Indian cinema is slowly breaking the stereotypes that have been associated with it since time immemorial. There has been a healthy increase in the number of offbeat subjects that are being attempted. However, a novel concept does not automatically result in an awe-inspiring product on screen. Numerous filmmakers have been let down either by a flawed script or halfhearted execution.

Also, when a producer or filmmaker states that their movie is original, completely different and a subject like it has never been seen on Indian Cinema, they tend to be speaking equivocally. Take for example 'Black' (2005, Sanjay Leela Bhansali). No doubt that this was a novel experience for the Indian audience, and was treated sensitively (perhaps bordering on over melodramatic), it was not however actually original on the international scene. The first half of the movie was a virtual remake of 'The Miracle Maker'. Moreover, it is dishonest to credit the story and screenplay to a different writer without stating the source of 'inspiration.'

To score at the box office or to make an intellectual film? This is usually the question that sometimes crosses the minds of the filmmaker, with the former option being selected. In an attempt to ensure box office success, an increasing number of filmmakers and producers are using the promotional video technique. The trend started by Ram Gopal Verma in 'Bhoot,' and has found a number of successors, with Himesh Reshammiya currently being featured in every other music videos. Does it work? At times, yes. Movies such as 'Aashiq Banaya Aapne (2005, Aditya Dutt) ', 'Bluffmaster (2005, Rohan Sippy) ', 'Aksar (2006, Anant Mahadevan)', 'Garam Masala (2005, Priyadarshan)', and 'Taxi No 9211 (2006, Milan Luthria)' have all found various levels of success at the box office. Is this a development in the film industry or just a passing phase? Only time will tell, but it seems as if every producer is opting for this technique.

This year (2006) will feature the release of some of the biggest movies of which many are sequels. 'Krissh (Rakesh Roshan), 'Dhoom 2 (Sanjay Gadhvi)', 'Sarkar 2 (Ram Gopal Verma)', 'Phir Hera Pheri (Neeraj Vohra)', 'Gyarah (Anubhav Sinha)', 'Munnabhai Meets Mahatma Gandhi (Rajkumar Hirani).' Remakes also appear to be popular with 'Sholay', 'Don', 'Umrao Jaan' and 'Amar Akbar Anthony' being made.

It should be noted that the predecessors of the sequels above all found success at the ticket window. One eagerly hopes that the sequels are not all hype and posses no substance. Going on track record, all should register excellent openings at the box office but from thereon, the appeal that the movie has for the audience will decide its fate.

However, the box office can lie and it has done. 'Bunty and Bubbly' earned a super-hit status, whereas a masterpiece like 'Hazaaron Khwaishen Aisi (2005, directed by Sudhir Mishra)' was largely ignored. The Johar camp has been obsessed with candyfloss cinema, packing the movie with appealing ingredients. No doubt the execution is good but the basic premise of the movie is hollow and the stories are unoriginal. The successes of these movies are superficial and instead of progressing Hindi cinema, they take it two steps back.

Remakes - definitely interesting to watch but are they hiding something? Could it be that there is a drought of novel ideas and creativity in Bollywood that producers and filmmakers have to reopen the files of history? Are they just another moneymaking gimmick? Whatever the reason, one thing is certain - Hindi cinema is in desperate need of creative storywriters and scriptwriters. Approximately 80% of the movies released in a year are copied scripts from the United States (or possibly other areas). These past few years, it appears as if the current trend of Hindi cinema is to follow the trend set by Hollywood. A greater endeavour is needed in order to promote innovative writers to step into the Hindi cinema and change its appearance.

It is quite common to see certain Hindi movies being featured in various festivals. But can they really compete with the standard set by movies from Europe, Asia and even South America (which a few years ago gave the brilliant, 'City of God'). Of late, 'Paheli (2005, directed by Amol Palekar) ' was chosen as India's official entry to the Oscars, which led to the raising of many eyebrows (notably of Sanjay Leela Bhansali's). As the sceptics predicted, 'Paheli' could not make it to the Oscar nominations and no one was really surprised at that decision. Incidentally 'Paheli' also did not consist of an original story and screenplay, as it was adapted from Sarath Chandra's novel 'Duvedha'.

At a brief glance at the movies nominated for the Filmfare Best Film award 2005, we realise that only one movie, 'Page 3 (2005, directed by Madhur Bhandarkar)' was actually an original script. The movies were either 'inspired ideas' or adaptations from a novel: Black (2005) - unofficial remake of 'The Miracle Worker' Bunty & Bubbly (2005, Shaad Ali) - unofficial remake of 'Bonnie and Clyde' No Entry (2005, Anees Bazmee) - unofficial remake of the Tamil movie 'Charlie Chaplin' Parineeta (2005, Pradeep Sarkar) - adaptation from Sarath Chandra's novel.

What perfectly illustrates the condition of Hindi cinema. If the industry is not willing to invest into original, artistic and imaginative ideas/concepts, then the world globalisation (of the Hindi film industry that is) should not even be on their lips.

Fortunately there are still a handful of directors who believe in sound scripts and delivering top-notch products. To name some - Rajkumar Santhoshi, Sudhir Mishra, Vidhu Vinod Chopra, Nagesh Kukunoor, Yash Chopra, etc.

Here's hoping that film industry will open doors for more pioneering writers/directors, rather than third-rate actors.

You never know…it may happen, right?