An almost $50 million loss in what seems to be the single most awful annual outcome for an industry that churns out the most number of movies in the world. Digest this: close to 150 productions, one bona fide national hit and a handful of pocket-hits (more about that later). 2002 is a year that the moguls of Bollywood would want to erase from their memory in a hurry. But this is not an article about moviemakers, nor is it about the pathetic numbers. It is about the much-abused, taken-for-granted, seemingly inconsequential entity: the audience.

It is very nice and ear pleasing when someone talks about soul, meaningful cinema and all, but I think it would help if I were a tad specific about such esoteric terms. Let me try and explain, and I will do so by reviewing the gigantic mishap that was 2002, in terms of the films, the actors and the directors. Like I mentioned earlier, this is an article for moviegoers, by a moviegoer. But if there are any moviemakers, actors or directors reading this, then get ready you folks, for a bumpy read ahead.

Taran Adarsh, a well-known trade pundit, in his list of top ten films for the year 2002 (strictly in terms of the profits they made, and nothing else I hope) names one national super hit, Raaz (I’m sure you know this reasonably well-made Hollywood rip-off, and if you don’t, then search for ‘Vikram Bhatt’ on any web-search engine and you will get to know all there is about this master of imports who’s resume will consist of a never-ending list of ‘Hollywood-inspired’ passable flicks). Back to Mr. Adarsh’s list, Devdas and Ek Chhotisi Love Story are mentioned as hits, and a handful of other films are classified as overflows or commission earners. And we all know by now what there was to see in Devdas or Ek Chhotisi Apology, oops, Love Story. Haven’t we heard from just about everyone we know, that “ the sets are so beautiful in Devdas; you have to see it on the big screen; Aishwarya and Madhuri look gorgeous and wear such fantastic clothes,” Well everyone seems to have had a reason to watch Devdas, least of which was that it was a good film. And Manisha’s war with Nair and the spicy trailers and posters no doubt pulled in hungry Joes, none of whom will recall the movie 2 years from now, when they would have been sufficiently exposed to other, better made flesh-fests. And as for the overflows or commission earners, the less said the better. A few films fared well in some pockets of India while a few others in other pockets (and hence the earlier reference as pocket-hits).

The Yashraj mush-factory churned out two forgettable films, distributed one semi-decent southern remake, Saathiya (which was redeemed by first rate acting by Vivek Oberoi, Rani Mukherji and Sandhya Mridul), and continued to be a sad remnant of a once glorious film-house (which gave us gems like Kabhie Kabhie, Silsila, and Lamhe, and blockbusters like Chandni and DDLJ), whose chief also directed classics like Waqt, Ittefaq, Deewar and Trishul.

Oh what a mighty fall. The Ram Gopal Varma movie-making machine gave us what many will agree was the finest film of 2002, Company (with producer Boney Kapoor), and one thrill-a-minute road flick copied from countless Hollywood movies, Road (again redeemed by extremely talented and inspired casting). Two other thrillers inspired from Hollywood, Humraaz and Deewangee, were taut until the scene-to-scene copy persisted, but fell flat once the directors meddled with them, ruining them in the last few reels. Oh well, they’ll learn. There’s Vikram Bhatt who can always coach them on how to successfully rip-off with minimum meddling. I can go on and on, but the point of all this, is that not one film seemed capable of being able to touch, inspire, or connect with the audience. Not one original film. Is Hollywood the only place one can get ideas from? I would dread to think that. But wait, there are still people who can look inside India, and make movies that connect. After all, only a year ago Aamir Khan’s Lagaan did it, and so did Farhan Akhtar’s Dil Chahta Hai and Mira Nair’s Monsoon Wedding. They did the trick not merely because they were well-made movies, but also because they connected with us, in a personal and authentic way. And you bet they will be remembered. Just like we fondly remember so many Hindi films over the years, and ahem, none in 2002.

The stars were in the news for numerous reasons, everything except what they should have been in the news for. Drunk driving, divorce, and a birthday bash are good tabloid nuggets, but not recipes for a worthy performance that can lift a film to greatness, like many of our great stars did in the past, like many of them didn’t in 2002. The industry, it has been said, turns to Amitabh Bachchan time and again, to redeem it. And though the PR machine for Kaante screams that it’s a hit and happy times are here again, the audience doesn’t seem to think so. Mr. Bachchan, I am one of your millions of ardent fans, but Kaante is never going to be a film that I will remember you for, or Aankhen for that matter. Your style, charisma, and unquestionable talent are very much intact as you enter your 61st year, but I still thirst for at least one good movie from you before you call it quits. Just one more. Is that too much to hope for?

The notable performances were few and far in between and the male side can at best come up with 3 names, Ajay Devgan (he was smoldering in Company, sincere as Bhagat Singh and inspired in Deewangee), Akshay Khanna (after Dil Chahta Hai the year before, he stunned us again in Humraaz and was more than adequate in Deewangee), and last but certainly not the least, Vivek Oberoi (who delivered a fantastic debut performance in Company, lived up in Road, and made a strong impact in Saathiya). Only three names, and the likes of Filmfare will find it difficult to nominate more this year (they will of course end up nominating others too, most predictable among them being a young superstar who played the lead in the costliest movie made in India so far, and has been taking home a trophy consistently every year, but that’s another story). In the lead female performances, the story gets worse. You will have to strain your memory, and yet you will probably come up with Madhuri Dixit (who gave a relatively refreshing meaning to the word ‘bindaas’ in some scenes in Devdas; but hey, is she going to be considered the lead or a supporting artiste?), Rani Mukherji (who salvaged herself with Saathiya, after forgettable Govinda flicks), and Karisma Kapoor (with a strong portrayal in Shakthi). Deepti Naval made a comeback in convincing supporting roles this year (Shakthi and Leela), but then again, Leela was not strictly a Bollywood film. I still am trying to think of any other female performance that slipped my mind, but I think it’s the year that fails me, not my memory.

I did set out to write about directors, but I have to admit, I am at my wit’s end (and how many more polite-but-sarcastic adjectives can I use?). Most of them failed us. And as a result, most of them failed. While Ram Gopal Varma gave us one watch able movie (Company), Sanjay Leela Bhansali gave everyone something to watch (the sets, the clothes, the opulence, in Devdas). Vikram Bhatt kept his producers happy, but the audience wasn’t exactly ecstatic. We want more. We do need a set of new directors, and a new treatment from the old directors. If you director folk didn’t know why people didn’t watch the movies you made, then try harder. Get real. And stop looking to Hollywood for ideas.

The answer to the predicament that was 2002 is “look inside”. Inside India, inside its soul. This unique nation is no doubt bursting with its billion citizens, but is also replete with brilliant minds and fresh ideas. It would be a shame if we didn’t get to watch movies that made us cheer, clap or whistle in 2003. To be deprived of that orgasmic feeling of sitting in the darkness of a movie hall and get goose pimples watching the stars perform, get immersed in that enchanted experience, and let those 150 minutes bring a smile back to your face and a spring in your step. We do not want to be cheated of the most primary, fundamental form of entertainment that India knows…Cinema. We want it back! Long live Bollywood!