Blending style with substance: Evolving language of espionage in storytelling

India Today

a day ago

Hindi cinema has recently seen a boom in the spy genre. From Salman Khan's 'Ek Tha Tiger' (2012) kickstarting the origins of Yash Raj Films' spy universe, to Neeraj Pandey's 'Baby' (2015) and 'Naam Shabana' (2017), the espionage saga in films and shows has evolved over the years. With Pandey's grounded storytelling or YRF's 'Mission Impossible'-inspired thrillers with a Bond-like flair in the spy genre, the genre has created a new cinematic wave in Hindi cinema. However, when it comes to films and shows, the audiences have grown to appreciate much more than gadgets, glitz and glamour over the years. Where is this genre heading, though? Is it all style and mass, but no meat? IndiaToday.in spoke to the industry experts to understand more about the genre and where it is heading.advertisementWhile thinking of espionage stories, a larger-than-life spectacle often comes into the picture. There has been a template in terms of storytelling in the genre by blending jingoism with the commercial elements of mainstream Bollywood. These stereotypes have now been broken with the OTT boom. Audiences are now rooting for more grounded and relatable characters and are not going to settle for mere style over substance.The recent teaser of Hrithik Roshan, Jr NTR, Kiara Advani's much-hyped 'War 2' has created a lot of buzz since it was launched. The action-thriller from Aditya Chopra's spy universe is a spin-off to 'Tiger 3' and 'Pathaan' while depicting similar chase sequences, hand-to-hand combat, aerial wire-work action, explosions, beach shots and musical sequences.
In spite of movie buffs raving about the upcoming grand spectacle, it is worth noting that some previous big-budget films were mounted on the same yardstick. Despite the moderate or disappointing fate of these films, Bollywood filmmakers still stick to similar formulaic storytelling. At a time when not just OTT platforms but social media and podcast channels have also become an alternative to content consumption, it is crucial to retrospect the future of cinema and the much-needed evolution in film genres and themes.advertisementIn the age of algorithms and market economics, where there is a reel for every teaser and trailer, the X-factor in storytelling needs to come from unique, layered characters and relatable stories, irrespective of the genres. With growing conversations around the future of theatrical releases, it is pivotal to also consider the changing preferences and content consumption habits of audiences. Movie lovers exposed to not just Hindi and English shows, but K-Dramas, Iranian and other languages' cinema are not going to have the same approach towards movie viewing as in earlier times.As shows like 'The Family Man,' 'Special Ops,' 'Mukhbir - The Story of a Spy' and 'The Freelancer' paved the way for more nuanced, research-based stories, do mainstream Hindi filmmakers also need to evolve in their storytelling? On being asked whether the Indian audiences have become more discerning towards the spy genre post the OTT revolution, 'Mukhbir' writer Vaibhav Modi says, "In the pre-OTT era, we did not have too much exposure to that genre. A little bit of that kind of storytelling was there in the American shows, but not many people had access to it. But, if you look at that genre over the last few years, starting with 'Special Ops,' 'Bard of Blood' and 'The Family Man.' So, it has definitely given exposure to Indian audiences."advertisementFilmmaker Siddharth P Malhotra, however, feels that the Hindi film audiences haven't been discerning towards spy films as there have been many such stories being backed by studios like YRF. He says, "Spy content is still very popular on films and streaming platforms. There are an entire spy universe content-based films which are coming out.""Even Alia Bhatt and Sharvari are coming up with a spy film ('Alpha'). So, producers wouldn't be willing to back such movies if it were a discerning audience. If you get it right in terms of the flow, you will always enjoy it. The plot needs to be engaging enough for it not to be discerning. As a genre, it will never go out of fashion," he continues.Actor Gul Panag, who has acted in 'The Family Man', feels that there has been a shift in the audiences' ability to filter content since the OTT boom. She says, "Since the last 4–5 years, the audiences have been discerning towards not just spy content but all kinds of genres. They have been exposed to content from across the world. The viewers have been consuming films and shows available in many different languages. There has also been a shift in their ability to filter content dramatically."advertisementWatch War 2 teaser here: The virality of content and the bridging of language barriers in the current OTT era have also shaped how traditional audiences prefer watching films. Apart from engaging storytelling, is it also time for more