New Delhi: Even today, Irrfan’s family is not able to recover from the demise of Bollywood film industry veteran Irrfan Khan. Ever since his death, Irrfan Khan’s elder son Babil is remembering his father by posting his pictures on social media.
Meanwhile, Babil has expressed his anger through a post on social media. He said that he does not like the ongoing political debate over the death of Sushant Singh Rajput. But now that once the debate about nepotism has started, there is hope for change. For this change, his father Irrfan Khan had been fighting all his life. Babil has recently spoken about a long and wide post on his Instagram account.
Babil’s Post for his Father
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Babil wrote on Instagram, ‘You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in cinema world and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s – 90’s Indian cinema or credibility of opinion.’
Babil further wrote, ‘There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K. Asif going. You know why that is?
Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle).’
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‘Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again’.
With this, Babil further wrote, ‘A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)’