first Hindi film to be screened on the opening night of
the festival.
2.3 2nd Director for the study - Rajkumar Hirani.
Rajkumar Hirani (born 20 November 1962), also called Raju Hirani, is an
Indian filmmaker, director, producer and editor known for his works in
Hindi films. He is the recipient of several accolades, including three
National Film Awards and eleven Filmfare Awards. Hirani is one of Hindi
cinema's most prominent filmmakers. In his college days he was
involved with Hindi theater. He had many friends in Nagpur's medical
college and hence, spent much time in theater at the college.Hirani
tried his luck as a film editor for many years. Bad experiences forced
him to shift to television advertising,and he gradually established
himself as a director and producer of advertising films.
He was also seen in a Fevicol ad where some men and elephants were
trying to pull and break a Fevicol plank, saying "Jor laga ke Haisha". He
11
was also seen in the Kinetic Luna ad campaign created by Ogilvy &
Mather.
He was doing fairly well in the advertisement industry, but he wanted to
make movies, so he took a break from advertisement and started
working with Vidhu Vinod Chopra. He worked on promos and trailers for
1942: A Love Story (1994). He edited promotions for Kareeb (1998). He got
his first opportunity as a film editor with Mission Kashmir (2000).
2.4 Articles Researched for the Study
Triumph of the Rajput: Sanjay Leela Bhansali and the fascist
aesthetics of Padmavat
Author: Gehlawat, Ajay
Source: Studies in South Asian Film & Media, Sonoma State University
Sanjay Leela Bhansali’s Padmaavat (2018) re-tells the legendary tale of
the Rajput queen Padmavati. In recounting this tale, Bhansali hews to
the historic, Manichaean dichotomization of Hindu and Muslim,
presenting Rajputs as entirely noble figures and Muslim invaders as
essentially barbaric. Employing Susan Sontag’s and Frank Tomasulo’s
theorizations of the cinema of Leni Riefenstahl, this article examines
how Bhansali glorifies the Rajputs’ purported history via his fascist
aesthetics. Such an approach rearticulates history as myth and presents
it as a form of theater.
AN INVESTIGATION INTO THE USE OF COLOR IN SANJAY
LEELA BHANSALI'S PADMAVAT
Author :Ms Juhee Prasad Assistant Professor, School of Media and
Source:Communication
Studies,
Doon
University,
Dehradun,
Uttarakhand, India
12
This paper sets out to study the use and impact of color in Sanjay Leela
Bhansali's latest offering Padmavat (2018). The paper investigates and
establishes how Bhansali uses color, with specific reference to the
costume design of various characters. It establishes that the choice of
costume design and their colors borrows and derives heavily from the
dominant symbolism that exists in Indian society and in Hinduism in
particular.
AN ANALYSIS OF MORAL VALUE IN "3 IDIOTS" MOVIE BY RAJKUMAR
HIRANI
Author:SUSANTI, IRA APRILIA (2011) AN ANALYSIS OF MORAL VALUE IN
"3 IDIOTS" MOVIE BY RAJKUMAR HIRANI.
Source: University of Muhammadiyah Malang.
Movie is one type of communication which uses moving pictures and
sound to tell stories or help people learn about new ideas. As a source of
popular entertainment, movies have a powerful method for educating.
From many movies that the writer has ever watched, "3 Idiots" movie by
Rajkumar Hirani is the most appealing. The writer is interested in
analyzing the moral values reflected by the main characters because it
is simple to understand the moral value of the stories. This study aimed
to get the answers to research problems, namely (1) What are the moral
values found in "3 Idiots" by Rajkumar Hirani? (2) What is the
contribution of the "3 Idiots" movie to the audience? The method that is
suitable to use for solving those problems is descriptive qualitative with
interview in obtaining the data.
HAPPINESS IN RAJKUMAR HIRANI’S 3 IDIOTS MOVIE (2009): AN
INDIVIDUAL PSYCHOLOGICAL APPROACH
Author:HAPSARI, ARVIANA RATIH (2011) HAPPINESS IN RAJKUMAR
HIRANI’S 3 IDIOTS MOVIE (2009): AN INDIVIDUAL PSYCHOLOGICAL
APPROACH.
13
Source:Skripsi thesis, Universitas Muhammadiyah Surakarta.
This research paper reveals how the effort of a major character tries to
get happiness influences his personality reflected in 3 Idiots movie
directed by Rajkumar Hirani published in 2009 which are analyzed
through an individual psychological approach. The research is based on
its structural elements and to analyze by using an individual
psychological approach. This research belongs to qualitative research.
The type and the data source which are used, namely primary and
secondary data. The primary data source is the movie itself. The
secondary data sources are taken from books and other sources which
support the analysis.
