Return to the Eden: comeback of Madhuri Dixit

Were Madhuri Dixit was around when the advertisement for Happy Dent was created in the campaign of lighting the palace with dental shine after eating Happy Dent the creators of the advertisement would have been in an envious position to light the whole palace with the million-dollar smile of Madhuri Dixit. Apart from the immediate registration of the brand with her dazzle small the value proposition that would have been created for the brand would have been enormous, as she is one actor who is still considered to have a smile that can light millions of hearts.

When she makes her re-launch with AAJA NACHLE, it would be probably one of the rare instances in the Hindi film industry where a heroine who left the industry at the time when her career had still not started going down the hill, is coming back again as a heroine to claim her mantle. Normally, and conventionally in the Indian set up, a heroine after her marriage when she again is besotted with the desire to dazzle the screen has to satisfy her creative urges either by graduating to maternal or sisterly roles, or has to take recourse to regional films to satisfy her image of being the lead in the female category. Not for Madhuri Dixit, as she gets the opportunity to be re-launched in the role of the main female lead and it would be a easy job for her, as it is the dance which is being used as the vehicle to promote Madhuri, which is a passion for her. Even to this day, Madhuri makes it a point to dance one hour on a daily basis.

While she has picked a slight Yankee accent in her voice, the role would suit her as she is portraying this character that comes back from her foreign sojourn to her native place to revive the dance school. In the past also there have been films made which have revolved around theme of dance, and Madhuri incidentally has been party to two of such films, one being DIL TO PAAGAL HAI and other is DEVDAS.

History has been replete with examples of films of these varieties, which have hit bull's eye whenever they have used dance as a theme contextualize it in the situation of the times. JHANAK JHANAK PAAYAL BAAJE, produced by V Shantaram is a prime example. NAACHE MAYURI made a career for Sudha Chandran only owing to her prowess for dance.



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However the difference in the films in which all others have acted and in AAJA NACHLE lays in the fact that AAJA NACHLE is more of a modern dance, which is a mix of the entire European feature, while all the other films, which have hit the bull's eyes, have had classical Indian dance as the key component. For the masses, and the youth of the country it is easy to identify with the dance of western variety as it has a relative ease, and also manifest from the popularity that the various dance based TV programmes prospering on multiple television channels.

May the dance of AAJA NACHLE create a new feeling for dance in the country, and encourage more number of people to adapt dance as the career as dance has now emerged as one of the most potent form to exercise all the forms of the body. The people of the country may thank Madhuri for having rekindled the passion for some, and ignited it for others.

Enkayaar, Bollywood Trade News Network