Queen of Bollywood

Indian leading lady and former Miss World Aishwarya Rai leads the charge as a hipper, edgier, more professional Bollywood bidsThe reason was not hard to fathom.
However deep the artistic void that gave the world Death Wish V or Police Academy 7, Bollywood has long outdone Hollywood for formula and cliché. After a two-decade-long golden age that produced films such as Mother India (1957) and Sholay (1975), the industry slipped into a succession of hackneyed action flicks and copycat song-and-dance romances made under a factory ethic in which actors worked on five, 10, even 15 films at a time. Remakes and plagiaries of Hollywood were routine, scripts were almost unheard of, and cast and crew often took the same characters, shots and dance steps from one production to another. The love stories were particularly indistinct: thousands of boys met thousands of girls (songs of joy!), broke up (songs of sorrow!), reunited (joy!) and led a cast of hundreds to a meadow outside Zurich for a leaping, ululating and face-achingly joyous finale. Actors sleepwalked through careers. "You can't imagine what it was like," says Anupam Kher, star of 290 films in 18 years, who reprises his role as the father from Bend it Like Beckham in Bride and Prejudice. "After the whole fame thing wears off, you begin to wonder, 'Really, what the hell am I doing?'" Even domestic audiences complained, including India's leader. "Why do our films stick to stereotype?" lamented Prime Minister Atal Bihari Vajpayee after seeing Devdas, which for all its well-deserved critical praise, was still the 12th version of the same love story since the original 1928 silent movie. By mid-2002, Bollywood was largely a commercial concern—to this day, critics rate films and actors almost entirely by box-office pull—of little interest to anyone outside South Asia, except homesick migrants and the odd film buff.
1 2 3 Next for global dominance