.2.5 Summary
The literature review was done on the available articles and introduction
about the directors, their background, their early life with the early
stages in the career was made
14
Chapter 3
Research Methodology
3.1 Introduction
Research is defined as the creation of new knowledge and/or the
use of existing knowledge in a new and creative way so as to
generate new concepts, methodologies and understandings. This
could include synthesis and analysis of previous research to the
extent that it leads to new and creative outcomes. Research
methodology is the specific procedures or techniques used to identify,
select, process, and analyze information about a topic. In a research
paper, the methodology section allows the reader to critically evaluate a
study’s overall validity and reliability.There are different types of
Research Methodology used in conducting research. Qualitative
research methodology and Quantitative research methodology are two
main types of research methodology.
Qualitative Research - involves collecting and analyzing non-numerical
data (e.g., text, video, or audio) to understand concepts, opinions, or
experiences. It can be used to gather in-depth insights into a problem
or generate new ideas for research. A good example of a qualitative
research method would be unstructured interviews which generate
qualitative data through the use of open questions. This allows the
respondent to talk in some depth, choosing their own words. ...
Photographs, videos, sound recordings and so on, can be considered
qualitative data.
Qualitative data describes qualities or characteristics. It is collected
using questionnaires, interviews, or observation, and frequently appears
in narrative form.
15
Quantitative research is the process of collecting and analyzing
numerical data. It can be used to find patterns and averages, make
predictions, test causal relationships, and generalize results to wider
populations. Is used to quantify the problem by way of generating
numerical data or data that can be transformed into usable statistics. It
is used to quantify attitudes, opinions, behaviors, and other defined
variables – and generalize results from a larger sample population. This
involves systematic empirical investigation of quantitative properties
and phenomena and their relationships, by asking a narrow question
and collecting numerical data to analyze it utilizing statistical methods.
The quantitative research designs are experimental, correlational, and
survey (or descriptive). Statistics derived from quantitative research can
be used to establish the existence of associative or causal relationships
between variables.
3.2 Feminist: Feminist film theory studies representations of women in
cinema. A foundationalwork of feminist film theory is Laura Mulvey’s
1975 essay ―Visual Pleasure and NarrativeCinema,‖ in which she coined
the term male gaze.‖ Feminist theory may investigate howfilmmakers
objectify and sexualize female characters without regard for their
subjectivity.
Marxist: Marxist film theory studies the representation of power
structures and class struggle in film. In Marxist readings of a film, the
theorist may focus on protagonists fighting for the needs of a group
against the powers of capital.
Auteur theory assumes that the director is the primary artistic visionary
of a film. This theory functions under the belief that the best films are
made by filmmakers with a unique, personal vision who write and
direct their own films.Auteur Theory is a way of looking at films that
state that the director is the author‖ of a film. The Auteur theory argues
that a film is a reflection of the director’s artistic vision; so, a movie
16
directed by a given filmmaker will have recognizable, recurring themes
and visual queues that inform the audience who the director is and
shows a consistent artistic identity throughout that director’s
filmography.The term Auteur theory‖ is credited to the critics of the
French film journal Cahiers du cinema, many of which became the
directors of the French New Wave. However, according to New York
University professor Julian Cornell, the concept had been around for a
while prior. The Cahiers critics simply refined the theory.―In the French
New Wave, people developed the notion of the filmmaker as an artist.
They didn’t invent the idea, but they did popularize it. A German
filmmaker who started as a German theater director, Max Reinhardt,
came up with the idea of the auteur – the author in films. He came up
with that around the teens….So, [director François] Truffaut and the
French New Wave popularized it, or they revived it.” – New York
University Professor Julian Cornell.
3.3 Formulasim
formalism refers to critical approaches that analyze, interpret, or
evaluate the inherent features of a text. These features include not only
grammar and syntax but also literary devices such as meter and tropes.
The formalistic approach reduces the importance of a text's historical,
biographical, and cultural context.Formalism rose to prominence in the
early twentieth century as a reaction against Romanticism theories of
literature, which centered on the artist and individual creative genius,
once again placing the text itself in the spotlight to show how the text
was indebted to forms and other works that had preceded it. Two
schools of formalist literary criticism developed, Russian formalism, and
soon after Anglo-American New Criticism. its origins or uses.[citation
needed] The term has often had a pejorative cast and has been used by
opponents to indicate either aridity or ideological deviance.[citation
needed] Some recent trends in academic literary criticism suggest that
formalism may be making a comeback.
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3.4 Apparatus theory
maintains that cinema is by nature ideological because its mechanics
of representation are ideological, and because the films are created to
represent reality. Its mechanics of representation include the camera
and editing. The central position of the spectator within the perspective
of the composition is also ideological. In the simplest instance the
cinematic apparatus purports to set before the eye and ear realistic
images and sounds. However, the technology disguises how that reality
is put together frame by frame.
3.5 Hypothesis
H1. Rajkumar Hirani shoots only social issues related films.
H2. Rajkumar Hirani films are a mix of genres
H3. Sanjay Leela Bhansali doesn’t shoot social issues related films.
H4. Sanjay Leela Bhansali makes films only about the Historical
theme..
