Ghajini
is
big,
bloated
and
ready
to
burst.
When
the
entire
nation
is
engulfed
by
the
Ghajini
fever,
what
can
we
say
but
recollect
the
glorious
heydays
of
Hindi
cinema
when
stories
ruled
supreme.
Ghajini,
the
so
called
phenomena,
rated
a
masterpiece
par
excellence,
clearly
spells
the
death
knell
for
good
cinema.
When
marketing
supersedes
quality
and
star
power
overshadows
story,
then
Ghajini
is
undoubtedly
the
star
of
the
show
and
we
have
to
painfully
acknowledge
that
the
show
must
go
on...
The
Ghajini
hoopla
is
a
windfall
for
the
perfectionist
Aamir
Khan
and
his
team.
The
story
revolves
around
a
man
suffering
from
short
term
memory
loss
and
the
filmmaker
unconsciously
toes
the
line
presuming
the
audiences
to
be
suffering
from
a
memory
lapse
as
well.
Sitting
through
the
movie
what
strikes
you
is
a
good
story
which
has
gone
wrong;
thanks
to
the
filmmaker.
The
story
is
not
logically
connected,
with
many
loose
ends
left
dangling
here
and
there.
While
he
lavishes
time
on
the
love
story
and
the
tragedy
angle,
he
fails
to
show
how
the
ailing
man
comes
to
terms
with
such
an
alien
life
and
how
he
builds
his
clues
and
cues.
That
the
story
has
been
unfurled
through
the
two
narrators
(the
police
officer
and
the
medical
student)
will
hardly
testify
for
an
explanation.
Inconsistencies
mar
the
beauty
of
the
theme.
A
man
who
is
suffering
from
short
term
memory
loss
knows
clearly
where
his
camera
is
placed
in
his
coat.
The
house
is
so
well
organized
that
we
audiences
are
ashamed
to
look
inwards
at
our
own
civic
sense,
when
Lord
Almighty
has
bestowed
upon
us
the
divine
gift
of
memory.
A
sudden
flash
of
memory
justifies
the
climax
and
the
evil
paying
for
its
deeds.
A
haphazardly
sloppy
narrative
has
left
the
counters
ringing!
If
Aamir
Khan's
six-pack
abs
and
toned
muscular
body
along
with
the
newly
found
talent
Asin
and
the
glamour
quotient
quipped
in
by
seductive
Jiah
Khan
forms
the
right
success
recipe
with
a
well
knit
story
hardly
a
matter
of
concern,
then
it
is
time
we
acknowledge
that
Bollywood
is
heading
for
doomsday.
Aamir
has
proved
beyond
doubt
that
marketing
is
the
star
at
the
end
of
the
day,
whereby
you
can
afford
to
throw
away
the
script.
But
box
office
success
is
guaranteed.
A
saving
grace
is
the
movie
title
which
takes
after
the
villain.
He
may
be
elusive
with
his
villainy
striding
ahead
of
him,
but
the
climax
lauds
the
magnanimous
hero
who
settles
the
scores.
The
movie
pales
in
comparison
to
some
of
the
worser
stories
that
have
been
successful.
While
Ghajini
is
minting
money,
the
maturity
and
the
sensitivity
of
the
Indian
audience
is
at
stake,
when
anything
in
the
name
of
cinema
would
sell
by
harping
on
the
marketing
gimmicks.
Money
mongers
ruling
the
film
world
are
the
least
perturbed
by
artistic
justice.
If
Taare
Zameen
Par
catapulted
Aamir
to
the
distinguished
coterie
of
perfectionists,
then
Ghajini
shows
the
perfectionist
who
has
gone
overboard
with
his
success.
Apart
from
Aamir
and
Asin,
the
movie
with
unjustifiable
and
illogical
violence
fails
to
appeal
to
the
refined
sensibility
of
the
Indian
audience.
Ghajini
is
reaping
accolades
and
the
nation
is
basking
in
this
new
found
evanescent
glory.
Nevertheless,
when
the
bubble
bursts,
the
industry
will
have
to
re-build
itself
from
the
rubbles
of
the
golden
milestones
of
artistic
creativity.