This is part two of a five part series looking at whether heroine-oriented comebacks are doomed to fail.
The second film looked at is 2013’s “Ishkq in Paris” which saw Preity Zinta, a hugely popular actress in her peak with blockbusters such as Veer Zaara, Kal Ho Na Ho, Dil Chahta Hai and Koi Mil Gaya, attempt a comeback following consecutive unsuccessful films, a shift towards non-Hindi and more arthouse projects, and then a five-year hiatus. Notably this break was not due to or corresponding with marriage and/or children (Zinta married rather this year ).
Zinta’s most recent Hindi films, prior to her 2013 comeback in “Ishkq in Paris”, Jaan-E-Mann and Jhoom Barabar Jhoom, were commercially unsuccessful and critically unappreciated, leaving Zinta to explore roles in other languages (including ‘The Last Lear’ and English-language film, and Punjabi and English language film “Heaven On Earth”. This put extra pressure on her return to be a hit, and the large a gap since her last successful Hindi films (2006’s Kabhi Alvida Naa Kehna and 2005’s Salaam Namaste as a lead) meant the film needed a gimmick or something instantly different to attract attention and get people buying tickets.
This didn’t happen. Rather, for “Ishkq in Paris”, which suffered a very poor box office run, there are very identifiable reasons the film was unsuccessful, not exclusively limited to the film itself.
The usual SPOILER alert – and whilst the film is not one that will stay with you forever, it was perhaps unfairly singled out as an example of what not to do. So if you have some time to spare, check out “Ishkq in Paris”, especially if you are a fan of Zinta’s other work or of the romantic comedy generally. Trailer below:
The missteps of “Ishkq in Paris”, and how they could have been avoided:
A pure romance plot was not in-keeping with contemporary commercial films:
“Ishkq in Paris” missed the fact that sugary romance films are not as popular as they were in the 90s and early 2000s and the highest grossing films now incorporate romance but generally lead with action, comedy or drama as the main genre (e.g. Bajirao Mastani [drama], Chennai Express & PK [comedy], or Dilwale & Ek Tha Tiger [action]).
Profitable films in recent years without the Khans have also typically not been of the sugary romantic genre – this year Neerja [thriller], last year Tanu Weds Manu Returns [comedy], Queen [travel/buddy film], NH10 [thriller], Piku [drama], Ek Villian [thriller] and Pink [drama].
Increasing the comedy element of the film, a natural fit for Zinta, would have been an obvious solution, as an action or thriller element would involve entirely reworking the movie, and added drama would have lost the light and fun feeling the film attempts to leave its viewers with.
A more stereotypically youth-oriented plot unlikely to appeal to those who had grown up watching Preity Zinta:
The most successful recent films which could perhaps be categorised under this genre still had other box office pull such as Yeh Jawaani Hai Deewani (popular songs, buddy/travel film element, off-screen gossip around the lead pair), Humpty Sharma Ki Dulhania (youth market, popular songs), 2 States (youth market).
Preity Zinta fans, however, who had idolised her in films such as Kal Ho Naa Ho and Veer Zaara, even the youngest ones who would have been teens at the time, by the release of “Ishkq in Paris” would be 10 years older, having matured into adulthood likely with the responsibilities that come with that.
The Paris setting and Frenchness of the lead character meant the film lacked a desi quality needed to appeal to the Indian audience:
In Ishkq in Paris, Zinta plays a Half-French, Half-Indian character called Ishkq, who meets Akash a ‘Funjabi’ from Delhi, on a train from Rome to Paris. Arriving in Paris he asks her for a no-baggage night out in the city, to which she agrees.
The three aforementioned pure romance/romantic comedy films that were successful in recent years – 2 States, Yeh Jawaani Hai Deewani and Humpty Sharma Ki Dulhania were all largely shot in India or promote the importance of home (note Naina wanting to remain in India despite her love for Bunny, and his return for the location wedding in Rajasthan; Kavya choses the local boy Humpty over the NRI Angad; and 2 States is set across Gujarat, Delhi, Maharashtra and the titular “two states” of Tamil Nadu and Punjab.
The film’s entire setting in Paris (although with some parts filmed allegedly in Lyon and Prague) that there was some interest specifically in shooting in Paris over any emphasis on creating audience interest. The setting lives the film ending up as a strange mix of Aditya Chopra’s upcoming film Befikre, 2014’s Queen – largely set in Paris and Amsterdam, Tamasha – with the first part seeming like an advert for Corsica’s tourist industry, Hum Tum – which involves a lot of scenes in locales in New York and Paris which simply involve Saif and Rani’s characters discussing the relationships between men and women, and perhaps the most obvious influence is the 1995 Hollywood film “Before Sunrise”, which perhaps indicates another reason why the film feels dated.