3.6 Films chosen for the study
1. Goliyon Ki Raasleela Ram-Leela
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Goliyon Ki Raasleela Ram-Leela . A Dance of Bullets: Ram-Leela or
simply known as Ram-Leela, is a 2013 Indian Hindi-language tragic
romantic action film written and directed by Sanjay Leela Bhansali, who
also composed its original soundtrack. The film was jointly produced by
Bhansali and Eros International's Kishore Lulla; it stars Deepika
Padukone and Ranveer Singh. The supporting cast includes Supriya
Pathak, Richa Chadda, Sharad Kelkar, Gulshan Devaiah, Barkha Bisht
Sengupta, and Abhimanyu Singh. Priyanka Chopra made a cameo
appearance in the song "Ram Chahe Leela". Based on the tragedy
Romeo and Juliet by William Shakespeare, Ram-Leela narrates the
star-crossed romance between the two eponymous lovers, who belong
to warring factions but fall in love with each other.
Padmavat
Padmavat is a 2018 Indian period romantic action drama film directed
by Sanjay Leela Bhansali. Based on the epic poem of the same name by
Malik Muhammad Jayasi, it stars Deepika Padukone as Rani Padmavati,
a Rajput queen known for her beauty, wife of Maharawal Ratan Singh,
played by Shahid Kapoor. Sultan Alauddin Khilji, played by Ranveer
Singh, hears of her beauty and attacks her kingdom to enslave her. Aditi
Rao Hydari, Jim Sarbh, Raza Murad, and Anupriya Goenka featured in
supporting roles.The story is about In medieval India, a tyrannical sultan
and his army attack a prosperous kingdom to try and capture the
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beautiful Queen Padmavati. Her husband Maharawal Ratan Singh
assembles his valiant forces to defend his land and the honor of his
beloved wife.
PK
PK is a 2014 Indian Hindi-language satirical comedy drama film[a]
edited and directed by Rajkumar Hirani and written by Hirani and
Abhijat Joshi, and jointly produced by Hirani and Vidhu Vinod Chopra
under the banners Rajkumar Hirani Films and Vinod Chopra Films
respectively. After the success of 3 Idiots (2009), Hirani and Joshi began
scripting their next project; finding similarities with the plot of Inception
(2010), they scrapped the film. It was later rewritten with a different
angle and tone. During production, the film was initially titled Talli and
later Ek Tha Talli before being changed to PK as the latter title was
found to be too similar to Ek Tha Tiger (2012). The film's soundtrack was
composed by Shantanu Moitra, Ajay–Atul and Ankit Tiwari with lyrics
written by Swanand Kirkire, Amitabh Varma and Manoj Muntashir.. PK
was the first Bollywood film to be shot in Belgium.The story is about A
stranger in the city who asks questions no one has asked before. Known
only by his initials, the man's innocent questions and childlike curiosity
take him on a journey of love, laughter and letting go.
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3 Idiots
3 Idiots is a 2009 Indian Hindi-language coming-of-age comedy-drama
film written and directed by Rajkumar Hirani co-written by Abhijat
Joshi, with producer Vidhu Vinod Chopra acting as a screenplay
associate. Adapted loosely from Chetan Bhagat's novel Five Point
Someone, the film stars Aamir Khan, R. Madhavan and Sharman Joshi
in the titular roles, marking their reunion 3 years after Rang De Basanti
(2006), while Kareena Kapoor, Boman Irani and Omi Vaidya star in
pivotal roles. Narrated through parallel dramas, one in the present and
the other ten years in the past, the story follows the friendship of three
students at an Indian engineering college and is a satire about the
social pressures under an Indian education system.
3.7 Primary Data
Data that has been generated by the researcher himself/herself,
surveys, interviews, experiments, specially designed for understanding
and solving the research problem at hand. Primary data refers to the
first hand data gathered by the researcher himself. Secondary data
means data collected by someone else earlier. Surveys, observations,
experiments, questionnaires, personal interviews, etc. Government
publications, websites, books, journal articles, internal records etc.
Primary sources can be described as those sources that are closest to
the origin of the information. Primary sources provide raw information
and first-hand evidence. Examples include interview transcripts,
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statistical data, and works of art. A primary source gives you direct
access to the subject of your research.
3.8 Secondary Data
Secondary data refers to data that is collected by someone other than
the primary user. Secondary data is the data that has already been
collected through primary sources and made readily available for
researchers to use for their own research. secondary data sources
include; books, journals, articles, web pages, blogs, etc. These sources
vary explicitly and there is no intersection between the primary and
secondary data sources. Secondary sources often use generalizations,
analysis, interpretation, and synthesis of primary sources.
The secondary data for this study are the interviews of Zoya Akhtar and
the making of the films Dil Dhadakne Do and Gully Boy. Also the
interviews of ManiRatnam about the films Thalapathi and Raavanan.
The secondary data also consists of some analysis about the films and
research articles available online related to the director and their films.
3.9 Descriptive research
Descriptive research is a type of research that describes a population,
situation, or phenomenon that is being studied. It focuses on answering
the how, what, when, and where questions. If a research problem, rather
than the why. This is mainly because it is important to have a proper
understanding of what a research.
