I used to be a majorleague movie buff at one point of time. It almost seemed like no movie would release in Hindi, Kannada and Tamil, and to some extent, English, without my knowledge. Mind you, this was in the pre-Internet days, which meant I basically scoured MTV and Channel [V] and Sun TV and Udaya TV to insane extents. While also scouring the filmi news reported in Deccan Herald, Indian Express and, heh, ToI, apart from The Week, India Today and on occasion, The Hindu. I was too snobbish to read Filmfare and Stardust back then.
And then NITK happened, and I lost the TV habit, and there was no LAN or unlimited Internet my first two years to keep my movie habit going.
I used to think it was no big loss, because “the recent movies are all utter manure”. But that is totally not true… pop culture of an earlier era always seems godawesome because you forget about all the crap and only the awesome stuff remains burnt to memory. And I watched enough junk – Aarzoo, Mr. and Mrs. Khiladi, Zulmi, Zor, Yeh Tera Ghar Yeh Mera Ghar, Hum Saath Saath Hain were just some of the many repressed memories of utterly idiotic fare I indulged in back then. Oh, and the next time anyone calls Aamir Khar Mr. Perfectionist, they deserve to be subjected to Mela and 1947-Earth back to back.
I watched a lot of movies in third and final year, but those were more of random picks than any actual craze for cinema. Including the first day first show watch of Om Shanti Om. And in college, watching movies was something you did because it was there on an overfull LAN, not because you are fascinated by the trailer or anything. Accessing everything on the Internet has its pitfalls – your allergy for advertisements means that you don’t see anything you don’t explicitly want to see – including new stuff. Unless someone or the other recommends it to you.
Naturally, I am stuck in a ’92-Early’00s pop culture loop. And don’t really try to get out.
I wasn’t too aware of all the stuff I’ve written so far until late this afternoon. I came across the trailer for Vishal Bharadwaj’s 7 Khoon Maaf. Watch it yourself:
Don’t you feel the flesh creep a little? Especially at the ‘Darrrrlingggg’? The gentle, understated change from ‘Husband’ to ’7 Husbands’ piqued your curiosity, didn’t it? And John Abraham in drag… that makes you want to watch the movie just to know what the heck is up with that, doesn’t it?
After a really long time, I’m all fired up about a movie. About a Hindi movie…. I was suitably fired up about Shutter Island. So much that I think when I finally stream this movie, it’ll be something I actually make time for, not something I just look for on a boring weekend evening.
I am intrigued by the presence of Usha Uthup as well. She was nothing short of perfect as Madhavan’s snide mom in Manmadhan Ambu. And here, as a loyal housekeeper who won’t stop short of murder, I’m dying to watch her in it.
Most reviews seem to be dissing the movie. I don’t much care about it being macabre… that’s the point of such a flick – being a black comedy it’s supposed to present gruesome acts in a cute, sympathetic way that the juxtaposition shocks you. One review however got me down… it said the flick could have been so, so much more, and that Priyanka Chopra’s character is never explored much. *Sigh*
I guess this will turn out to be a colossal disappointment much like 90% of the movies I’ve waited for with bated breath. The most colossal disappointment I’ve had is Hey Ram. God the pre-release hype! Especially when it’s a bilingual, especially when the tags for the movie would be Gandhi, Independence, Partition, Kamal Haasan, Ilaiyaraja, Shah Rukh Khan, Kavignar Vaali, Hema Malini, Rani Mukherjee, Godse, Religious Riots, Kamal Haasan’s directorial debut, Kissing, and apart from all that, a very Iyengar-looking Bangalore girl (from MCC, no less) in the lead role hyped it extremely for me. The trailers, the music were all totally something. And then finally watching it…. god, what a damp squib. In the words of my aunt, “Tamizhum, Hindi-yum, Bengali-yum kalandhu onnume puriyala…. illa, onnu mattum purinjadu – Kamal thaan hero-nu“. [In the unholy mix that was the arbit usage of Hindi, Tamil and Bengali, all I could grasp was that Kamal was the hero].
But, you know what, I’d probably not care much if it did turn out to be a bad movie. I consider every movie an experience by itself. You don’t gain much from watching a bad movie, yes, but then, you don’t gain much by watching a good movie either. At max, watching movies opens up your imagination. Normally we’d all have super unconstrained imaginations, but given the barrage of movies, television and other media, we sort of begin thinking in a constrained way, and to keep it rich and vivid and active, we need to load up on as much information and as many narrative styles as we can manage.
