i change my rating of 10/10 to faddys 20/10

excellent review..agree on every point

Your world is not A.B.C.D.E your world is - be, ell, aye, see, cay .. Black*
........................................................................................Amitabh Bachchan

BLACK

The review - .......................................................no spoilers



Expectations

Like most I too held many an expectation. Not just because here was a product that seemed too good to be true. A film that brings together my favourite actor and favorite director. And an actress who has gradually but surely found her way through to my heart with performance oriented roles.
I've been following 'Black' and only 'Black' closely throughout making. From the announcement to the release its only been this one film. So much so that I had blanked out just about all other films and actually stopped watching films from early 2004 as we were being spun one film after another that was either easily forgoten or wasn't worth the time.
It didn't help in that with very little information leaking out from the sets my interest grew tenfold over the months ahead.
And now having watched Sanjay L. Bhansali's latest film I'm happy to say that my expectations have been met.


A film that Indian cinema has never seen before -

Looking at the big picture lets say this - There are always going to be an audience reaction that is split somewhere down the line. That line may run down the centre or alittle to the left but, a film with so much passion and pain not just whats seen onscreen but for those sad/happy moments behind the scenes in my eyes lives with you for so much longer.
And here we have something that I'm sure will live with us forever.


Nandana Deb Sen

Nandana Deb Sen leaves a touching and lasting impression upon the viewer whenever she is on screen. She is a very beautiful young lady, a dedicated artiste and has to her credit some great cinema ... Long before 'Black' came to her. Here too she gives her all and shines, in one particular scene central to the story.


Ayesha Kapoor

An explosive talent no less and her first screen outing couldn't have been more memorable.
She really is the Amitabh Bachchan of acting of child artistes.
Her look was sad and scary at the same time... Her walk and body language was fabulous.
I liked how Sanjay L. Bhansali incorporated Rani's mannerisms into Ayesha's body language right down to the skin tone ... and vice versa... Rani Mukherji took on the mannerisms of the young Ayesha Kapoor.


Dhritiman (father)

He certainly had the look . ... The strictness and later melting of his demoneur was well liad out in the context of the story...
A not so pleasant character to begin with but one that is brought closer to the audience as the story unfolds.


Shernaz Patel (mother)

Shernaz had quite a dominance in the first half of the film and still a central and well crafted performance in the latter half of the film. She was perfect ... just right and brought out the right emotional conflict going on within herself at the right times.... She acted really well with her eyes.. Especially in those scenes with Amitabh Bachchan.


Costumes

Perfection is Sanjay's middle name I believe. Once again he dosn't let the the clothes of his characters detach in anyway from the script. And neither are any of the characters left with something that is out of place at any place - anyone moment. Each character is given that authentic feel that is timeless yet somewhere in the past.


Set Design

The film has a certain mood, a definite mood and atmosphere. 'Black' has its own world, and kudus to the set designer/s. Sanjay designs and directs all of his films on sets and his eye for detail is praise worthy in 'Black'


Direction

Who am I to question a genius who is just starting out. But one thing that my heart has always felt and that is Sanjay Leela Bhansali is the only link to the great directors of past.
He really is a complete film-maker in every department and I mean on all levels.
'Black' he says was supposed to be a small film... Yeah right Mr. Bhansali - I'm sure like me, you too are laughing at such a statement. Its obvious that Sanjay has put his life into this film like no other. Even dedicating the film to his father... like always. But one cannot ignore the fact that the darkness of 'Black' and its on going struggle to see the light is a line that routes itself heavily into his own personal but well guarded life.


Background score

What can be said about music of such scale and emotion. You really have to live the music ... Watching 'Black' gives you a love for the operatic style of film music.
As said before on a few occasions Sanjay is music mad .. And I'm music mad also .. Watching a film is important only if the music connects with me.
There is a instrumental tune on the 'Devdas' album that was by Monty... If you loved that at the time then your really going to cherish the background score here in 'Black'
Songs were not an issue here... Each and every scene was like a painting in motion with operatic music adding to the characters moments throughout... Now thats perfection at its best*


Stand Out Scenes

I've watched the film today and have booked myself in for tommorrow but... there are a few scenes that I am living with in my thoughts right now. I'm thinking should I or should I not share with you people.... Thats a decision I'm conteplating.
But I'm afraid I don't advocate the notion that writng a review should be spoiled by giving away those special moments that may take away from their impact upon viewing for the first time. Every scene is a masterpiece
But still -

Rani's introduction scene I have to class as one of the greatest ever seen.
That music. omg that background score and her eyes and smile really brings a lump to the throught... It is this moment that it finally dawns on you that here you are finally sitting and watching the film that you have so much looked forward to. I'm sure the tears will start there and then its vitually guaranteed... The darkness of the cinema hall and that flash of Blue sky and snow falling is just too perfect a visual treat and unbelief that is hard to describe or understand.