Failure to acknowledge the space the characters would really be in during their late 30s:
In the film whilst there is a small mention of Akash’s career as an agent, we know very little actually about Ishkq’s life in Paris – her career (if she has avoided long-term relationships, it would be highly possible she could have instead focused on being accomplished in her career), nor do we meet any of her friends (another possible focus of her attention). This film in another mould could have been a desi Bridget Jones’ diary – where Bridget is shown trying to advance in her career and also as having a close knit group of friends, but being “unlucky in love”.
This leaves Ishkq as an unrealistic character to be portrayed by Preity Zinta herself at this stage in her career. Zinta producing the film for Alia Bhatt and Varun Dhawan (a la Humpty Sharma Ki Dulhania) as a modern day Simran and Raj would have had a better chance of succeeding in its current format. A version to relaunch Preity Zinta’s career needed to play down the impact of her parents (would even a Half-Indian woman who has lived her whole life in France still be living with her mother in her late 30s? Unlikely), and perhaps her learnt habits of living life as an independent woman that she might be unwilling to sacrifice. This would have made for a more believable character, script and more relatable film with a greater appeal and chance of success.
The songs were underwhelming – this meant a lack of buzz, and failure to capitalize of the Salman Khan cameo:
Akash leaves for London and we reach the interval. He stalks Ishkq on Facebook and is invited to a friend’s wedding in Paris and stalks her in Paris for real.
He asks Ishkq to do him a favour and be his +1 for the wedding. She agrees and when at the wedding claims she is there rather scouting for cute guys.
At the wedding reception Preity as Ishkq declares “I love Bollywood” in a meta moment when it is announced a major B-Town star is attending. The song breaks and it is indeed a major star – a cameo from Salman Khan no less, who unfortunately for the viewers, has not exactly established his popularity due to smooth dance moves (this is no Hrithik Roshan or Madhuri Dixit video song cameo).
A better soundtrack more generally (the use of some of Hindi film’s most popular playback singers in the likes of Shreya Ghoshal and Sunidhi Chauhan isn’t matched with catchy tunes). They also feel, like the pure romantic comedy genre itself, as not in keeping with the zeitgeist of popular tracks in 2013 when “Ishkq in Paris” was released. This is especially curious but also important as some of the tracks from Zinta’s biggest hit films have had lasting popularity and allow for repeat listens even in 2016 (including the title track to “Kal Ho Na Ho” and “Maahi Ve” from the same film, and the songs “Main Yahan Hoon” and “Tere Liye” from “Veer Zaara”. Such memorable songs in “Ishkq in Paris” would have helped create buzz for the film that would have increased the initial occupancy as the film opened.
So what did work?
Parts of the film are a fun watch – I enjoyed the “rolling of the dice” as a framing device setting up different scenes and locations, and the two of them acting out a “film within a film”:
Akash and Ishkq visit the Eiffel Tower, and after purchasing a “fun dice” from an eccentric Indian street-seller and after rolling “party”, they go to a night club for dancing and obviously the first song of the movie (which in-keeping with the point above, is unfortunately quite generic and forgettable).
They share best pick-up lines and break up lines, and then roll the dice again and land on “dinner”. At dinner they meet a psychic that predicts that Ishkq will marry within a few months and that she will meet her father very soon (the first taken lightly and the latter prediction receiving a much more serious and concerned reaction).
They roll the dice once again to try to cheer up Ishkq and land on “movie”. She remarks its too late in the night to catch a film and he wants roll again, with Akash hoping of course to land on “sex”. Iskhq shuts this down, and proposes instead making their own movie (somewhat of a meta joke given Preity produced and co-wrote the film). They act out their own romantic drama, during which Ishkq berates the improvising Akash for adding that the heroine has waited 8 years for the hero’s return.
“This is a rubbish love story” she declares, asking him if he thinks he’s Zinta’s Jaan-E-Mann co-star and friend Salman Khan. Finally, he puts on a more convincing performance, ending with a declaration of love. The Veer Zaara star remarks “[y]ou watch a lot of Yash Chopra romances”.
They spend the rest of the night discussing their fears and emotional baggage (so much for a no baggage night) and roll the dice again landing on coffee as dawn breaks.
That the relationship begins between Akash and Ishkq with a full third of the movie to go is a little less predictable:
We learn Ishkq has never been to India and of her father’s absence in her life since she was 7. They begin a relationship (somewhat less predictable than expected that this happens only two thirds of the way through the film rather than at the end).
There is a strong theme of women’s empowerment in the fact that Ishkq is not a character looking for a man to solve her problems. Rather her relationship with Akash builds on a flirty friendship into something more:
Whilst it is somewhat frustrating that the main obstacle to Ishkq and Akash’s relationship seems to be her “daddy issues” causing a fear of commitment, this short dialogue stood out in particular:
Akash: Don’t want to hear what Ishkq?
The truth that I love you?
That I want to spend my life with you?
And be the one to save you from ever being lonely?
Ishkq: Save me?
I’m very happy the way I am!
And I can look after myself.
I don’t need a goddamn saviour, OK?
