Alpa
Ponda
Smt.
S. B. Gardi Department of English MKBU
Bhavnagar
Blurring
of boundaries in cinema in the light of modern Raincoat and Masaan
The parallel cinema as movement
exactly opposite to mainstream or commercial cinema started around 1950s.the
cinema represents the social problems, from then to now it is changing in its
way of presenting problems and circumstances of life as problems are also not
the same. Regarding the topic parallel cinema in India today. Parallel cinema,
now moving on inner conflicts also. The directors like Deepa Mehta, Anurag
Kashyap, Mira Nair are interested in themes like man’s spiritual questions and
struggling, reason of frustration, optimism of life. Focusing on the movie,
Masaan by Neeraj Ghaywan portraying the misery of four lives, the exploitation,
philosophy of nature as it comprises the truth of death and life. As it conveys
the idea, death only the part of life nothing changes this.
Another movie of parallel cinema,
Raincoat by Rituparno Ghosh, motif of the film is revealed as camera has
captured the sentiments of two lives who predict each other as they are
sufficient and capable to be happy in society and life but truth is exactly
opposite. The tale of misery those are untold to each other exactly to face but
some persons and things become object to reveal their situation logically.
The parallel cinema moves to depict
emotions of human being, the hope for the life. Today’s cinema is not only for
the sake of social awareness but also regarded to the spiritual or inner
conflicts. These modern movies have crossed the regular stream to be realistic
in their representation.