I've mentioned the above scene.. but each and every scene is a favourite of mine and will change from time to time as the more times I watch the film and search for a better understanding of whats being shown and what it is that Sanjay was trying to convey through his thoughts to screen plan.

Some other scenes that I can only recall now...
Intimacy scene between Rani and Amitabh.
If there were any doubt that two master actors were peaking in their performances together then here it is.
The range of emotions that Amitabh Bachchan's facial expressions go through in this one scene is mind boggling to say the least. His expressions go through shock, pity, sacrifice, warmth, sadness, anger, forgiving, cunfusion and a hundred other expressions that words are yet to be introduced for.
Here was a moment that Debraj was delt one of lifes tough decisions that he alone could not answer to as it wasn't in his hands to do so.. And here was a lady who may not come to know the form of physical love due to the confines of the life she has to lead.

Rani's last scene.. One of her last standalone scenes, I'm sure you'll know which one when the scene is played out. The scene brings tears to ones eyes just thinking about it.. its that good. Her body language and expressions are to die for ... The music the sadness really reach some sort of crescendo here...



Amitabh Bachchan

We've heard the story about how Amitabh broke down on the sets after canning a shot..
I too wondered which scene that may have been... as there are many tender and emotional moments throughout the film that its very difficult to pick one.
But I feel that scene may have been when he was left sitting alone at the water fountain after the first breakthrough with the young Rani's character. So much pain and happiness comes to him together in that one moment that he breaks down... And all we see is the back and side view of him sitting and crying.
Its at these moments I liked how Sanjay didn't give us much of a background to Debraj's character so that we could come to our own conclusions on what kind of a life he led in the past and why he used to drink and was alone... I liked that mysterious element to his role. We don't need to be shown that he had a wife .. we don't need to be told why Debraj never takes off his hat/cap.. If we had.. then our minds would unconsciously be happy with that thought alone. No Sanjay has mastered the technigue ... Of not showing something to add even more depth to a character and more mystery.. To get the viewer to think more and find more aspects of Debraj's character on repeat viewings.
There was one thought that I was worried about . and didn't really believe upon first hearing and that was people saying that 'Black' was Amitabh Bachchan's best performance. I mean come on... now that is an impossible thought for even the greatest of fans of Amitabh. But after having watched the film... There is a truth that can only be best understood once the film has come to an end.
It depends how you look at it.. Sanjay really does get out of an actor some damn hard work.... As if by magic he gets the best out of every actor he works with.
I believe Amitabh Bachchan has put in so much hard work into this role even though he has in the past. But here each and every scene is so powerfully implemented with no deterrent of songs or anything else that takes away from the performance... It is probably Amitabh's most complete performance to date and I'd go as far as to say it may be his best yet as a performer.


Rani Mukherji

If there was one thing that I was adament on before 'Black' released - then that was Rani Mukherji may never surpass her performance in 'Black' in any future project.
I'm afraid and also happy to say that, that is indeed true.
Its damn impossible for her to touch the passion and heights and to get the central role all in one place ever again.
To make things possible and the only way I feel is that if she works with Sanjay L. Bhansali again.
He alone can surpass his own brilliance. That said... There also needs to be an actor of Amitabh Bachchan's calibre who can raise here extraordinary performance even more so.. by being in the same frame...
Sanjay L. Bhansali by the time he has lived his life and we have lived ours through his films will be remembered for bringing out the maximam of great and career best performances from any artiste from any where in the world. That is my belief and that is Sanjay's gift.
This isn't Rani Mukherji its a complete transformation... Her sounds emanating from her mouth.. Her walk - I loved her walk... are all part of the talent and hardwork on the actress and directors part.
Theres so much I want to add about Rani's performance .. We see here happy and sad, comedic and tragic and we are all touched and happy that Rani was given a role such as Michelle McNally.
Performancewise this role is right up there with the greats from Indian cinema. I havn't seen a better performance from an actress from any previous decade that I can remember.


Mood of Black

There is definitely a tone to 'Black' that loses you in its own world. A mark of a great film, you stay rivited to the screen for each and every scene.
The sound design is exemplary and honest to the proceeding going on screen. Right from the title sequence.. The mood is set that flows throughout the story perfectly.