Or maybe, I watch movies with the hope that something in them will be able to help me bring together all the little blips of inspired storytelling that flash to me at the randomest of times, into a coherent story. And each time I watch a bad movie, there’s already a framework for me to think in, and armchair filmmaking, whining about how this scene could have had ten times the impact if only this actor had done that and the other actor had done this, is a good enough starting point.
This might sound really sad, but my introduction to Netflix was through the Netflix Prize. In my defence, I wasn’t all that much into movies back when the contest was announced. And heck, the NITK LAN when I was around could easily beat any Netflix in terms of average quality of content hosted. And not that much into data mining either [the Netflix Prize was a contest where you had to devise a system which would predict ratings for movies you hadn't seen yet based on what you had rated, and not just that, you had to perform 10% better than Netflix's recommendation engine, and you would get a million dollars]. I didn’t know enough to compete back then. And now, there’s not going to be another Netflix contest [which essentially will mean a shot at a million dollars and/or bragging rights] thanks to some IITM-UTAustin-Stanford guy (Indian! Everyone, put your claws together for one of our very own!).
So anyway, now that I knew what Netflix was, I took amazingly long to visit the site. Yesterday I did. And the deal seemed rather OK – Trial run for two weeks, which I had to cancel before the two weeks were up, else I’d get billed for the month. And unlimited movies to watch online. Great, no?
Totally. I watched more movies yesterday than I normally watch in a week. It felt….. surreal. The max record I know of is Dha’s record of 9 movies in a day (Info gleaned from Smriti testimonials… is it an Urban Legend?). Anyway, these are the ones I watched yesterday.
- Rab Ne Bana Di Jodi: I totally totally liked SRK in this one. He doesn’t talk in his usual manner in the movie at all… whoa. Movie isn’t great, obviously. But the ending credits more than made up for it – Surinder-ji presenting his and Taani-ji’s Japan snaps.
- Welcome To Sajjanpur: Nice timepass movie. A little cliched in places, but overall, a good watch. Shreyas Talpade is totally lovable in this flick.
- Luck, By Chance: Ok, I didn’t watch this off Netflix, but I watched it yesterday, so it makes it to this list. I liked the opening credits quite some. I don’t know why, but I’ve always liked videos of people posing for photographs. I rather liked Rishi Kapoor and Juhi Chawla in it. Dimple Kapadia seemed too contrived to me, and I can’t stand Isha Sharvani’s giggle. I liked Farhan Akhtar’s understated manipulativeness, thankgod it was not the rubbing-hands-evil-glint routine.
- Blackadder Goes Forth – I’ve watched this before, and I can rattle off each dialogue before it’s uttered, but it’s brilliance, just plain brilliance.
- Hey, Arnold! (Season 3) – I used to watch this show long long ago, sporadically. It turns out that I appreciate this show better when I watch it right after coming back from school than now when I try watching the entire season at a stretch.
- The Proposal – I had watched Did You Hear About The Morgans a few months back. Man, what’s it about Hollywood and getting New Yorkers to live in some rural area due to a set of unforseen circumstances? It’s not sweet, it’s not cute, the granny is not as adorable as other Hollywood grannies, nor is the family, certainly not as adorable as the family in While You Were Sleeping. Random chickflick. Unless you really have no choice, don’t watch this one.
- Julie And Julia – Given that I’m going through a phase where I’m craving for short term goals and structure in life, AND that I blog, AND that I sort of like cooking, this one hit close to home. If you want to use your blog to set and fulfill short-term goals, and attempt to become a better person in the process, this movie’s for you. Also if you seek relief from the daily humdrum by making yourself a nice meal at the end of the day. Of course, I’ve ended up doing neither; I constantly waver between “Cooking is stress” and “Cooking is stress-relief”. Still, not a bad movie. It shows a blogger getting a book deal, so… well…
- District 9 – Aliens! Racism! Xenophobia! One of Us becoming One of Them! Those things didn’t really make much of an impact on me. What did, however, was the possibility of a senti sequel where Wikus is old, there’s a plot to remove Wikus’s then-assistant who’s now a good bigshot, Christopher is dead, and Christopher’s son comes back….. And I’d really have liked to see something about the Alien culture and all that. It’s a good watch, I’d say, and Sharlto Copley does do a good job of the whole thing. It’s good to see aliens being portrayed in a way different from the established norm in film industries worldwide.
