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April 02, 2021 15:26 IST
Reacting to crime drama fatigue, makers of shows like Gullak , Panchayat and Kota Factory continue to revisit the slice-of-life genre
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Reacting to crime drama fatigue, makers of shows like Gullak , Panchayat and Kota Factory continue to revisit the slice-of-life genre
Most OTT successes last year stuck to the script and doled out the standard concoction of crime, drama and suspense. But some surprised viewers by taking a route less travelled slice-of-life comedy. Take the recent hit
Gullak for example a web series (the second season released earlier this year) that revolves around a caricature of the middle-class Indian family that you very well might bump into on the streets. Simple in treatment and layered in commentary, not only are these shows resurrecting a genre of comedy favoured in the eras gone by, but they are tweaking it to suit modern-day sensibilities. So what is the winning formula? Most shows draw
February 21, 2021
A new vocabulary is suggested in The White Tiger. It is a manifesto of suffering that is shared by all, however differently
“What is a servant without a master?” Balram Halwai
The White Tiger is a Netflix adaptation of the eponymous novel, which is deeply resonant of the modern socioeconomic status quo. Normally, film adaptations are considered inferior to the books they are based upon. In Pakistan, the film has been trending on the Top Charts of Netflix in terms of viewership. In India, which has the largest Netflix audience in the world, and where 1,986 feature films were produced annually according to the Film Federation of India, film is the medium that reflects the status quo.
On Basu Chatterjee’s 94th birthday, a journalist s account of how an interview with the legendary director almost backfired Throughout the interview, he remained in a reflective mood and didn’t smile even once. Aditya Sharma January 10, 2021 12:26:25 IST Director Basu Chatterjee. Express archive photo
Basu Chatterjee directed more than 50 films and TV serials a staggering number that not many directors of the Hindi film industry can match. His films, that portrayed the joys and sorrows of the common man, were so similar to Hrishikesh Mukherjee’s that it was often difficult to differentiate between their works. Working as a journalist, when I shifted from Delhi to Mumbai, interviewing Chatterjee became a pressing priority. But when I asked for his phone number from my colleagues, I drew a blank.
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