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3.10 Summary
The analysis on director’s style and films will be done keeping in mind
the research limitations, available primary and secondary datas and
with main focus on the Theoretical theory approach Formulism,
Apparatus,Feminist,Marxist theories concepts and their elements.
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Chapter 4
Analysis and Results
4.1 Description
With the research limitations in mind and based on all the information
available - the primary data and the secondary data,the study will be
done based on the elements of Theoretical theory approach Realism,
Apparatus,Feminist,Marxist theories concepts and their elements.
4.2 Direction Styles
A film director may have a distinctive filmmaking style that differs from
other directors, similar to an author's own distinctive writing style.
Through the analysis of film techniques, differences between
filmmakers' styles become apparent.
There are many technical possibilities available to filmmakers. As a
result, no single film will be made using every single technique.
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Historical circumstances, for example, limit the choices for the director.
During the silent film era, filmmakers were not able to use synchronized
dialogue until sound became possible in the late 1920s. Films before the
1930s were black and white; now directors have the choice of shooting
in color tints or black and white.
Many filmmakers will create the overall film style to reflect the story.
Many films conform to the Classical Hollywood narrative film style,
which is a set of guidelines that many filmmakers tend to follow. The
story in this style is told chronologically in a cause and effect
relationship. The main principle in this film style is continuity editing,
where editing, camera, and sound should be considered "invisible" to
the viewers. In other words, attention should not be brought to these
elements.
While many filmmakers conform to these guidelines, there are other
filmmakers that ignore the guidelines and do bring attention to the film
techniques. These filmmakers may violate the standard conventions of
film in order to create an innovative style or draw attention to particular
aspects of film language.
The director decides what is and is not on the screen, guiding what the
audience looks at and notices. Although the audience may not
consciously absorb film style, it still affects the viewer's experience of
the film.
When viewers watch a film, they may have certain expectations based
on previous experiences of film because some techniques are
commonly found in film and have become conventional. For example,
after a long shot there may commonly be a cut to a closer view. If a
character is walking across the stage, the audience expects the camera
to pan or follow the character's movement. Viewers expect to interact
with and be a part of the film, rather than simply being shown a group
of images. These expectations come from experiences with both the
real and film worlds; we follow a character in our real world without
eyes, just as a camera pans to follow a character on the screen. The
audience expects films to appear like real life, and be shot according to
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a certain style. Classical Hollywood narrative film styles and the
conventions of other genres help to guide the audience in what to
expect. Some filmmakers use styles that challenge these conventions.
Sanjay Leela Bhansali direction style
It is hardly a Sanjay Leela Bhansali film if you don’t see larger-than-life
sets and over-the-top costumes in it. Be it the huge stained-glass
Havelis in Devdas, luxury designer gowns for a nurse in Guzaarish, or
abnormally long sarees that flow behind the actress as she runs across
the halls of her multi-storey bungalow, SLB doesn’t shy away from
exaggeration. But this exaggeration is something that only he can pull
off without coming off as irrational. Apart from the grandeur, it is the
aesthetically pleasing visuals on screen that makes a Bhansali film what
it is.
His films look like dreams and leave you spellbound. As they say, each
frame in an SLB film looks like a painting.
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Even though all of Bhansali’s female characters experience tragedy in
some or another form, these women come off as strong and fierce. They
hold power…enough and more to change the course of other characters
in the film. These women assert power and decide the fate of the men
in their stories. However, he refuses to let go of grace and femininity at
the cost of power in his female protagonists. They beautifully manage
to coexist.His distinctive style and signature elements aside, Bhansali
retains the mainstream Bollywood-style character entries in his films.
We see the usual reveal of the lead character and a bunch of
background dancers, however, he gives us more than just a dramatic
song sequence to look at. The lyrics of the song and visuals on screen
introduce us more deeply to the character and give us a glimpse of
their personality.
The song Manmohini in Hum Dil Chuke Sanam is the perfect example.
The audience is made aware of her sharp and fiery character through
the song right from her first appearance. Similarly, Silsila Ye Chahat Ka
in Devdas introduces us to Paro and her yearning for Devdas’ return-
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something she had been looking forward to all her young life.Music has
always played a major role in fleshing out Bhansali’s vision of his films. It
is said, he frames his scenes with the music in mind. Naturally, the
songs in his movies express eternal love as competently as the scenes
do. Sometimes, even better.
Laal Ishq from Ramleela, Jhonka Hawa Ka Aaj Bhi from Hum Dil Chuke
Sanam, Aayat from Bajirao Mastani– beautifully highlight the theme of
all Sanjay Leela Bhansali movies- Eternal Love!.SLB’s stories are as much
longing, sacrifice and unrequited love as much as they are about
passion and sweet innocent romance. Lovers in Sanjay Leela Bhansali
movies do not see happy endings. Their love stories remain incomplete
and are either ruled by death or change of heart. The characters go
through immense suffering and do not get the ending they desire.