research-oriented, nuanced filmmaking when it comes to spy genres? In spite of the charismatic on-screen personas of mainstream stars, does the Hindi film audience also expect character-led espionage films? Are producers willing to back such stories?While reflecting on the same, Modi says, "I would think so because one of the trends has been picking stories from real-life incidents. The other thing is making content from published material. There are a bunch of books out there that are based on declassified information from RAW (Research and Analysis Wing) and IB (Information Bureau). This medium allows time to develop research-based content."The writer also feels the long-form format of storytelling in the spy genres gives them more creative freedom in comparison to films. He further says, "This format of telling a story over eight or ten odd episodes gives you the ability to develop more characters and world-building compared to films where you are only going after one plot. Obviously, producers and writers have gone deeper in terms of geopolitical aspects of a story. In 'Mukhbir', we actually had to create the era where India's relationship with Pakistan was a certain way. We did a lot of deep research related to it."advertisementMalhotra, on the other hand, stresses the need to back writers apart from making projects based on big stars. He says, "If it is a real-life espionage story, then it is better. So, you need a big star and a big setup. Instead of backing stories, producers don't back writers in our film industry; they back stars. I am talking about barring Aditya Chopra, there is no other producer who is going to back the writers."Panag, while weighing on the same, feels that the backing has to come from the platforms. She says, "The producers are certainly open. The backing, however, has to come from platforms. At the end of the day, the numbers are on the platform, and they decide which shows to greenlight."The espionage genre in Indian cinema is not just about nationalism and high-octane action, but also concerns cross-border terrorism and geopolitics. With streaming platforms adapting to more realism and current events, it is imperative for mainstream cinema to also consider the changing trends. The cinematic experience doesn't just have to be about stunts and grand-VFX, but also set a narrative that compliments ongoing politics, national security threats, global terrorism and secret service agencies. Will the success of shows like 'The Family Man' or 'The Freelancer' impact the kind of spy films Bollywood greenlights in the next few years?advertisementPanag points out the diversity in the spy genre on OTT platforms and how the success of these shows depends on the audiences' response. She says, "Espionage is not only 007-style spy stories. That is what big blockbusters have been feeding us. But there have been lots of examples on streaming platforms like 'Jack Ryan,' 'Fauda' and others that have handled the narrative differently. There was this show with Sasha Baren Cohen ('The Spy'), based on a true story as well. The success of these stories, however, also depends on how well they have been received by the viewers."Watch Special Ops 2 teaser here: The future of spy stories largely depends on the ever-changing content-consumption pattern of audiences. Will movie-goers be more inclined towards masala entertainers, musical espionage thrillers, blending 'James Bond' with 'Dhoom'-inspired glamour and gadgets? Or has there been a revolutionary change in the cinematic preferences of film lovers?What is the future of spy stories in Hindi cinema? Panag feels there will always be a theatrical market. However, the actor credits OTT platforms for democratising content. She says, "OTT platforms in today's times have democratised content consumption. I will still go and watch Mission Impossible on the 1st day. So, there will always be a theatrical market apart from OTT platforms. And I don't think the two will cannibalise each other. The consumer is now king and the content creators have to work harder to get a piece of their attention. Earlier, the content was skewed in favour of the supply-side films that were released theatrically and, of course, the content we viewed on traditional television. But today there is a much larger choice and so scope for everyone."Theatrical releases are here to stay irrespective of the rise of streaming shows. The espionage genre - YRF's universe or the Bond franchise - will always appeal to the masses. However, the success and longevity of such stories will only be cinematically relevant if they resonate with the evolving mindset of audiences. Both mainstream films and OTT releases will have to bring a certain novelty and uniqueness to storytelling with a combination of realistic narrative apart from visual appeal in order to ensure audience engagement.The fate of 'War 2,' 'Alpha,' 'Special Ops 2' and 'The Family Man 3' will define the future course of such films and shows.Must Watch