The more things remain the same, the more they change. The dean and alumni of the Karan Johar F3W Gurukul (Filmmaking By Fusing Formulas That Worked) continue to churn out hit after hit ((Anand + Safar + Bawarchi)/(Dil Chahta Hai style) = Kal Ho Na Ho). Meanwhile, one of the Hindi film industry's most bankable stars, Ajay Devgan, in the last two years, has played a revolutionary, a soulless terrorist, the husband of a possessed woman, a soldier in Kargil, a psychotic murderer, a mafia don, a tough-as-nails cop, an idealistic student leader.
For every Main Hoon Na, there has been a Munnabhai MBBS. For every Masti, a Maqbool.
The Hindi film industry is experiencing a new heady surge of adrenaline. A new generation of filmmakers, scriptwriters, actors, technicians and music directors are drastically amending the constitution of the Hindi film, and much of the time, getting away with it. Of course, they are still in a minority, but they are an increasingly visible and vociferous bunch of dissidents.
And the most remarkable...