Rajkumar Hirani Direction Style
While you associate with almost all the characters in his films, it is the
story that is the hero of his film. You fall in love with his story, idea and
each and every aspect of its supporting details. His impeccable ability to
narrate a story on the big screen with a social message in an
entertaining manner is what makes him stand out.Each of his films is
unique masterpieces. They are all based on an idea rather than a
character. All his films capture life in many beautiful shades. They are a
roller coaster ride full of emotions. He adapts the story and it becomes a
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journey which involves every member of the audience.He builds-up
each character to perfection that are colorful and memorable. From
Millimeter in 3 Idiots to the sweeper who gets Jaadu Ki Jhappi in Munna
Bhai, every character strikes a chord with the audiences. And that’s
because each character is well-crafted.
For instance, in 3 Idiots, Chatur Ramalingam didn’t have many
dialogues but his smirks and gestures were enough to build up his
character so that the audiences could relate to him. It won’t be wrong
to say that dialogues are the soul of his movies. Not one or two, there
are plenty of dialogues from each of his films that hold a soul-stirring
quality.
Indeed, the dialogues from his films are as popular as the movie
itself.He makes feel-good movies, and all of them have a strong
message. When you watch his films, you discuss them with your friends
and family. You take a lot back home after spending those three hours
in the theater. Follow your dreams; believe in yourself; chase excellence
are motivational. What genre of films does Rajkumar Hirani cater to?
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His films are a mix of different genres. There is comedy; there is drama;
there is suspense; there is art, and there is masala too. His films evoke all
kinds of emotions.His films are well-written and thought-provoking.
They have unmatched imagination and creativity that they convey such
strong messages that they make us question ourselves and our
beliefs.Each scene of a film is equally important for Rajkumar Hirani. I
mean, have you ever felt bored in his films at any point? We wonder
how difficult it would be to edit his films. Again, he is the Mr.
Perfectionist when it comes to filmmaking.
4.3 Director’s objectives of the films
Goliyon Ki Raasleela Ram-Leela
Set on the backdrop of Gujarat, the film is Sanjay Leela Bhansali’s
imaginative take on Shakespeare’s most popular play Romeo and Juliet.
Indianizing it with intelligence.This film is definitely another enigmatic
yet cryptic work from Bhansali. It begins with a whiff of color unlike the
gloom we associate Bhansali’s films with. Luckily for us, Ramleela is one
tremendously intense film. While watching it I felt a gush of myriad
fervid emotions. Though it isn’t possible to gauge or analyze them, the
film spins off an enormous impact. It is incredible how the most
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outrageous story that for me doesn’t really define love can be weaved
out with such marvel and impeccable passion.
Scriptwriters Bhansali along with Siddharth and Garima have done a
fantastic job in sketching out ferocious characters with well etched out
characteristics. Ram and Leela especially are so different from each
other but they share the same tenacity and vigor. To quote Emile
Bronte, the best words to describe Ram-Leela’s chemistry would be,
Whatever souls are made of, his and mine are the same.In a land where
guns speak more than words, the younger ones of two feuding families
fall for each other. Involving violence and bloodshed, the love of
Ram-Leela simmers subtly amidst rage, love, frenzy and passion. For
someone of this generation, it is hard to understand why and how
dying for love is justified. Somehow Ram-Leela validates the same so
convincingly that for the climax and the sprightly chemistry of its lead
pair, the film stands undefeated.
Padmavat
A perfect couple living a perfect life until a dark cloud named Alauddin
Khilji starts hovering over their life. Revolving around the life of these
three people, Padmavat is the story of love, war and madness. The
face-off between these two kings and how they stake everything over
one mad wish.Bhansali implicitly extols questionable concepts of
femininity, loyalty, and spirituality, even if "Padmavat" is more
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concerned with secular traditions than religious beliefs. It's hard to
imagine being able to talk about this film, or its characters' symbolic
importance without getting into a fight about its inherently
retrogressive nature.
PK
In this movie PK always knew his end objective was to reunite with his
planet. While he faced extreme conditions and obstacles; he didn't
deflect from his ultimate goal. Similarly, at work, never lose sight of the
larger goal of your team/ organization you strive to achieve.Religion is
all about fashion: For an alien who lands back naked from his planet it is
difficult for PK to understand what is the basis of the religious
classification. He checks babies for a stamp, assuming they must be
marked with the seal of their religion at birth. Failing to find one, he
then derives that religion must be all about fashion. After all it is by the
clothes and appearance that those around determine if a certain
person is a Hindu or a Muslim. The endearing manner in which he
comes to this conclusion is absolutely delightful.
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3 IDIOTS
It is so simple to be good in Hirani-land. You beg, borrow or steal with
good faith to be a lovable, charming person in the land of idiots. And
how much ever I hate the use of fiction in a realistic set-up, I end up
enjoying each of his worlds. Maybe because, like most people, I want to
believe that it is possible to be good in this mean-mean world. Also it's
nice to see a comment on the educational system and the
Indian-parent psyche, both competing to kill invention and
creativity.this movie has a moral which rajkumar hirani movies usually
have about Don't run behind the success, achieve excellence first, the
success will automatically come looking for you. Creativity: Be always
creative in your answers, work & things you do which helps you become
more capable of your own.