That this argument is the obstacle that causes their split is authentic and allows the audience to identify with both sides, to identify with Ishkq’s frustration with his need to “fix” her, but appreciate Akash when returns apologetic with an attempt at reconciling.
Ishkq’s mother Marie tries to help by explaining to Ishkq that in fact she and her father split amicably, and she discouraged her father from remaining in their lives. If this had been kind words from a mother attempting to do what was right for her child’s happiness, rather than the truth, this may have been a more interesting plot point. There is no indication this is the case however.
End scene as a taste of what this film could have been in another guise
A scene that is more reminiscent of Bridget Jones’ Diary and one of several snippets of what this film could have been is the scene at the end where Ishkq is running in a hoodie, jeans and a pair of Uggs to the Gare du Nord train station to catch Akash at the food court where she had highly recommended the laksa.
This is fully within the conventions of the romantic comedy genre, but adds a twist that is softly comical and in-keeping with the character. Preity Zinta has enough personality, film experience and screen presence that a fully fleshed out Ishkq could have become a great film character, but the disconnect between her characterisation as written in the script, and the casting of Preity in the role mean this never manifests.
Zinta as Producer and businesswoman
Preity Zinta has joined a growing club of heroines moving into production with “Ishkq in Paris”. Whilst this will undoubtedly lead to mixed results, Zinta contributed to supporting this trend and creating a role for herself, not relying on opportunities to emerge where there are fewer. The three Khans, Akshay Kumar and Ajay Devgan have all been heavily involved in film production, so it is encouraging to see other heroines also make similar moves, including Anushka Sharma in 2015 with NH10 and next year’s “Phillauri”, Priyanka Chopra supporting regional cinema with her company Purple Pebble Pictures and with Sonam Kapoor rumoured to be joining her Producer sister Rhea (who produced Sonam-starrers “Aisha” and “Khoobsurat”) in the production of the upcoming “Battle for Bittora”.
Perhaps learning from her producer experience, Zinta has now switched her focus to business ventures, notably her involvement as a co-owner of the IPL team Kings XI Punjab, where she has been celebrated for her success as a businesswoman and remains passionate cricket fan.
“Ishkq in Paris” is a far from perfect film. It was, perhaps even destined to fail from the beginning, given the need for a new angle or gimmick to garner interest, after a significant spell away from Hindi films for the lead actress Preity Zinta.
Both the critical and box office battering it received, are however, unfair. Zinta does a fair job and in fact both leads are likeable and do their best with the format to engage the viewer. A seeming lack of clarity of what the film might be trying to say about relationships, however, is lost in an array of inspiration from romantic comedy films from both India and the West. It leaves the audience feeling that the film is unoriginal in concept and delivery – a likely reason why critics were particularly harsh.
It is worth considering to what extent gender factored in here. The film is produced by a woman, widely known for her independent mind and outspokenness in the industry, playing a Western character (of partial Indian descent), in a Western locale, in Western clothing. She has the guts to be the lead, literally naming the film after her character (or character after the film – its hard to tell), and casts a relative unknown actor alongside her as the male lead.
Most potently, the subject matter is romance and the genre is a light romantic comedy – considered particularly to appeal to female audiences rather than male ones. It could quite easily fit in the genre I’ve coined “lipstick cinema” – with upcoming films such as Sonakshi Sinha’s “Noor” and the Kareena Kapoor/Sonam Kapoor film “Veere Di Wedding” seemingly fitting into this genre.
It will be interesting to see what reception they receive by audiences and critics, and how they manage marketing in advance. Films which appear to directly market to women are considered as less serious, of lesser quality and are charged often even in advance of watching, as not worthy of even viewing.
Verdict: This film does suggest that heroine-oriented comebacks are held to a higher standard. “Timepass” films which engage the viewer’s attention for a couple of hours and end with a feel good conclusion are many in number, but few find themselves in front of either commercial or critical obstacles such as faced by “Ishkq in Paris”.
Whilst there are evident flaws in the premise and delivery detailed above, whether these would have truly lead to an acceptance of Zinta’s return to movies remains a question.
“Content is king” is a common phrase these days and holds true – but if there is an audience that watches the content in the first place. A disastrous first day collection set the course for “Ishkq in Paris” as a box office flop that was always going to be impossible to overcome. The film’s flaws largely lie within the context of the challenges associated with a film return when trends, style and execution have all changed in the meantime. The other main barrier deals with a catch-22 of a perceived in-authenticity for women over 35 to portray stories that suggest the youthful escapism cinema is selling to its audiences (this does not in the slightest apply to our male heroes), and a general lack of interest in stories that actually reflect the lives of women over 35.
As such “Ishkq in Paris” is the first piece of evidence to suggest perhaps there is a “curse” against heroine-oriented comebacks – sometimes there is a double standard, and sometimes the obstacles are too hard to overcome.
Found this interesting?:
- Check out part one of this series on Madhuri Dixit’s return in 2007’s “Aaja Nachle”
- Read a primer on what this series is all about