- Monsoon Wedding – I’ve seen this often on TV and blogged about it too. Oh, it turns out that the girl who plays the 10-year-old is Naina Lal Kidwai’s daughter.
I should also state here that I began watching Shakespeare In Love, and Happenstance, and quit coz they weren’t riveting enough.
So did I beat Dha’s record? No, considering I didn’t really watch the entire season of Hey, Arnold. And even if I did, I’d probably be tied.
I’m not going to be doing this anytime in the future. Having so many movies at your disposal and limited time to watch them isn’t my cup of tea. Of course, it’d be much better if I took it in smaller doses…. there are lessons you learn from watching Arunachalam. I’ll be going home for the summer, and as part of closing a lot of things down, I’ve cancelled my Netflix account.
And I’m not really ruing that. There aren’t that many movies and TV shows you can watch online right now. Most of the ones I wanted to watch – the entire run of Whose Line and A Bit of Fry And Laurie and all the flicks from Studio Ghibli – are not available to watch online. Why, even the rather popular flick which I haven’t yet watched and whose name I will not reveal for fear of being crucified or lynched was not available to watch online. Rather a disappointment, that way.
Plus, a good number of the films I want to watch are Tamil or Kannada or Hindi. I sadly couldn’t find Manithanin Marupakkam, which I vaguely remember watching many years ago on Sun TV and being very intrigued by it. A lot of the movies I want to watch are like that – I’d've watched fifteen minutes of it before changing the channel many years ago, after which the clips keep coming back to me, and I decide I just have to watch this… often, those fifteen minutes have nothing to do with the general tone of the movie and I’m often disappointed, but not for lack of trying.
Still, a sort-of magical day when I could totally drown in a world of make-believe.
Oh, and how could I forget…. the ratings. I rated just around 60 movies, and already, the predictions for the ratings I’d give other movies were BANG ON!! Really, amazingly accurate. Down to the decimal point. Except when it predicted I’d give two-and-a-half stars for Avvai Shanmughi.
The one thing that strikes me about this is that the movies I’d give five stars to aren’t the ones I’d really prefer to watch at any given time. I like my mindless, useless chickflicks for a one-time watch. I find some Awesome movies totally depressing.
Maybe an alternative small task would be to predict which movies are a one-time watch, and which ones I’d like to rewatch?
You are warned. Long Post Ahead.
I’m pretty sure every urban South Indian has one of these. Quite obviously… Rahman would score music for all those feel-good flicks that would be megahits. And even if they were not, the music would be a superhit for sure… which meant you’d hear of them. And hear them over and over again. Either on the radio or in the interval at the movies, or in weddings, or in someone’s car, or on TV…. basically there was no escape. And no one wanted one either… the music was different, and good. So you end up having a lot of memories tangled with quite a few of these songs. Some of these songs manage to stick with you through the ages and enter the hallowed portals of what you consider ‘alltime great’ songs. Here are mine:
- Mettu Podu from Duet: A very nice fusion-ish song. I suspect the lead character was made a saxophonist just so that ARR could use nice sax melodies for the songs in the movie. It’s a nice idea to have a wedding musician who plays the sax (in the movie)… it just sounds like the nadaswaram with a more fusion-ish feel. The same movie had some really soulful songs like En Kaadhalae and Anjali, all rendered awesomely by SPB. But Mettu Podu is the feel-good song in the album, and no matter how many times I listen to it, it only seems to get better.
- Margazhi Poove from May Madham: Sonali Kulkarni’s debut. Movie’s about a young girl yearning to be free from her overbearing father and a stuttering fiance. And this song is where she talks about all the things she’d love to do, while on a morning walk. This song had the suprabhatam as its opening…. gives the song a really good feel. The whole zest for life and freshness Sonali Kulkarni is supposed to have in the movie is reflected in this one song.
- Signore Signore from Kannathil Muthamittaal: People might like Vellai Pookal for its social message about peace and all, or adore Jayachandran’s soulful rendition of the title track. I however can’t get this song out of my head. The baila tunes and Sinhalese words demand to run through my head atleast once a day. It’s stock baila, just like Surangani, and possibly many other songs in the genre, but the cheerful mood of the song stands out against the serious mood of the rest of the movie. It’s the current song stuck in my head.
