Whether it’s the item song or the melodrama – in the last decade his style has been too consistent, and hence predictable – there’s reluctance to evolve. He gave himself a mandate – activism through mainstream cinema – and embarked on a series of films on remarkably diverse subjects ranging from the Bhagalpur Blindings case to the state of education in the country, from an assessment of Indian dynastical politics to the Naxal quandary always subtly offering to weigh in on a position that may not be the prevalent opinion.īut Jha’s films try too hard to sell themselves in this escapist market. Gangaajal in 2003, returning to what put him on the map in the first place with Damul (1985). Prakash Jha came a full circle with his brand of cinema with
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