4.4 Genres of the films
A film genre is a stylistic or thematic category for motion pictures based
on similarities either in the narrative elements, aesthetic approach, or
the emotional response to the film.
Drawing heavily from the theories of literary-genre criticism, film genres
are usually delineated by "conventions, iconography, settings, narratives,
characters and actors." One can also classify films by the tone,
theme/topic, mood, format, target audience, or budget. These
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characteristics are most evident in genre films, which are "commercial
feature films , through repetition and variation, tell familiar stories with
familiar characters and familiar situations" in a given genre. A film's
genre will influence the use of filmmaking styles and techniques, such
as the use of flashbacks and low-key lighting in film noir; tight framing
in horror films; or fonts that look like rough-hewn logs for the titles of
Western films. In addition, genres have associated film-scoring
conventions, such as lush string orchestras for romantic melodramas or
electronic music for science-fiction films.
Goliyon Ki Raasleela Ram-Leela
Goliyon Ki Raasleela Ram -Leela is a Romance,Drama and musical
genre based on a Romeo-Juliet novel by William Shakespeare.Ram and
Leela love each other but cannot stay together as their families, Rajadi
and Sanera, have been at war with each other for the past 500 years. In
the end, they both need to make a sacrifice.
Padmavat
Padmavat is a HIstorical drama/Action Genre Padmavat is a 2018 Indian
period romantic action drama film directed by Sanjay Leela Bhansali.
Based on the epic poem of the same name by Malik Muhammad
Jayasi.In medieval India, a tyrannical sultan and his army attack a
prosperous kingdom to try and capture the beautiful Queen Padmavati.
Her husband Maharawal Ratan Singh assembles his valiant forces to
defend his land and the honor of his beloved wife.
3 idiots
3 idiots is a Rom-com drama genre. It is A comedy about three college
buddies that doesn't let its more serious theme of “self-actualization”
get in the way of the entertainment. “3 Idiots” takes a while to lay out its
game plan but pays off emotionally in its second half.
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PK
PK is a comedy drama genre which has a story based on religious
conflicts.P. K. is a comedy of ideas about a stranger in the city, who asks
questions that no one has asked before. They are innocent, child-like
questions, but they bring about catastrophic answers. People who are
set in their ways for generations, are forced to reappraise their world
when they see it from PK's innocent eyes.
4.5 Technical brilliance of the films
Directors can choose how to use film language. One of the most
noticeable ways to affect film style is through mise-en-scène, or what
appears on the screen. Lighting, costumes, props, camera movements,
and backgrounds are all part of mise-en-scène. There are countless
ways to create a film based on the same script simply through
changing the mise-en-scène. Adjusting these techniques creates
meaning and can highlight aspects of the narrative.
Goliyon Ki Raasleela Ram-Leela
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in Goliyon Ki Raasleela Ram-Leela , he lets it loose. This is certainly his
most uninhibited film with raw sexual energy and explosive chemistry
between the two of the best looking people in the country. Ranveer
Singh and Deepika Padukone burn the screen down with their
presence in exquisitely designed ethnic costumes tailor-made to show
off their sculpted bodies and it’s a bonus that they can actually act.The
first half breezes past on pure color (cinematography by Ravi Varman),
costume (Maxima Basu and Anju Modi), choreography (Ganesh
Acharya, Vishnu Deva, Terrence Lewis, Sameer and Arsh Tanna) and
chemistry that’s distinctly Bhansali (who Western critics are likely to call
the Indian Baz Luhrmann) and this, despite you knowing what’s going
to happen. It’s a story we have consumed in more forms than we know
and yet, this is a musical that’s true to form without any pretensions of
being anything more.
The movie opens and in the first scene, we see a group of women. In
the background, we hear the screaming of a peacock. From there till
the end, Bhansali adorns Ram Leela with the peacocks. When Ram
meets Leela in the Romeo-and-Juliet-inspired balcony scene, a peacock
is there right beside her which flies away when Ram enters. Later, when
Ram enters Leela's rooms
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Dhankor cuts Leela's finger and she is lying in her bed, Ram comes and
puts a blood-stained mark on her window as if he has cut his finger too
as he wants to go through the same pain Leela is going through.
The second song Lahu Munh Lag Gaya is another gorgeous piece of
choreography in the film. Bhansali uses more peacocks in this song as
well. The lamps that are being lit at the back have peacocks! Also, Ram's
neck is peacock colored. Even Leela's earrings are in the shape of
peacock wings. Beautiful lyrics and even more beautiful choreography.
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What was also fascinating was the presence of trimurti in this song too.
