The anticipation for Dabangg has been unprecedented. Of course, there’s the media overkill which accompanies every other film these days. However, beyond the usual sound and fury has been the tangible delirium of the Salman “Bhai” fans when the first trailer unspooled in theatres. The catchy item number Munni badnaam hui has been blaring from every other auto and taxi and the cheesy dialogues from the film have been by-hearted by the masses weeks before its release. “Exhibitors are extremely hot on the film,” confirms Delhi-based distributor Sanjay Mehta, so much so that the question is not whether it will be a hit but how big a hit.
No wonder Karan Johar had to advance the release of his production We Are Family by a week fearing Salman’s Chulbul would wipe off the combined might of Kajol and Kareena Kapoor at the box office. Friend Aamir Khan was impressed enough at the premiere to say he’d watch Dabangg a second time. Meanwhile, Salman himself is his usual brazen self: “I’ve never seen a film’s promos become such a big hit,” he says, casually, promising that “the film will be even more fun”. However, this time something bigger than “fun” is happening with a Salman film. Dabangg is exciting even those who are not necessarily his hardcore loyalists. Like veteran media man Pritish Nandy who recently wrote, “I am going to watch it first day first show.”
Not that it has affected Salman in any significant way. “I’ve been in the industry for 22 years and am still misunderstood,” he’s once reported to have said, tongue-in-cheek. The star continues to be himself: sleeps 2 1/2 hours, cycles, works out and keeps it simple (he does not wear expensive branded clothes off screen lest his fans become self-indulgent) and thinks that of all the Khans in Bollywood, Kader Khan is the biggest and best.
It’s this sense of rootedness that enthuses Shohini. She confesses herself drawn more to his stardom than that of the other two Khans. “His appeal cuts across divides,” she says. “He can speak to anybody. He’s not disconnected,” she says. “He is hamara banda, the nukkad king of India,” says social anthropologist Shiv Visvanathan. The director of Dabangg, Abhinav Kashyap, confesses being deeply inspired by something as basic as Salman’s one-handed push-ups in Maine Pyaar Kiya. “I was 16 then. He defined good looks and brought in the culture of body-building for us,” he remembers.
What gives now? As Desai would put it, why are the “educated embracing the one they once reviled”? Why this sudden interest in the shirtless wonder of our times? Like everything else about Salman, it’s difficult to explain. The key to his persona lies in this unpredictability, the fact that he is the ultimate bundle of contradictions. “His stardom is a collage of confusions,” says Visvanathan. “He’s ruthless yet affectionate, threatening yet nurturing.” He’s given mind-boggling blockbusters and interspersed them with series of even bigger flops. Every Wanted has been followed by Veer and Main aur Mrs Khanna. “He has experienced notoriety just as he has seen fame,” says Shohini.
Salman might drive rashly and kill a person on the pavement yet runs a charity for the destitute, Being Human. He can endear himself to women with his protective nature and put them off just as easily by being domineering. He may hunt for blackbucks but be deeply secular. He is known to charge a royal packet for various public appearances, but none of it goes into his own account; it funds his social work. “He’s not the unbeatable hero like Aamir, nor is he the posterboy of corporates like SRK. The dark side of him represents the complexity of our times,” says Shohini. “He’s not crafted like SRK, nor intellectual like Aamir. He’s primordial and flawed,” says Visvanathan. And it’s this aspect which has begun to fan interest. His series of appearances on TV shows and spontaneous interaction with the fans have also begun to endear. “He doesn’t preen excessively, is unselfconscious, unaffected and honest,” says Desai. “The media can’t put words in his mouth,” says Abhinav.
On a different note, he’s being called the last action hero which Salman himself is quick to deny. “I don’t just do action, I entertain,” he claims. He has worked in all kinds of films—action, drama, romance, comedy. “He’s a complete package,” says Mehta. So, rather than reinventing his persona, Dabangg reinforces that larger-than-life quality. His Chulbul has lots of shades to him—he is comic, great at action, romantic and has an emotional side too. Desai finds the visible self-parodying interesting. “It seems like an ironic, tongue-in-cheek, over-the-top depiction of Salman himself,” he says. Abhinav himself claims to have rewritten the role eight times to incorporate Salman’s persona, the way he walks and talks.
What’s a Salman Khan film without those wacky one-liners guaranteed to bring the house down? The many ways the superstar has spoken in his 22 years on the screen.
Filmmaker-writer Paromita Vohra loves Chulbul’s “old-fashioned, believable masculinity” as against the recent metrosexual heroes. As a film, it seems to winningly combine kitschy mass appeal with a touch of the urban cool.
Most of all, Chulbul comes to theatres at the right time. We are nearing the end of the year and haven’t had a single film which has ‘entertained’ in the classic sense of the term. “There’s been a virtual drought. And Dabangg has been pitched and timed very well,” says Mehta. As another exhibitor puts it, “It has been a long spell of rozas. Time now to lay out the Id feast.” With Salman Khan cooking it up, it’s bound to be spicy.
Sallu has rocked Bollywood yet again with his blockbuster Dabangg (Sallu Boti, Anyone?, Sep 20). It surely will break all box-office records. dsp Chulbul Pandey’s role is made for Salman, and his mooch has won all our hearts. C.K. Subramaniam, Navi Mumbai
Salman may be a star worth watching on screen, but his taking to painting is inexplicable. The results are terrible. Why does he bother? Gul Ramani, Dusseldorf
Salman’s films are neither art nor entertainment but strident vehicles of gaudy costumes and dances. Rajeev, New Delhi
Thank you to all those who have taken the trouble to read the article and share their thoughts. Out of the arguments made here, there are two that perhaps need answering. So here they go.
1. The first part of the article compares outcomes (relative percentages of population of the religions concerned) irrespective of the process that led to those outcomes - whether immigration, relatively faster population growth or conversions. This was for two reasons. One, to put the figure of 2.3 per cent in "numerical perspective", as the article itself explained. The second reason was that outcomes are ultimately what the crux of debate is about. The rest of the article in any case dealt with process - or conversions in this case, from both a contemporary and historical perspective.
2. Some commenters have tried to cast doubts on the reliability of Census 2001. Those who do this should bear in mind that Census 2001 was conducted by a BJP government. Considering the extreme importance that BJP gives to this issue, it would be reasonable to expect that IF it had perceived a problem with the methodology that was distorting the numbers, it would have fixed it. As the article mentioned, BJP or BJP-supported governments have been in power for 10 of the last 40 years, or about a quarter of the time, and the only reasonable conclusion one can arrive at is that any misreporting of numbers, real or perceived, would be marginal and hence, not of importance.
To all other arguments made, my answer is the following: Please read the article again, with particular focus on the quotations of Vivekananda and Monier Williams, and the history of the missionary efforts in Bengal and their outcome.
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