- Pettai Rap from Kaadhalan: This song needs no introduction, does it? I like the lyrics too… deep philosophical ponderings about life and death… appropriate for a song to be sung at a funeral procession. And I have fond memories of this song from school when our seniors choreographed it awesomely for the annual day, transvestite and all.
- Allay Allay from One Two Ka Four: Sad movie, sad SRK, boring Juhi Chawla, irritating kids, silly villain. And this cute song comes along. I’ve never watched the video ever. Just as well, I guess… I’ve had it upto here being disappointed by insipid videos for great songs.
- Paarkaathey Paarkaathey from Gentleman: Yet another let’s-live-life-and-have-fun song sung by a funloving girl. And this singer was called Minmini – with such a cool singer with such a cool name, which teenaged girl wouldn’t love this one? Turns out my bathroom-singing-neighbor-akka definitely did. I hadn’t met this much-older girl ever… she stayed in the next street, her house was behind mine, and I could hear her sing in the bathroom. I used to hate this girl because she sang classical songs in the bathroom very well, prompting mom to begin comparisons… and then one day she begins to sing this song… and thus became my first pop idol. I don’t think I’ve seen her, ever. But her 8 am voice singing Mangta Hai and Maragathavalli manasasmarami with the same zest continues to be an inspiration, more than a decade since I heard it last.
- Nila Kagirathu from Indira: Suhasini Mani Ratnam’s directorial debut. It had some extremely Suhasini-ish lines in the screenplay. And no, that is not a compliment. The tagline was very Suhasini too: Idhu peNNin kadhaialla, idhu maNNin kadhai – This isn’t the story of a girl, it is the story of the land. I didn’t much understand the movie, but the music was godawesome. Back then, Arvind Swamy was still goodlooking, if a bit chubby, and his intro song was good enough to keep humming every now and then. And then there was one patriotic one picturized on Anu Haasan and a bunch of schoolchildren. But Nila Kagirathu was the one that made the most impact. The more famous version was a little girl singing it.. on her own, and not because a band of aunts and grannies tempted her with promises of chocolates, unlike me. I dreaded being in the room when the song/video played – some or the other adult would invariably compare the girl singing with me and say ‘You should also sing like her’. My biggest doubt back then was how could this little girl, all of six years old, manage a tanpura without letting the whole thing fall down with a spectacular crash that left its bottom broken and top mutilated.
- Strawberry Kannae from Minsara Kanavu: Known to some as Strawberry Aankhen from Sapnay, but I listened more to the Tamil version. It sort of reminds me of Bohemian Rhapsody… is this what is opera? I liked the video, too. Kajol never looked more beautiful and more confident when she was listing out to Prabhudeva why she’d rather be a nun than be married and baked in an oven. And never more pissed off than when he makes a comment about her nose. I preferred this one over Kajol’s intro track where she’s trekking and having some girlie fun… the song wasn’t so awesome, or Vennilavae…. though that’s a fine track.
- Aye Ajnabi from Dil Se: Flawless. The title track comes close, but I don’t like the ending chorus…. I totally hate the ending chorus that Rahman adds to his songs when he can’t think of a decent way to wind it up. That apart, apparently Mani Ratnam made Priety Zinta a Malayalee solely because Rahman was hearing some awesome Mapilla tunes in his head… and there you go, you got Jiya Jale.
- Veerapandi Kottayile from Thiruda Thiruda: Folksy song with a Rahman feel. The background instruments, and Chitra’s strong vocals make this song awesomer than the others on the soundtrack – Thee Thee and Chandalekha.
- Ishq Bina from Taal: Anuradha Sriram did an awesome job here. Actually, the whole arrangement is so awesome, and all the instruments and vocalists seem so perfect – be it the solos by Anuradha Sriram (who sings impromptu in her interviews for the silliest of reasons even when no one asks her to, so much that you feel like asking her to just shut up for godsake… and you don’t for once feel like asking her to shut up in this song) and Sonu Nigam, or the chorus by Rehman and some others. And they didn’t mutilate the video, thank god.
- Dheeme Dheeme from 1947-Earth: One of the best romantic songs I’ve heard. Made better by the soundclip of a bird singing in the background. Of course, it was all integrated into the song and all that – there’s a musical instrument synchronized to play when the bird stops to breathe. Though… I like birdsong in a track better in Blackbird by The Beatles… the bird just sings in the end, it’s not synchronized and all.