The sculpture at the top of the building has a trimurti that is a replica of
the one in Elephanta Caves in Mumbai. Dhankor prays to the pot that
has water used to worship Ambe Maa. She becomes so lost in it as if the
goddess' spirit has entered into her as we say 'mata ayi hai.'
Another song that left me spellbound was Ang Laga De Re. The song
begins when Leela lights a lamp and we see a painting of Radha and
Krishna (with a peacock feather again!). Radha is Leela and Krishna is
Ram. Leela is praying to Goddess Lakshmi, who as I mentioned earlier, is
also associated with a peacock. She is trying to seduce Ram. The song is
picturized splendidly and is imbued with divine motifs, such as the
gorgeous paintings of Raja Ravi Verma. Outside the window, we see
some temples and a religious procession of a group of saints who in all
likelihood are carrying a palki of Lord Krishna and Radha to get them
married. In that precise moment, we hear the sound of the temple bells
and the Vedic chants as if the priests have blessed the wedding of not
only Krishna and Radha but our own Ram and Leela. Ram puts sindoor
on Leela's head at that very moment.
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In the final scene of the film, when Ram and Leela are being carried
away, we see a peacock on the terrace again symbolizing that in the
end, their love triumphed to bring peace between the two
communities.
Bhansali uses his own trademark styles in the narrative. Like in Hum Dil
De Chuke Sanam and Saawariya, the bridge played an important role,
Here also he gives us a similar device. So, when Bhavani comes and
picks Leela from the lodge, Ram tries to swim to the other shore. There
is no bridge here and at the end of the scene, he is left floating in the
middle of the lake just like his love life himself. Neither can he get her
and neither can he go back to his clan. He is left stranded in the middle
with nowhere to go. He can not reach the shore just like he can't do that
in his own life. He is left swimming all by himself.
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In the end, when Ram and Leela are about to shoot each other, they
end up in the exact same pose that they had first met during Holi. Their
positions are now reversed and the color of Holi has turned into the
darkness of Dussehra. Bhansali is able to make tragedy look so
beautiful.
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Padmavat
Padmavat has been meticulously shot with a lot of attention to detail.
Sanjay tells a lot of his stories through the spaces within the film, and I
had to do justice to his vision. Of course, things would always change at
the last minute, and many of the decisions would be taken on the sets.
This scene tells about the Antagonist how powerful he is ,sanjay leela
bhansali chooses color theory to represent the Antagonist hi cruelty,his
power can be described through color theory.
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The major difference between the palace in Bajirao Mastani and Chittor
was in the lighting. Bajirao Mastani was set in the eighteenth century,
by which time glass was being widely used. The flames were contained
within glass, and they flickered less. However, in the fourteenth century
of Padmaavat’s setting, glass wasn’t so widely prevalent, and therefore,
the light sources were open to the air. They would flicker a lot more.
Also, we were dealing with two different worlds, Chittor and Alauddin
Khilji. These two worlds were different, like in Beauty and the Beast.
Alauddin Khilji is rugged; even if he is royalty, there is ruggedness to
him, a roughness. The other world is very graceful and romantic. Soon,
these worlds merge as the first world gets destroyed.
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There were certain times when, within the same scene, the mood
changed. For instance, when Khilji captures Ratansen inside the tent,
He is actually sad when he is talking about his lost soldiers and his bird.
I lit him with a little gentleness at that moment. But then he stands up,
his personality changes, and the lighting changes too. He has dark
shadows under his eyes.
PK
1. Be focused on the end result
Lot of times we are more entangled in the means of achieving the
target and quickly lose sight of the end objective/ bigger picture itself.
In this movie PK always knew his end objective was to reunite with his
planet. While he faced extreme conditions and obstacles; he didn’t
43
deflect from his ultimate goal. Similarly, at work, never lose sight of the
larger goal of your team/ organization you strive to achieve. When
you’re focused on your goal, you will start enjoying the entire journey of
your achievement and not get hassle with temporary set-ups or
impediments.
2. Be persistent
PK’s unrelenting effort to learn the language to communicate made
him face funny situations several times but he didn't give up and finally
led him to master ‘Bhojpuri’. At work, being persistent is a life skill that
distinguishes you from the one who tried and succeeded from the one
who just wished and never made an effort. Persistence leads to
accomplishment of desired results, manage difficult conversations, be
assertive, and master predicaments. Even if you experience failure at
first instance, persistence is the only key that can lead to success.
3. Be observant – take intelligent risks
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Though PK was desperate to search his remote to go back to his planet,
but in this desperation he didn't divulge his identity that could have put
him at higher risk. He observed people, their behaviors, their
temperaments, their intentions. And finally when he observed that
Jaggu’s intentions were not to harm him, he shared his story with her.
Lesson we can learn from this - be open-minded, observant, and
vigilant before making any decision, forming opinions, passing
judgment or assessment. Evaluations done by a jiffy have a very high
probability of going wrong or at least not in the desired directions.
