The year has so far been abysmally short of talented directors. But all that is about to change. Sourabh Usha Narang who has directed Vaastu Shastra seems to usher in a new clutch of directors who promise to tilt the imbalance created by directors who made no impact in the first half of 2004.
Narang is the latest among Ram Gopal Varma’s protĂ©gĂ©es. Though earlier during the year Shimit Amin in Ab Tak Chappan and Sriram Raghavan in Ek Hasina Thi got good reviews a wider public acceptance seemed to elude the new crop of Varma protĂ©gĂ©s by a wide margin.
Vaastu Shastra which has opened to encouraging reviews and a sizeable crowd of viewers seems to have given audiences a new hope for the reversal of the directorial dereliction this year.
Narang was busy on Friday anxiously cruising the theatres in Mumbai to get audiences’ reaction. The verdict about Narang is clear: he’s being labeled one of the most interesting directors of the year. “Right now I‘m in a state of incredulity,” says Narang.
Narang is just the beginning. There’s more where that has come from. Vinta Nanda who has spent a large part of her career creating successful soaps on television is ready with her first feature film.
“White Noise is partly based on my own experiences,” says Nanda who could be the second interesting female debutate director of the year after Farah Khan whose Main Hoon Na created ripples at the boxoffice earlier this year. Before the year is through Vinta Nanda will be joined by Leena Bajaj whose Shabd is again an intended pathbreaker.
And now there’s scholar author and ‘economics guru’ Arindam Chaudhuri ready with his unusual state-of-the-art campus flick Rok Sako To Rok Lo as a post-Diwali release. Chaudhuri’s unusual background gives him a kind of detached insight into the workings of Hindi cinema conventions unaffordable to those who have been practicing the art of mainstream movie-making for many years.
There are other potentially interesting directors like Anirban whose film My Brother Nikhil (on the sensitive issue of AIDS) and Siddhartha Srinivisan’s thriller Amavas are being looked upon as critics’ favourites.
Will the second part of the year bring that much-needed creative release that the directorial body of work is is looking for?