rs see them as sad and contemptible. Movies in the West no longer see 'singleton' career women as objects of ridicule. It is time for our filmmakers to catch on to this one." Anyone listening?
It would be interesting to see how "Being Cyrus" depicts the goings-on between Saif and Dimple.
"Being Cyrus", a Mumbai film in English, is no longer an oddity. The film, however, marks a new phase in this fledgling genre. Hitherto, made-in-India English and Hinglish films have dealt with cross cultures, arranged marriage and love as they explore the never ending struggle to reconcile eastern traditions with western influences.
Debutant director Homi Adajania has cast Naseeruddin Shah, Dimple Kapadia, Saif Ali Khan and Boman Irani in a film unlike any in the genre. The film has all the trappings to make India's English films as distinct as Indian literature in English.
Indeed, what began as a trickle with Dev Benegal's Indo-Anglian "English August" in 1994 and turned into a stream with Kaizad Gustad's "Bombay Boys" (1998) and Nagesh Kukunoor's "Hyderabad Blues" (1998), has now emerged as a new genre of home grown English movies in the Indian cinema.
The favorable box-office collections have led corporate houses to put their money and faith in the new crop of independent filmmakers.
There is, however, no love lost between the forbearer of the new uprising and the upholders of the old bastions. Many critics waste no time in labeling them as few wannabe independent filmmakers who could not make it in Hollywood.
Within the ranks, Dev Benegal feels that "somehow 'English, August,' which I had intended as a satire, gave a few rich kids the license to make poor, self-conscious, look-at-me-I'm-so-smart comedies. None of their movies has any contact with reality."
For these filmmakers, making a film for a multiplex crowd is about arranging for some finance, putting together a cast of chic ones, scri
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