Much has been made about a possible link-up between Rani Mukherjee and Abhishek Bachchan, two of Bollywood’s biggest stars of the moment. As I’ve mentioned before, Rani is on a hot streak, having had hits with Black (a remake of the Miracle Worker) and the recent Mangal Pandey, as well as lighter fare like Hum Tum. Until recently, Abhishek has really only been known as Amitabh Bachchan’s son. But, he too has become an actor in his own right, most notably (for me, at least) in Bunty aur Babli, a Bonnie and Clyde-type caper that paired him with Rani. Their on-screen chemistry is incredible, a fact that has tabloids squawking about an off-screen romance between the two. (They haven’t even admitted to dating and already the film rags are discussing their marriage. Ah..the world of Hindi cinema…in which the only goal in life is to get married.)
Until last week, visiting museums in this country has been a mostly unsatisfying experience. Luckily, we stumbled upon the last day of a week-long exhibit at the Jehangir Gallery entitled “Revisualising India.” Included in the show were pieces from the Osian’s Archive & Library of Cinema and Popular Arts, an auction house and archive center in New Delhi. On display were hundreds of vintage, painted Bollywood posters, photographs from film sets from the 1920s, Ravi Varma lithographs, political posters depicting Gandhi, Nehru, and other folk heroes, art deco style travel posters of Indian destinations, and – for some reason – several Communist-era film posters from Poland and expressive marionettes from Indonesia.