Cinema brought to us by Imtiaz Ali

The cinema of film maker Imtiaz Ali is distinct yet real. The story lines, though criticized for being similar, raise a new question every time Ali brings it to the screen. His repeated use of symbols is a proof of us living in a loop we never identify and acknowledge. Similar to the repetitive symbols, the cycle of problems, taboos and toxicity has not been dealt with and removed from the social structure. Ali uses the tie in more than two movies, pointing to the social constraints faced by his characters. Again the use of illness has been beautifully used to join the strings of love and bond to the body.

Definitely not a crowd favourite, Imtiaz has developed a niche over a decade and a half of story-telling in the form of feature films. In his 2015 release, Tamasha, Ved looks for his Tara while he is looking at the sky dotted with a million stars (Tara). Back in Jab We Met, Aditya finds peace in Geet, after she leaves; all he is left with is music (geet). Thus Ali bridges the gap between the living, the breathing and the non living.

The inevitability of loss is represented through music, rugged landscape and intense dialogue. As Janardhan (played by Ranbir Kapoor) leaves his house and life for a new beginning, the song ‘Kun faya kun’ begins, empowering an already powerful scene.  Across most of his films, the Himalayas act as place of belongingness. Heer and Janardhan make the best memories against snow clad Himalayas. In his cinematography, the snow, the cold breeze can save dying, aching souls, it appears. 

The parallel lines of dreams and comfort are drawn in almost all his scripts. As Jordan takes birth, rising to fame and popularity, he misses the comfort of love he had felt with Heer. In the 2009 film, Love Aaj Kal, Meera finally gets to paint frescoes, but not before saying a tough good bye to Jai. These two lines never meet and that births a moving, impactful ache.

Music remains an essential element of Ali’s art. Often teaming up with AR Rahman and Mohit Chauhan, the most essential moments of each story come to life. Each soundtrack seems to fit into the screen play just about perfectly. In Highway, the music brings to life the newly found independence felt by Veera. She enjoys the fresh air and eventually falls in love with the man, Mahabir who brings it to her. Eventually in his death, Veera finds her true self.

All in all, though not a crowd pleaser, Imtiaz Ali believes in creation of art, which isn’t merely enjoyed but is also thought upon. He aims at initiating a conversation, hoping for a shift in societal expectations and acceptance. With powerful dialogue and soulful music he brings to life concepts only a few directors in our country wish to and are capable of. With a trajectory to back him he is indeed changing the norms one story at a time.  


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