- Des Mere from The Legend of Bhagat Singh: It really sounds patriotic, the tune atleast. I don’t know how he does it. I like this track much better than Maa Tujhe Salaam, maybe because I hear Maa Tujhe Salaam so much and so often I’m tired of it. Or maybe because Des Mere is a much better track. Just listening to it gives me goosebumps. I also liked Jogiya Jogiya from the same soundtrack – it was much better than the Jogiya Jogiya in the Deol version of Bhagat Singh.
- Dol Dol from Aayutha Ezhuthu/Yuva: You can’t do anything with this song except listen to it. Which makes it a perfect song for a montage. It might initially sound jarring on the nerves, but if you watch the video, it seems to fit it very well, like nothing else could have. Which is a lot more than I can say for Fanaa in the same movie – awesome song, awesome beats, and it’s ruined by the video which is too slow and can’t seem to keep up with the pace of the song and the passion it conveys. Plus, in the Hindi version, you had Kareena and Vivek Oberoi, who don’t look like teenyboppers and that ruins the whole song for you. Though if you want to go by video alone, Hey Goodbye Nanba is the best of the lot… man, does that even look like Marina beach?
- Yaaro Yaarodi from Alaipayuthey: So artfully out of tune – it’s actually quite in-tune, but sounds like it’s being sung out of tune. So much that people actually think it is meant to be sung out of tune, and mangled beyond recognition. By the time this soundtrack came out, Rahman was pretty famous even outside South India… I was pleasantly surprised when, on a train to Delhi, I found this five-year-old Bihari kid singing this song.
Uh…. don’t I seem to have missed out something? I can see purists and Rahman devotees going “How Could You?!’. No, I haven’t forgotten or overlooked it. I was merely saving the best for the last.
- Chinna Chinna Aasai from Roja: When this came out, it was the only audio tape I possessed, and I listened to it till it wore out. And I used to wait all week for Chitrahaar and a couple of other shows, waiting through all the tacky songs of those days, just to watch the video of this song. Somehow watching Madhoo talk about all her little-little wishes made my day a bit better. And the colourful video with no overweight hero-heroine attempting to tease each other silly or make out in secret was so refreshing… maybe it was all the natural beauty. And the cute things they showed Madhoo doing was so new to us – playing in water, holding a baby goat… and then the video has this shot of a little boat floating in the stream, with a little light in it. I don’t know what it was, but I totally loved that particular shot, and wouldn’t take my eyes off the screen till I saw it. Even now when I watch the video, I wait just to watch that particular shot.
So what is it that sets Rehman apart? He experiments and innovates. Which you don’t see very often. He takes bits and pieces from everywhere and puts them together and packages them in a way that most people find very appealing – all of them have a yuppie ’90s feel alongside which they also sound new and futurish – which appeals to the looking-to-get-globalized generation of the ’90s who wanted to break free from the mould of tacky Indian film music while not really wanting to listen only to Indian Classical or sticking with only Michael Jackson and GnR. His compositions favored singers with younger, lighter voices over the heavy-voiced singers Bollywood had seen till then, and as a result, the youth identified more with these songs.
And Rehman was also at the right place at the right time. Other composers might have innovated, or introduced new sounds in the past, but they weren’t equipped with a Moog Synthesizer (his father owned the first one in India) back then. Cable television was breaking ground, thus making any and every sort of film music accessible to everyone who owned a TV set. And the music video was beginning to take shape. Which meant, Rehman’s songs were also nicely picturized, and more appealing. People also had more money to spend on music and movies.
And this was also the era when the Western world began to see India as a hot market and so all of a sudden, you had India all over the globe – beauty queens, films winning international awards, or atleast getting worldwide attention – mostly thanks to the diaspora abroad, and… our composers getting to make music with Andrew Lloyd Weber. I don’t mean to trivialize the achievements of ARR, but it was more a question of being at the right place at the right time than most other things. Talent did matter, of course, coz otherwise you’d also have Harris Jeyraj or Yuvan Shankar Raja or Jatin-Lalit attaining the same level of fame.
This was an era when we were gaining self-confidence as a nation, and who better than Rahman to serenade us through it, and provide us our clairon calls, our march songs, our war-cries, our wake-up calls, our joyous shouts when we win and our inspiring power ballads to not give up when we lose by a whisker?
