There was an era in Hindi cinema when villain-violence-vengeance were key ingredients of the film; when losing memory after a head-injury was an everyday occurrence; when the hero was expected to bash up twenty goons single-handedly; when the villain had to be a cruel menacing figure surrounded by many cronies and when a brazenly manipulative mindless potpourri of ‘Action-emotion-romance-comedy-drama-music’ was an acknowledged box-office success-formula. But after ruling for almost three decades from 70s to 90s, this hit- formula (or as Tashan’s Bhaiyaji says- pharmoola) lost its magic through over-repetition, unimaginative presentation and uninspiring heroes!

The new post- millennium Hindi cinema now actively tried to stay from this ‘pharmoola’. Presenting ‘intelligent’, ‘intellectually stimulating’ and ‘aesthetically pleasing’ films became the in- thing. Even the film-houses with decades-long traditions of making formula- films now tried making these ‘new, crisp, intelligent’ movies, which were surprisingly turning out to be pretty profitable. The audiences- especially the metro-multiplex upscale crowds, loved this movement. Finally, finally Bollywood was coming out of clutches of the ‘pharmoola’ – so they thought. But then this new-wave Hindi cinema’s knight in the shining armor, the only star- actor with a thinking cap on decided to keep the ‘pharmoola’ alive and he made Ghajini! The supporters of new wave were stunned by his ‘betrayal’ and they shouted hoarse – ‘Oh, how could he ever do that?” 

After doing critically acclaimed and commercially super-successful Lagaan, Rang De Basanti and Taare Zameen Par, it must have been a really courageous decision from Aamir Khan to do Ghajini – an out and out formulaic commercial caper, a remake of a hit Tamil film by the same name. I can well imagine his ‘prenatal depression’ (as he described his mental state prior to film’s release in his own words!) When he was spending hours in the gym, developing eight packs in order to look convincing in this role, he also must have wondered whether he was making a mistake of his life, of throwing away the goodwill he had accumulated through his choosy classy repertoire! But the crowds loved and lapped it, making Ghajini the biggest grosser of 2008 and I can see why!

Ghajini succeeds because it makes a fist for good old ‘pharmoola’. It doesn’t care two hoots about following the so-called good, intelligent, newfound Hindi cinema rules. It is a bold throwback to the era when a three hours movie was a means of shameless escapism and mindless entertainment with a glaring spotlight on the all-conquering hero. Mind you it is not an easy thing to do. In recent times only a few films (Dhoom 1 and 2, Main Hoon Na, Om Shanti Om come to mind!) have managed that and Ghajini joins their ranks.

A story of a millionaire-turned-mindless maniac trying to find his ladylove’s killer is nothing original. The antrograde amnesia where the hero can’t remember his immediate details beyond a 15 minute span is just an interesting gimmicky twist. The back-and-forth narrative constantly shifting from present to past and back to present; the sketchy side-characters; the suddenly popping colourful songs; the melodramatic dialogues about male chauvinism and female suppression when the heroine is attacked; the brawny idiotic oddly named villain; the improbable coincidences and the gory climax – Ghajini could easily have been a mediocre trashy fare. But it doesn’t turn out that way and that is because Aamir, Asin, A.R. Murugadoss and A.R. Rahman pool in their talents to bring energy, enjoyment and entertainment in no small measures!

Aamir Khan throws himself unabashedly into his character. If he is his old likeable sweet self as a suave foreign- returned IT-tycoon who falls in love with a bubbly aspiring model (Asin) , then he astonishes you with his crazed, muscled new look as an amnesiac killer trying to seek revenge. The way he looks, sees, breathes, hisses, screams, fights and kills just takes your breath away. It is Aamir like we have never seen before! Hats off to his method acting!

Asin deserves special kudos because just when you think that the film is turning too grim and gory, she brings in a zany sense of humor and romance in it and although she errs on overdoing things, she holds her own in each and every frame and that’s no mean achievement in a film totally centered round Aamir.

Murgadoss as a writer-director knows the ‘When’, ‘How’ and ‘How much’ to use the Masala and manipulation. Agreed that he has wasted many opportunities (in plot and presentation) of making it an ‘intelligent’ thriller but one has to acknowledge that he has successfully created a polished populist blockbuster with a lavish, contemporary look and feel. Rahman’s music adds another popular dimension to the film and provides opportunities for well-choreographed songs to dazzle the audience.

Ghajini might be a mindless entertainer for some cinephiles but a great ‘time-pass’ blockbuster for general public! More power to Aamir and even more power to ‘pharmoola’! That just sums it up!