Picture abhi baaki hai

Earlier it took a simple, bold and red ‘The End’ for the lights to come on and the audience knew the movie was over.

Occasionally, you would spot a ‘The Beginning’ or ‘There’s no end to love...’ that would reiterate the film’s message. Today, however, filmmakers are exploring every possible avenue to leave that indelible impression on the audience’s mind.

And jazzing up the end credits is one such newly-discovered tactic. “When films are screened at international festivals, people sit through the end credits to know who’s worked on the project. But when it comes to the common man, either he’s not bothered or the theatre owners switch it off,” says filmmaker Kavitha Lankesh, adding, “When you embellish the credits, people stay and may even take a peek at who’s responsible for making the film what it is.”

Here’s how filmmakers have been embellishing title credits in recent films:

Peppy item numbers
Hare Ram Hare Ram ( Bhool Bhulaiyya ), Mauja Hi Mauja ( Jab We Met ) and Meter Down ( Taxi No. 9211 ) all topped the charts in the very first week of their releases. But none of these songs is part of the script.

“With lavish sets, cool actors surrounded by sexy babes, and foot-tapping music, these songs are meant to promote a film and keep the audience hooked to it,” says music composer Vishal Dadlani.

“Every film has a conflict and after numerous twists, there comes resolution. This is a good way to round off a story,” says actor-turned-director Ramesh Aravind. His films, Rama Shama Bhama and Satyavan Savitri, also had little song and dances in the end, along with some fireworks and fishes signing off, ‘Bye bye... preetiyinda Ramesh’. “It adds to the fun,” he says.

Behind the camera

Jackie Chan was one actor who loved to show off the slips and falls that occurred while shooting for his films. These bloopers became more popular than the movies.

“It shows the amount of passion that has gone into every frame,” says Vikas Bahl, creative head of a production house. “It gives a personal touch, almost as if the filmmaker was saying to the audience: ‘We had fun making the film and hope you had fun watching it.’” he says.

“It should add flavour and a high to the story. Films like Maine Pyar Kyon Kiya, Pyar Ke Side Effects, and Salaam Namaste were all entertainers. You can’t show bloopers for a thriller or a family drama,” Vikas says.

Curtain call

It’s director Farah Khan’s signature ending. Her end credits acknowledge each member of her team. In Main Hoon Na, she did it with a song and in Om Shanti Om she does a red carpet ceremony.

“These gimmicks don’t do anything for the film. It’s just an innovative way to acknowledge your team and bring them to the fore,” says Kavitha. Nonetheless it’s a lovely gesture, says Vishal, who walked the red carpet in OSO. “Notice how Farah’s spot boys arrive in a stretch limo while she comes in an autorickshaw. And nobody’s even there to greet her. It’s fun to watch,” says Vishal.

Source: timesofindia.indiatimes.com