Everybody loves to believe that they have a great aesthetic sense. And most of us already know that we don’t (have the aesthetics) in the occasional dead companionship of self.
But, one of the more popular jobs that need a unique and good enough aesthetic head happens to be filmmaking. And we’ve accomplished the feat of filling in almost all the filmmaker seats with the least aesthetically possible people available. Research upon the issue isn’t that tricky too. All you have to do is go through a list of Indian film titles.
Telugu films – the title is the hero’s name or a fierce animal or an improvised version of the animal or something with ‘Prema’ (love) jabbed in between him, her, them and everyone.
Hindi – the popular Johar and Chopra style of long titles talking about happy families, in laws of the families, something happened to the family, festival in the family etc. Or we have the dudes inspired from these films and add that touch of English and expensive Bombay to it. Tum, mein, wo, hamare, tera, tumara, na na mera and on go the pronouns (again with ‘Pyaar’ forcefully injected in to them).
But, we do have a few proud ones too. Perfectly suited, strong yet simple and greatly conceived titles.
‘Kaminey’, ‘Kshana Kshanam’, ‘Suraj ka Sathvan Ghoda’ and ‘Thalapathi’ to name a few from my present-immediate knowledge. These names mean something. They talk so much about the film, about what the film will be telling you about and how appropriate these names look on the cover page.