Bollywood and the middle-class nation

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Over the last few years the Hindi cinema produced by Bombay, Bollywood for short, seems to have come of age. With a far greater slickness in production values, with a visible presence in metros of the West, with talk of crossover films and crossover stars being the rage, and with the injection of unprecedented numbers of young directors and producers, Bollywood would seem set to conquer the world.

There is also celebration of a new kind of cinema, a neo-real cinema that feels confident of breaking away from the old formula, from old song-and-dance routines to newer films like Black, Rang de Basanti and Bunty Aur Babli, new both in their themes and treatment. But in this turning away from formula, Bollywood is also rejecting something that had once made it so universally popular, from Bombay to Padrauna, from Kathmandu to Indonesia, from Egypt to China. By eschewing the underdog and celebrating the 'real Indian', it is also creating – as well as pandering to – a new kind of India, one that celebrates itself, its money and its greatness.

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