In the film Dharavi (1992), the hero, Raj Karan Yadav (played by Om Puri), strives to find a better life for himself, one that is free from debt and drudgery. After unsuccessful attempts to buy his own taxi, he approaches moneylenders to borrow money and set up an illegal factory. Once again, he is unable to pay the money back to them and unwittingly becomes embroiled in a gang war. As he meanders through his life with frustratingly little agency, the character Dreamgirl (played by Madhuri Dixit) appears — a beautiful, serene mirage that becomes his only source of comfort. This encapsulates what cinema means to India — an escape from mounting bills, equated monthly instalments and infuriating socio-politics.
A good film, they say, is one that allows each one of its viewers to see a different film. A popcorn film, on the other hand, in its desperation to be understood by all, is typically understood to be tropey, allowing for little to no nuance. A perceived crowbar separation existed between the two, until recently.
