Long before the lady in white sari dancing in the rain became an abiding Yash Raj image, the banner made its mark with some gritty narratives. No two films then could be called identical, both within a predominant romantic genre and outside in occasional experiments in the action-drama genre. A Deewar (1975) was as different from Silsila (1981), as a Chandni (1989) from a Mashaal (1984) or even a forgettable Parampara (1993). What you see coming from the banner today is a series of assembly line products with a pattern to them — big stars, great locations, stylish shots, crowded noisy song sequences — whatever happened to the melody, the compelling lyrics of a Yeh kahaan aa gaye hum? — and no story. In short, all body, no soul.

And going by the latest, Tashan, following the Dhoom series and the Neil ‘n’ Nikkis, the finesse of a master’s subtle stylized presentation of a lady’s sexual appeal has given way to the crassness of parading anorexic in-your-face female bodies performing acobatic contortions in two-pieces.

A USP (unique selling proposition) is not an overnight legacy; and with one like Yash Raj, the fritting away too won’t happen so quickly. People still flock to a Yash Raj film irrespective of near 10 consecutive disappointments in the recent past. But for how long? Given the banner’s recent body of evidence, Chakde! India (2007) actually looks a rare, welcome change. However, it also had most of the signature Yash Raj narrative sensibilities in place, never mind the missing lady in white.

... contd.