India Uncut

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Monday, October 30, 2006

The fine art of the seashore romance

When Indiatimes informs us that "seashore romance have always made for a hot and sizzling time," you know that immense purplocity and verniness lie ahead. And goofiness too, if one goes by the first picture on display. Indeed, great joy soon begins to come.

First we are informed:
In Priyadarshan’s ‘Garam Masala’, John Abraham romances with the female lead, and the blueness in the backdrop shows how close they are to the blue water. The seaside breeze would have fuelled up the fire within for sure.
Then we are told about a scene featuring Kiran Janjani and Upasana Singh:
The wave comes and goes as they continue in their intense company.
And then we have the inexplicable (and therefore surely profound) passage:
Saif and Preity Zinta walking down the sandy seashore in lazy steps. The blue sea calling before, the white sand making their way smoother.

And they are showing their back to the lens suggesting the end if the song. [Sic]
Then, of a scene featuring Dino Morea and Onjolee Nair, we are told:
The blue water seems to be at its boiling point with all those beautiful people.
And finally, a scene featuring "the Gurpreet and Kanishka" is described thus:
In the backdrop, sea water is breaking up into white droplets as it hits the beach.
I am beginning to believe that there is an art to this, and that this is not simply bad writing. Think about it: could you write like this if you tried to?

(Previous posts with Purplocity/Verniness: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23.)
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