Why Filmfare needs to get its act together

“Aaaaaaaaaaand the Pepsi Oscar for the best actor goes to… Leonardo DiCaprio.” Do you know how ludicrous it sounds? Not because it hasn’t happened so far, but when the Oscars have their sponsors name tagged to it, the thing loses its dignity. More so when the sponsor-appended full name is Manikchand Filmfare awards (Seriously? Something that one chews and spits away?) that has now given way to Britannia Filmfare awards (at least this can be digested).

Okay, so the nominations have been announced and awards declared. Bajirao Mastani may have won big, but the real loser has been none other than Filmfare itself. Of course, Bajirao Mastani was an excellent magnum opus and deserved to win big, but it lost on the most important nomination: music. Sanjay Leela Bhansali truly deserved to win. The music studded with Maharashtrian folklore to Hindustani classical was certainly much better than Ankit Tiwari’s Roy that had only one unforgettable song – the peppy Chittiya Kalaiyan, again not very rich.

But what Bajirao Mastani didn’t deserve to win was the award for the best film. Now, let us concede that we are far from reaching the Oscar scenarios where best film can be awarded solely on the basis of critical acclaim. Conventionally, the Filmfare best film is awarded to a flick that has received a mix of box office success and critical acclaim. In 2001, when the nominees were Lagaan, Dil Chahta Hai, Kabhi Khushi Kabhi Ghum and Gadar, all smashing box office hits, the award went to Lagan which was critically more acclaimed than the rest. Going by this logic, Bajrangi Bhaijaan (disclaimer: I am not a Salman fan) excelled Bajirao in both collections and critical acclaims. But instead of an award, it just got a snub. Sadly, it is still unthinkable for movies like Masaan, Angry Indian Goddesses, Titli, Manjhi and Margarita with a Straw to even get nominations, let alone Baby and Drishyam.

Filmfare is always known to have fancied big names instead of performances based on merit. Seriously, if it was Filmfare’s idea of cracking a joke on its credibility, then best debut male to Kapil Sharma would have been at least sensible humour instead of Sooraj Pancholi (for Hero). Vicky Kaushik of Masaan had a very strong case, but technically he is not a debutant, so ruled out. Thank heavens, Baba Gurmeet Singh Ram Rahim Insaan ji was not considered for MSG. It is really funny when you have Jimmy Shergill nominated for best supporting actor for Tanu Weds Manu Returns (TWMR), but Ranvir Shorey for Titli ignored. Kangana Ranaut was not just superlative in TWMR but was liked by masses and classes alike, whereas Deepika’s role in Piku was critically acclaimed. So, in my view, the awards they bagged were totally interchangeable. It baffles as to how Richa Chadha (Masaan) and Kalki Koechlin (Margarita With A Straw) were not even nominated for best actress and Kajol (Dilwale) and Sonam Kapoor (Dolly Ki Doli) had a safe place. Similarly, it could shock many that Ayushmann Khurrana (Dum Laga Ke Haisha) with his pitch perfect Haridwar accent was not considered for the best actor category nominations.

Masaan deserved the best lyrics award more than any other movie and it didn’t even get a nomination. I am still trying to remember the background score of Piku, which is so forgettable that it makes me wonder what was wrong with Baby or Talwar or Drishyam. And what special effects did Bombay Velvet have that Manjhi – The Mountain Man did not? And what was the point in awarding R D Burman award to Armaan Malik? Thank goodness they awarded Birju Maharaj for “Mohe Rang Do Lal” in Bajirao Mastani rather than Remo D’souza who overlooked an obvious lip sync error of Priyanka Chopra in the Pinga song. So much for perfectionist Sanjay Leela Bhansali.

While individual tastes may differ, no one can deny that Filmfare has usually shied from awarding unconventional actors/films who are not a part of a certain coterie that fills the glossy pages of its magazine Filmfare owned by the Times group. In other words: the biggies. The smaller ones are usually left out even if equally deserving or more, unless acclaimed by some of the biggies. Thus, it is starting to become more like an elitist club where sons of Pancholis and nephews of Anu Maliks are preferred over genuine Shashank Aroras and Vicky Kaushals. Filmfare cannot afford to upset any biggie. After all, it has to run a magazine.

There is no systematic rule in how the Filmfare awards are decided but in contrast, Oscars have a structured format of voting and a time-bound system strictly governed by rules. It doesn’t invent a new award category overnight just to please Spielberg, who is certain to not win best director this year. They keep the stars starved, they feed the talented. And thus, keep the hunger alive in artists to desire it and thereby also maintaining the dignity of awards. So, it is high time Filmfare got its act together in a more structured, long-term and well-defined way. Until then, movies like Masaan and Manjhi would continue to win hearts but not awards.