I remember the first time I heard a remixed song — Bally Sagoo’s version of Chura Liya. In the beginning, I wasn’t sure what to make of it. The original is such a thing of beauty that the idea of adding random extra stuff to it seemed sacriligeous. This one didn’t work, but I could see how it could have. It is not just enough to pick an original you are fond of — you should be able to reimagine it, add your own stuff seamlessly and yet retain its soul. Non-trivial, as my mathematician friends would sometimes say.
I guess what I am trying to get at is this. When I watched Om Shanti Om, I said to myself: This is what a remix should feel like.
I guess I could spend the next few paragraphs talking about the acting, the screenplay and dialogue (with its innumerable obvious and not-so-obvious inside jokes and smart, self-referential quips), the set design, the music, lyrics, direction…
Nah. Not this time. You don’t deconstruct joyrides. You just get on, get off and wait in line to get on again.
Let me just leave you with this little observation. Right at the end of the movie, Farah Khan did her thing of having the entire cast and crew come on camera while the end-credits rolled. The movie was over, there was no further story to tell. Yet, not one person got up from his or her seat until the screen went blank.