Karan, Aditya & I Born with Golden Spoons, Sell Fairytale: Sooraj
The Indian film industry has been a hub of creativity and entertainment for decades, churning out movies that have captured the hearts of millions of people across the globe. Among the many talented filmmakers who have contributed to the industry’s success, Sooraj Barjatya is one of the most notable ones. With a career spanning over three decades, Barjatya has given us some of the most iconic and memorable films of all time, including “Maine Pyar Kiya”, “Hum Aapke Hain Koun..!”, and “Hum Saath-Saath Hain”.
In a recent interview, Sooraj Barjatya spoke candidly about the experiences of his contemporaries and himself, revealing that they were all born with “golden spoons” and didn’t have to face the hardships that many others in the industry had to endure. When asked about the kind of stories he and his fellow filmmakers, Karan Johar and Aditya Chopra, told through their movies, Barjatya had a straightforward answer: “We showed the kind of world that was a fairytale, and the 90s were an era when the audience wanted to see fairytales.”
The statement is a stark reminder of the privileges that many individuals in the Indian film industry enjoy, thanks to their family backgrounds and connections. Both Karan Johar and Aditya Chopra come from illustrious film families, with their fathers being renowned filmmakers in their own right. Johar’s father, Yash Johar, was the founder of Dharma Productions, while Chopra’s father, Yash Chopra, was a legendary director and producer.
Barjatya, too, comes from a film family, with his father, Rajkumar Barjatya, being a successful producer and director. Growing up in such a family, it’s no surprise that Barjatya and his contemporaries were given a leg up in the industry, with opportunities and resources that many others could only dream of.
The “golden spoons” that Barjatya refers to are a metaphor for the privileged upbringing and access that many individuals in the industry have. In an industry where nepotism is often a dirty word, Barjatya’s statement is a rare admission of the advantages that come with being born into a film family.
But what does it mean for the kind of stories that these filmmakers told? According to Barjatya, they showed the audience a “fairytale” world, which was exactly what the audience wanted to see in the 1990s. The decade was marked by a sense of optimism and idealism, with the economy growing and the country experiencing a period of rapid change. The films of Barjatya, Johar, and Chopra reflected this mood, with their stories of love, family, and social change.
Films like “Maine Pyar Kiya” and “Hum Aapke Hain Koun..!” were massive hits, with their grand sets, elaborate song and dance sequences, and happy endings. They were the kind of movies that audiences loved, with their formulaic storytelling and larger-than-life characters.
But not everyone was happy with the kind of stories that these filmmakers were telling. Critics accused them of peddling a form of escapism, with their films offering a sanitized and idealized view of Indian society. The films were also criticized for their lack of realism, with their characters and storylines often feeling like caricatures rather than real people.
Despite these criticisms, the films of Barjatya, Johar, and Chopra remain some of the most popular and enduring in Indian cinema. They may have been accused of being overly sentimental and formulaic, but they have also been credited with helping to shape the course of Indian popular culture.
In his interview, Barjatya acknowledged that the kind of stories he told may not have been realistic, but he defended his approach, saying that it was what the audience wanted. “We have always travelled in cars,” he said, “and we have made films that people wanted to see.”
The statement is a reminder that, despite the criticisms, Barjatya and his contemporaries knew what they were doing. They understood what audiences wanted, and they gave it to them. Whether or not this approach was “artistic” or “authentic” is debatable, but it’s undeniable that it worked.
In conclusion, Sooraj Barjatya’s statement about being born with “golden spoons” and selling fairytales is a rare glimpse into the privileged world of Indian cinema. It’s a reminder that, despite the criticisms, Barjatya and his contemporaries were able to shape the course of Indian popular culture through their films. Whether or not their approach was realistic or authentic, it’s undeniable that they have left a lasting impact on the industry.
