Essentially, though, the stars and even the stories are secondary to the music: As Bollywood singer Usha Uthup put it: "Always remember that the song is bigger than the singer." Unlike American musicals, which add the semblance of realism to song-and-dance sections by using them as plot drivers, Bollywood's dance scenes often act more as interludes or "speed-bumps" in the story, as Quartz puts it, "beginning with an instrumental introduction to set the stage and ending, more often than not, with a fade out." By taking the audience's suspension of disbelief as a given, Bollywood is allowed the incredible possibilities of fantasy, making its musical sequences larger-than-life and dizzyingly choreographed. They utterly fail to channel the energy, luster, and electric emotion of Bollywood filmmaking.īecause of the enormity and diversity of Bollywood filmmaking, it's impossible to make generalizations, although the industry is best known internationally for its big-budget romances with elaborate ensemble dance sequences, majestic costuming, and expansive sets. Unfortunately, Ritchie squandered his opportunity: Aladdin's dance scenes are awkwardly elbowed into the plot, rather than integral to the storytelling, and in execution they feel cramped and restrained. The film is peppered with Bollywood-style sequences that accompany its score. The influence of Bollywood and its famous music and dance sequences does manage to make its way stateside sometimes: Anyone remember the opening credits to Inside Man or the closing credits for Slumdog Millionaire? With the release of the live-action remake of Aladdin, director Guy Ritchie had a real shot at introducing millions of receptive Americans to the magic of Bollywood at long last.
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