The best is just two days away. Nothing in the world is worth a 6am wake-up call more than the live telecast of the Academy Awards. The worst is over. The first two months of 2011 made film awards banal, a dime a dozen, sparing no star a speech. The Tweeple Film Awards are behind us too, after a long and fair process of nominations and selection.
2010 was a remarkable year at the movies, of course. I am yet to meet anyone who has anything bad to say about Band Baaja Baaraat. We have song-and-dance kind of love in our movie-watching DNA. This gem of a small film made Yash Raj Films money and took us back to the Dilwale Dulhaniya le Jayenge days, without the regressive melodrama.
Candid camera: Rishi Kapoor in Do Dooni Chaar.
The Lounge film awards recognize talent in Hindi films that has not got its full due despite two months of unending ceremonies. The winners are:
Some best lead performances: Ronit Roy (after years of mindless and soulless soaps on TV, this actor managed to retain the actor in him and delivered a superb performance), Rishi Kapoor (the Indian Everyman in monkey cap doesn’t get more heartwarming), and Vidya Balan (she got the sly, sexy and fierce Indian woman just right) for best lead performances in Udaan, Do Dooni Chaar and Ishqiya, respectively.
Best film, writing and direction: Love Sex aur Dhoka; Dibakar Banerjee (this film shattered some long-accepted ideas about making and watching a film)
Best Bollywood formula reimagined: Band Baaja Baaraat (you can’t fool your DNA)
Best cinematography: Udaan (Jamshedpur, cold, steely and industrial, and without set-ups, the camerawork added to the film’s mood. As opposed to the camera on steroids in Raavan)
Best music: Ishqiya (Vishal Bhardwaj at his best)