Gautam Chintamani

When it comes to the likes of Rahman, and Pookutty, there could also be something else at play. There is a mindset that stops people from approaching artists that might simply be too good.

Post-independence popular Hindi films considered class disparity as one of its go-to themes and included it in nearly all genres ranging from romance to drama.

Remembrance of things past is not necessarily the remembrance of things as they were. However, the time in the history of the world where the bygone is recalled can do wonders.

This isn't the first time someone with immense potential got the short end of the stick in the Hindi film business on account of being an outsider.

In a scenario where even officially older films are a mess to watch with DVDs and Blurays butchering their aspect ratios, the trauma of witnessing colourisation of some of the seminal classics is far from over.

With the world fast adapting to the changes unleashed by the pandemic, the film industry needed to re-look at its mechanism. The same way cinema halls also need to adapt.

Few can stake the same claim as Irrfan, who at the time of his death was one of the best-known Indians in the world of cinema.

It would be difficult to imagine that a real-life event like the coronavirus pandemic wouldn’t usher in a new phase for the disaster genre within Hindi film.

Much like the oft-repeated points in the remix debate, the powers that be invariably end up blaming the public for accepting the new version.

The eerie similarities between present-day events and the plot of Contagion where a virus leads to the loss of social order has expectedly renewed interest in the nine-year-old film.