How many times has it happened that you sit down to watch a Hindi movie, find the first half entertaining and then slam your head as the plot degenerates into infantility? Yes I know that there are movies where this head slamming starts from the first scene itself but I am sure you get my point.
So the question is why do Bollywood directors lose the plot? It’s not as if the story is original in the first place. If you are copying your story from a decent English/regional movie, then why do you exert your creativity just on the ending—why not just copy everything?
Case in point: Deewangi. You get inspiration from a wickedly smart movie : “Primal Fear”…well and good…but then why oh why do you for the last hour tack on a Hindi filmi love story that totally ruins the effect ?
Well dear reader, I have found the answer.
These kind of endings are precisely what the general audience wants.
I refer you to this illuminating bit of prose from Rediff. In it Rediff asked their erudite readers which film’s endings they would like to change.
Warning: Spoilers ahead.
Naveen Sajjan: I really want to change the climax of Sadma. After Kamal Haasan’s care and concern for Sridevi throughout the film, he does not get credit for it. [When the mentally challenged Sridevi recovers, she cannot remember Haasan and the love and care he showered upon her to cure her].
Are you kidding me? People actually find Sadma’s riveting last few minutes as the part they would most like to change ? And after this, how can we blame movie directors for underestimating the audience’s intelligence?
Nothing about Sadma should be changed not the ending and neither the scenes of Silk Smitha.
SJ: There should be a change in my favorite movie Kaante. The audience liked the first part very much but second part was too verbose. Also, I believe there should have been a twist in the end. Instead of Kumar Gaurav taking the pie, it should have been Amitabh Bachchan. He should have run away with the money.
Too verbose? Gawd. Its a copy of a classic where the USP was the taut exchanges between the protagonists. Precisely the part this man found objectionable. He liked the part where they throw the Pakistani from the rooftop, the part where they blazed away with semi-automatics on the roof of a building in LA, where they walked in synchronized slow motion awash in sepia tones and danced in a drunken orgy the night before the heist. Again all this was okey. What was not okay was the crackling exchange of dialogues, the raw sense of fear and betrayal and the climactic Mexican shootout—–none of it original but nonetheless well-executed by Sanjay Gupta.
And in case the wise viewer did not understand, Kumar Gaurav does not get away with the pie, as the camera pans away there is a police chopper on top of him and a posse of police cars further down the highway.
Runa Roy: The ending of Tere Naam was too sad. Whenever I watch the movie, I feel depressed. Salman Khan has acted amazingly, but the way he escapes at the end to meet his love is not believable.
When Bhoomika Chawla goes to meet him in the mental asylum, she should find that he is cured, and her love has changed him and he has become a good man. They should live happily ever after.
A happy ending always leaves the audience happy. A movie should be inspiration for the younger generations. This ending would inspire the youth that true love can change an individual like Radhe.
Somebody please tell Runa Roy and her ilk that “our sweetest songs are those that tell of saddest thought” and since life does not always have happy endings, movies (if they are to mirror life) should not always have them too.
Think of this. Romeo and Juliet walking away into the sunset, Karna living a retired life in the Bahamas, Achilles wearing specially fitted shoes in his old age, Estrella and Pip living happily ever after (one of the endings actually toyed around by Charles Dickens) along with a happily married and rehabilitated Miss Havisham, Jai and Veeru growing old by the fire while the Thakur twirls his prosthetic arms—-wouldn’t the world just be lovely !
People like Radhe can be reformed with “true love”. True. And so can the terrorists (of course Radhe wasn’t one) –just send them a teddy bear and a Hallmark musical greeting card. Sounds ridiculous? Not to some of the people who comment here and elsewhere.
Jaswinder Singh: I was not happy with the end of Hum Dil De Chuke Sanam, and the explanation given by Aishwarya Rai to chose her husband (Ajay Devgan) instead of her boyfriend (Salman Khan).She left Salman because she had lived with Ajay and he turned out to be a nice guy. Does that make Salman any bad? What if she had another guy in her life who was better than her current husband? Would she leave her husband for him as well?
Okay Jaswinder, here’s the logic. On one hand you have a man– Salman Khan who kills endangered species, runs over pavement dwellers, beats up women, cheats left and right and who in this movie is a habitual farter (not merely flirter) and also talks to dead people. On the other hand, you have a guy with poor dental hygiene. Now tell me what choice does a girl have?
I am not even trying to explain to you the difference between the “love that seeks to possess” and the “love whose fruition is sacrifice” cause just between the two of us, that’s a whole lot of baloney.
Priyanka Oza: The film which should have ended differently is Fida starring Kareena Kapoor, Shahid Kapur and Fardeen Khan.
The film was fantastic and kept us glued to our seats but the ending was so disappointing that all the fun and suspense was snatched away. I think either Shahid or Fardeen should have died in the end, not all three of them.
Yes I agree. They should not have killed all 3 of them. They should have just killed Kareena (I would have applauded them for that) and shown Fardeen and Shahid Kapoor engaging in hot man sex and recording it on a cameraphone. Now that’s one amazing ending that would have made me fida.
Here’s the last one—another crib about “Tere Naam”.
Hyder Khan: I would have changed the story of Tere Naam. The movie is cool in the beginning but ends so tragically that it almost bores me. I would have changed the scene when Bhoomika came to meet Salman in the ashram and was going away after seeing him sleeping. When Salman starts yelling for her, I would have let Bhoomika turn to look at him for the last time and be delighted that he remembers her. Then, she should go running towards him.
Salman should come out of the ashram and beat the hell out of those goons who sent him there in the first place.
Oh lord ! They should just get this guy Hyder Khan and make him direct an alternate ending to the DVD release of Tere Naam.
Its amazing that there is a significant section of the audience that actually wants the comfortable predictability of the formula ending—-the bashing of the goons and the running of the heroine towards the hero. And of all the people who wanted Tere Naam to end differently, not one said anything about Salman Khan’s atrocious wig. Not one.
Reminds me of Mrinal Sen’s “Akash Kusum” (Bengali) where Soumitro Chatterjee, after his company selling galvanometers goes belly up , can no longer keep up the pretense of being rich and so bids farewell from afar to Aparna Sen. A beautiful, poignant ending.
But in the Hindi copy “Manzil” , Amitabh Bachchan (who plays the character essayed by Soumitro Chatterjee) is shown reading a fat book helpfully titled “Physics” and thus armed with a grasp of the basic principles repairs his galvanometers, sells them, becomes rich and then gets the girl.
I wondered then why Basu Chatterjee ruined the touching ending of the original.
Now I understand.
[PS. Read this “interesting” review of Manzil here. An extract: “The film is probably one of Amitabh’s best (building galvanometers, reading physics book, sales / repair man)” ]