Being observant gives you the hindsight view, uncover the unseen and
look beyond the obvious. While being observant is important to assess
situations; taking intelligent risks is also of great consequence when
carving your path to success. There are risks in both ‘doing’ as well as
‘not doing’ but rewards can be reaped only by taking chances and
accomplishing feats.
4. Be inquisitive – ask questions, challenge status quo
Till the time PK was listening to everyone, he kept running from pillar to
post, hitting on the wrong side of different ideologies in vain. The
moment he started questioning, people started noticing him, started
paying attention and raised further questions.
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5. Decipher the chaos - Never give up
PK was asked to follow different rituals and ideologies of different
religions to seek God and his blessings. In this chaos he finally
deciphered the universal truth – ‘God is one’. Effective leaders also do
the same; while they are surrounded with chaos of numeral challenges,
different priorities, and diverse stakeholders. They assemble pieces of
the jig-saw in a meaningful pattern and create an ecosystem that caters
direction and growth to organization. Winners are those who can
decipher sense from chaos and lead even amongst uncertainties.
3 idiots
Hirani worked solely on the writing of his first film munna bhai mbbs
but since the subsequent films,the writing has been a collective effort
of him and abhijat joshi,however you can clearly see a lot of hirani
influence in the writing and in the subsequent discussion.Hirani likes to
play it safe and does not believe in experimenting with his writing,he
has developed his own style and structure and tries to stick to it as
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much as possible.All films of Rajkumar Hirani are “Feel good”. They have
happy moments,sad moments,and a whole lot of fun-filled moments.
Raju has come to study to uplift his family’s fortunes because he is from
an impoverished family. Rancho’s passion is earning knowledge rather
than the conventional obsession of the other students with exam ranks.
With his different approach, Rancho suffers the wrath of the dean of the
college, Professor Viru Sahastrabudhhe (ViruS) (Boman Irani). Rancho
terms the dean as ViruS.
He irritates his lecturers by giving creative and unique answers. Joy was
also a student of the Imperial College of Engineering. She had
requested the dean for an extension on his major project on the
compassionate grounds his father had suffered a stroke. But, ViruS
refused, saying that he was utterly unmoved by his son’s accidental
death after being hit by a train. Rancho condemns the learning system
of the institution, blaming it for Lobo’s death.Threatened by Rancho’s
talent and free spirit, ViruS labels him an “idiot,” and he attempts to
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destroy his friendship with Raju and Farhan. In contrast, (Omi Vaidya)
Chatur Ramalingam, or “Silencer,” is the model student in the eyes of
ViruS, who always wants to get high marks through memorizing rather
than understanding.
The character is given a importance which makes the story uplift with
the help of a small character which brings changes into the story of
others where this character helps in developing the story.
This scene shows where when Rancho wants to leave the college ,he
thinks about the memories,fun things which digging in his mind shows
the importance of letting go of the things that are really tuff.
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Chapter 5
Conclusion
5.1 Briefing
In this study on - A Study on Narrative Style and Direction
Techniques on Selected Filmography of Sanjay Leela Bhansali
and Rajkumar Hirani Movies, we have analyzed the direction style of
directors Sanjay Leela Bhansali and Rajkumar Hirani Movies
respectively. Have fulfilled all the objectives and studied the selected
filmography with research limitations in mind and the primary and
secondary data. We have observed the few various unique shots from
each film and examined each shot for Realism elements, surrealism
elements and The color theory used in Sanjay Leela bhansali movies.
Study on the Writing Style of Rajkumar Hirani,To compare and study
the screenplay and treatment of the films “PK ” and “3 idiots.
5.2 Hypothesis answers
H1. Rajkumar Hirani shoots only social issues related films.
H1 stands proved ,as he writes social related problems where he
highlights the issue with his creative writing and also has useful
thoughts in the dialogues.
H2. Rajkumar Hirani films are a mix of genres
H2 stands disapproved,his films are of the same theme with no different
genres,his treatment in writings can be different but genre always with
a comedy,drama.
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H3. Sanjay Leela Bhansali doesn’t shoot social issues related films.
H3 stands proved ,his films are most inspired by the novels,where his
movies have historical touch with big art sets.
H4. Sanjay Leela Bhansali makes films only about the Historical
theme..
H4 stands disapproving,his few movies have historical aspects in his
films,where the music plays an important role in his movies,he also
writes stories with different themes.
5.3 Limitations of study
While conducting the study there were limitations on the primary
sources and the primary data. Also apart from a few secondary data,
there was not much data and articles related to the study.
5.4 Outreach/ Impact of study
With this study, film students and film enthusiasts will have a better
understanding about the hidden details and the cinematic techniques
used to make the films. With this knowledge the storytelling and
viewing abilities drastically change and will have a different approach in
the overall film making aspects.
5.5 Suggestions for future studies
This study was done with many limitations and a time constraint. So
further study on the topic can be shot to shot analysis, plot analysis and
story development.
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5.6 Summary
The study was completed fulfilling the objectives of the dissertation.
There was a limitation for the study but the scope for the further study
is there and can be made with the apt suggestions.
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