SHE LAY ON A RUG on the well-trimmed lawn of the Ootacamund (Ooty) Golf Club, propped up by one of her elbows. Dressed in a colourful sari, her long black hair was partly hidden by a picnic box filled to the brim with fruit. There was a thermos flask and a cylindrical container for warm food next to and in line with the fruit filled box.
Soon, a bespectacled young man with well coiffured hair and dressed in a white shirt with brown trousers began crawling towards the lady’s feet. Then, he manoeuvred his body over her knees and towards her face. Then, just as he was about to kiss her, both of these figures lowered themselves so that their heads were hidden from view by the picnic box, the hot food storage and the thermos flask.
This amorous couple were neither alone nor unobserved. Apart from my wife and me, local women carrying unwieldy bundles of wood on their heads passed by. Also, the couple were surrounded by a large film crew with lights and cameras.
Soon after their heads disappeared from sight, they reappeared as the film director came running towards them. He talked to them and they repeated what we had just watched after a man with a clapperboard bearing the film name “Andaz” had stood close to them for a few seconds.
“Andaz”, a Bollywood film, was released in April 1994. By chance we had stumbled on this outdoor film shooting in January 1994 during our honeymoon, part of which was spent in Ooty.
In 1994, and certainly until quite recently, intimate displays of affection were not included in Bollywood and other Indian films. What we saw in rehearsal was one of many ways from which film audiences would be saved from seeing an intimate moment. At the moment the audience would expect the male actor was about to plant a kiss on the young lady, they disappear from sight behind the picnic items. Nowadays, the audiences in India get to watch the intimate moment, often in surprising detail for someone, like me, used to watching the older more prudish Bollywood productions.
Although my love of Bollywood films began around 1994, seeing this scene being shot only increased my affection for them. My addiction to Bollywood films began in 1993 when in London some Maharashtrian friends of my wife-to-be insisted that watching the Bollywood film “Sholay” (1975) was important for acclimatising me to the Indian milieu I was about to marry into.
Although many of the latest Bollywood films are extremely good, my preferences is for the older ones. Though often with very complex plots, they have, I believe, an enjoyable innocence that transports the audience temporarily away from the harsh realities of the world beyond the walls of the cinema. Many of the more recent films do the opposite: they remind the audience of the problems they are facing.