The ordinary is the fashion

No longer the trendsetters in fashion, the film actors are playing
the common man, writes Derek Bose

Late last year, when the promos of Aditya Chopra’s Rab Ne Bana Di Jodi started storming the television screens, many fans of Shah Rukh Khan did a double take. How could their hero look so down-market? Even a corporation clerk would not wear those ill-fitting shirts and loose trousers with double pleats in the front and side pockets. And what were those silly spectacles doing? On top of all that, a wig.

Of course, the character had an alter ego in the film — a dashing and debonair Raj who (literally) sweeps the heroine off her feet. But it was the shy and nerdy Surinder Sahni of Punjab Power Corporation that was to become the USP of Rab Ne`85. Before long, audiences began to relate positively to the actor’s dull and drab look and the film went on to be a super success.

It can always be argued that Shah Rukh Khan can never go wrong because he enjoys such a large and loyal fan following that no matter what he does or wears on screen, it would always work at the box-office.

In 2004, he came in as an NRI wearing a simple checked shirt (when he was not in a vest) and jeans in Swades. He then tied a turban and became a ghost in Paheli. Thereafter, he limped his way through Kabhi Alvida Na Kehna as the bitter footballer retired-hurt. Soon after, he became a disgraced coach of a women’s hockey team in Chak De`85India. And then he turned into a struggling actor of the 1970s (who becomes a superstar in after-life) in Om Shanti Om. Barring a fast and furious crime thriller, Don in 2006, all his screen appearances during these last five years have been a far cry from the slick and suave Shah Rukh Khan we have seen from his younger days of Baazigar, Dilwale Dulhaniya Le Jayenge, Dil Se, Kuch Kuch Hota Hai, Josh and so on.

Now, Shah Rukh is not the only top star to have mellowed down on his looks. Take Aamir Khan, before he became a vengeful beast with that bizarre tennis ball haircut in Ghajini. In Taare Zameen Par, he was as cool and casual as any young schoolteacher can be in jeans and a non-descript T-shirt. Before that, there were films like Fanaa, Rang De Basanti and Dil Chahta Hai in which he could easily have been another face in the crowd. The reasons for his understated dressing were, of course, dictated by the roles Aamir had to play in those films. But then, this is one Bollywood star known to be extremely fastidious about his screen image — whether it was with his fierce twirled-up moustache in Mangal Pandey, or that famous bare-torso look in Lagaan or the spiky hair and beard-let he sports in Dil Chahta Hai. Now, all too suddenly, he seems to have lost interest in making a style statement.

The same can be said of the four other Bollywood biggies: Akshay Kumar (Namastey London, Heyy Baby, Welcome, Singh Is Kinng), Salman Khan (Partner, Hello, God Tussi Great Ho, Yuvvraaj), Saif Ali Khan (Tara Rum Pum, Race, Tashan, Thoda Pyaar Thoda Magic) and Hrithik Roshan (Dhoom 2). There is nothing distinctive about their dressing styles, let alone sartorial eloquence, to leave a lasting impression. From all appearances, they would much rather copy the common man in everyday clothes than look larger-than-life or become trendsetters in fashion like some of their predecessors had. (Exceptions are costume dramas like Jodhaa Akbar and Chandni Chowk To China in parts, as well as super-hero films like Krrish, Drona and Love 2050.) Second and third rung heroes, from Sanjay Dutt and Ajay Devgan to Abhishek Bachchan and Shahid Kapoor are similarly swimming with the tide, more out of compulsion than choice. Quite clearly, the days of our heroes wanting to be seen as role models of dressing are over.

It is, however, a misconception that yesteryear heroes were, in any manner, at the cutting edge of contemporary fashion. That distinction rested with the villains, right from the days of K. N. Singh, Ajit, Jeevan, Pran and Prem Chopra. In their well-cut western suits and fancy cars, they were the most stylish of screen characters. Their look always spoke of wealth and (consequently) power, whereas the hero appeared as an idealistic and vulnerable sort, typically in dhoti-kurta (think Dilip Kumar in Naya Daur or Ganga Jamuna) or as a country bumpkin (Raj Kapoor’s Chaplinesque act).

The only ones to buck this trend are our leading ladies. They are the ones expected to infuse all the glamour and glitz to a film, though style-wise, their clothes have not always been the true barometers of contemporary fashion. There were some defining moments in Bollywood styling during in the early nineties when Urmila Matondkar pranced about in those skimpy designer outfits in Rangeela or say, when Madhuri Dixit flaunted her backless choli in Hum Aapke Hain Kaun. But today, barring some item numbers and party scenes (where those very outfits are still being recycled with minor variations) the style statement of heroines is being spoken of in terms of size zero figure, attitude and get-up. At the most, a reference to "casual chic" could raise a buzz, as in the recent case of Kareena Kapoor pulling off a loose, outsized T-shirt and a mismatched Patiala salwar with conviction in Jab We Met. Likewise, Shilpa Shetty’s deglamorised look in Life`85 In a Metro with long skirts and muffler around her neck had become a talking point in fashion circles last year.

That ordinariness is in can be attributed to three crucial factors. One, films are hardly made on extraordinary people in extraordinary circumstances these days. Ever since the multiplex revolution began a decade ago, the approach to story-telling and accordingly, the nature of key characters in a narrative have changed. The hero is no longer the idealistic, self-righteous, handsome hunk he used to be. Instead, he is a regular guy with normal habits, strengths and weaknesses. Similarly, the heroine has ceased to play the archetypal virgin-in-white, self-sacrificing and beautiful. She is today like any other girl next-door, intelligent and approachable, and with as many shades of grey as the male lead. Nobody is holier-than-thou, exceptionally gifted or extra-special. And they all dress the part. This has contributed immensely to Hindi cinema coming across as closer to reality. Audiences have no difficulty identifying with the characters they see on screen.

The second reason for actors to be dressing down is the advent of several high-profile couturiers like Manish Malhotra, Ritu Beri, Neeta Lulla and Aki Narula in films. Over the past decade or so, these trained professionals have not only replaced the dressmakers of yore, they are increasingly calling the shots in every department of filmmaking. They understand cinema and with their background in fashion design (most of them have their own designer labels) are able to decide on the look of an actor in keeping with the spirit of a film. Unlike the dressmakers (who were actually glorified tailors), they do not take instructions from the director or star. They are clued to international fashion trends, know what wearable fashion is and most importantly, can be trusted with improving upon the screen presence of actors. They are not the sort to go over-the-top, unless of course, the role demands so. And such roles are few and far between.

The third important reason for understated chic in Hindi cinema is the rising popularity of the so-called "non-heroic heroes" like Vinay Pathak (Bheja Fry, Dasvidaniya, Oh My God), Rajat Kapoor (Monsoon Wedding, Krazzy 4, Jaane Tu Ya Jaane Na) and Ranvir Shorey (Khosla Ka Ghosla, Traffic Signal, Ugly Aur Pagli). It is in their ordinariness that they have found an appreciative audience, something established stars like Shah Rukh, Akshay and Aamir are now waking up to. Besides, all these top-ranking heroes are long past the age when they could pretend to be libidinous teenagers flirting with clothes in loud, outlandish colours and cuts. It makes better sense for them to sober down, play their age and emulate the Vinay Pathaks and Ranvir Shoreys. After all, audience connect comes with believability.

HOME