He was our official provider of melodies for all occurrences from waking up (Margazhi Poove) to going to bed (Rukmani Rukmani), all occasions from weddings (Mangalyam Thanthunanena) to anti-wedding requests (Kariye na) to funerals (Pettai Rap, or if you prefer mellower, Luka Chupi), realizations of love (Kandukondain Kandukondain) or cries of desperation (Evano Oruvan), secrets to success (song of the same name from Boys) or when you’ve lost everything (Vidu Kathaiyo), dancing in the rain (Thenmerku paruvakattu) or dancing in expectation of rain (Ghanan Ghanan), frustration with the system (Break the rules) or praying for good luck (O Paalanhaare) gender war (Boys-a yaenga vekkadhey) or cheerful rebellion (Paarkathey Paarkathey), flirty serenades (Signore Signore) or serious declarations of love (Nahin Saamne)… he’s such an integral part of our lives and everyone loves him for that.
If you don’t believe me on the last one, google for “I hate AR Rahman’ or variations of that, and all you’ll get is stuff like “I hate him because he doesn’t compose music for all movies’ or “I hate him because his music is so lovely it makes me cry’.
Dedicated to Malu, Pub, Meghali and Indu without meeting whom I would still have thought Assam and the Seven Sisters were another country where people largely wore grass skirts and animal bones and had tiny eyes. One incident that comes to mind is this one during counselling just before I joined NITK where I heard a parent reassuring another that his son will surely get a seat in the casual vacancy round…. who would come from Nagaland anyway. Turns out, people did. And some of them went on to top their class.
You see so many regional stereotypes in Bollywood flicks – South Indians (“Aiyo Amma”), Parsees (always suited and booted, occasionally with traditional headgear), Punjabis (need I elaborate?), Bengalis (the accent, first and foremost)… why, even Nepalis (all named Bahadur, who all say “Ji, shaab”)… but I’m yet to come across a main character from the North-East (apart from in Chak De)… why, even Danny Dengzongpa plays some firang or origins-unknown villain and not a Naga or Mizo. Or does my memory fail me? Or is it plain ignorance?
I’ve not come across any movie set in the North-East either. Though I think Tango Charlie had a few scenes with Bobby Deol battling insurgency in Assam (Update: Turns out it went on to be banned in Assam). And Dil Se was set in Assam (though everyone including me thought it was Kashmir) before moving on to Ladakh?
I’m surprised no one makes a movie about the separatist movements in the seven North-East states. Okay, maybe you can ascribe that to language difficulties (if at all you need to hunt for a reason).. but what about Assam? Bollywood seems to have only fleetingly, if at all, talked about Assam.
Though, a Kannada movie called Hoo Male was set in Assam, and it starred Ramesh Arvind (for those who don’t follow Kannada flicks, he’s a star). And it also had an ULFA militant spout lines like “Delhi to Mumbai is the same distance as Delhi to Guwahati… so why does Delhi concentrate so much on Mumbai and nothing at all on Guwahati?”. Oh, and it had the lead pair doing the Bihu dance, too.
So… is there a Bollywood movie set in the North-East that I’ve missed?
Ah… one comes to mind… Daman, starring Raveena Tandon. Won her a National Award for Best Actress. It had music by Bhupen Hazarika, their family name was Saikia, and the NE connection ended there.
Any NE more? Rather, NE at all?
I watched Madhavan’s intro scene in Kannathil Muthamittaal recently. The one where he shouts at a fan of his in the bus. Did anyone notice that the guy in the background with the oversized glasses is Siddharth Narayan (of Boys, Rang De Basanti and Bommarillu fame)?
And I’d noticed this long before, and I suppose a hundred others have, too – Shahid Kapur is an extra in one of the sequences in Kahin Aag Lage from Taal. There are twenty others who drape cloth around Ash, and he’s the one who covers her head at the end. Of course, when I noticed that, he was just “that guy who keeps appearing in arbit ads and music videos”.
If you used to catch Get Gorgeous 5 on [V], and watched Om Shanti Om after that, you might have noticed that one of the three girls who hang around Om Kapoor was the almost-winner of the season, Gwen.
Any others, anyone? Remember, I’m not talking about cameos. Any other not-so-well-publicized appearances in films by now-popular folks you remember?