Click to play videoNew Delhi: Business is all about maximising profits and showbiz is no different. So when films like Dilwale Dulhania Le Jayenge and Pardes struck gold overseas in the '90s, it was almost as if Bollywood got a new lease of life.
Filmmakers like Subhash Ghai, Yash Chopra and Karan Johar saw the potential of a booming NRI market that was hungry for Bollywood, the way they wanted it.
Set it between India and abroad, contrast Indian traditions with Western values, throw in a few elaborate song and dance sequences, pop the patriotism champagne and you had a winner at the international box-office.
With films like Taal, Kabhi Khushi Kabhi Gham and Veer Zaara the Non-Resident Indian romanticised the notion of belonging.
Overt references to Karva Chauth, the vintage rural backdrop and the purity of love and relationships the Indian way - kept the overseas ticket counters buzzing.
But somewhere down the line equations changed. Kal Ho Na Ho was completely set in New York and references to India were few and Shah Rukh Khan even coached Preity Zinta to down a few shots of vodka and strip in a bar.
Salaam Namaste - completely set in Australia had the lead actors living in and having a child out of wedlock.
And more recently, there's Karan Johar's take on extra-marital relationshiops 'Kabhi Alvida Na Kehna' - it's no longer about moralistic desis doing the right thing.
The film infact avoids references to India of any kind be it through customs, value systems or beliefs.
So is it a reflection of a changing attitude or are stars bigger than the content for the NRI viewer.
Either way, as long as the overseas market continues to boom - no one's complaining.
(For updates you can share with your friends, follow IBNLive on Facebook, Twitter, Google+ and Pinterest)
More on IBNLive Right Now
TOP NEWS
MOST SHARED
PHOTOGALLERY