Cinematography

As with many points this too is of a very high calibre and I was truly left spellbound on how the setting of Shimla was filmed anf many a moment are now imprinted on my mind and heart due to the worldclass camerawork.


The Future is Black

In my eyes 'Black' transcends Box-Office here is a film that other movie makers can look upto, not just in India but abroad also. 'Black' is a textbook, a complete package from a director who has finally left his mark and such a mark that sits comfortably alongside other masterpieces from directors of past.


The Kiss

The much speculated first kiss for Amitabh Bachchan. This scene couldn't have been done more tastefully.. It was perfect... But to understand that perfection you need to watch the scenes leading upto this intimate moment. You need to live with those two characters onscreen.
This is the best intimate scene I've seen in Indian Cinema as yet. Its easy on the senses and its not embarrassing in the least... But very very sad... So you forget everything else and just go with the flow.


Their onscreen chemistry

This is what perfect communication between two talented performers is all about.
We really feel for these two lost souls - the're as if one person at times but in two different places.
If there were two characters that were meant to be on screen ... then these are the ones.
Rani's character dotes so much on Amitabh's that its too sad to watch sometimes...
The're best moments are when they share the company of each other.


The Movie* (no spoilers)

A movie of such magnitude and depth can only come from the heart and mind of Sanjay Leela Bhansali.

He has really put alot of blood and sweat into the whole movie that is 'Black'. I now understand what he meant by stating that a good film can be noticed no matter... how less the interviews you give.. You can't keep a good film from the prying eyes of the world. Such confidence and such attitude are going to become Sanjay's trademarks in the future (If not already) if he keeps up the good cinema he's introducing the world to.

I'm not going to talk about the story as most know the setting and rough gist of the plot.
And what you don't know will leave you spellbound, especially the visuals and scenery.
I for one had only watched one trailer one week before the movie hit the big-screen... I'm sure there are a few more trailers to cherish in the weeks to come - hopefully the long overdue song trailer.

A film is conceived as a small project but a film that gos onto become this big in the hearts of true cinema lovers is very difficult to put into words so soon and after only watching the once its damn impossible to remember everything that one has felt and seen in one viewing. 'Black' has many layers of emotional depth not witnessed in our cinema before. There are hidden moments and meanings that only Sanjay and his production team can decipher. As for us the audience I believe a minimum of three viewings is a must to give us a better understanding of what Bhansali's vision is and what and where the future lies for Indain cinema on a world spectrum...

But first you have have an uphill task of stealing a few precious moments of life through watery eyes and heavy hearts.



Direction *****
Performances *****
Background Score *****
Story *****
Production *****

Pros -
A milestone in Indian cinema.
Amitabh' and Rani's best performances.
The background music & Production of the film.
Touching story with career best performances from one and all.
The direction by Sanjay Leela Bhansali.

Cons -
We don't get to see Amitabh Bachchan's hairstyle
Some viewers may find some scenes long.
The film leaves you exausted after the first viewing feeling as
though you have sat through a 4 hour film instead of a 2 hour 4 min one.

Saw this on Sunday (in theater) and it has left me confused. I am not sure if I really like this movie or really really like this movie. Don’t get me wrong this is much better than 99% of what bollywood produces, but still “something” kept me bothering. So let me pour out my “issues-with-the-movie” and hopefully zulmies will cleanse me of these thoughts and make me agree in unison that this movie is infact a "masterpiece".

So here are my complaints

1) Why is this film soo beautiful ? - I am sure zulmies understand that its more than mere aesthetics esp. given it "supposed" to be a masterpiece. My theory is that it is the “world” Amitab sees and shows Rani, after all he is our insight into Rani - right ?. if that is the case I find it hard to believe that Amitab has such a beautiful view of the world ( esp. given his eccentricity) or at least nothing in the character development leads us to believe this.

2) why choose such an affluent family ( Anglo/Indian) - What purpose does it serve the story, remember Rani cannot see/know and Amitab does not care. This leads to me to the most irritating aspect of the film (personally) - the amount of English used in the dialogs. I am a strong believer that some of the best performances in the world of cinema has come through artists in their own dialect. I don’t think Marlon Brando would have made the same impact had he acted in Hindi , similarly allowing Amitab and Rani to speak naturally would have definitely increased the emotional impact on the audience.

3) Time Period / Architecture – This seems to defeat any kind of logic (other than spending money). It plays no role in the relation between the teacher and the student , huge amount of effort has been put to make it "look" and "feel" like early 20th century Europe, but for what ? . Perhaps I am nitpicking more than usual - I went into the movie expecting something more ethnic - "our" people, "our" city, "our" problems, “our” children and “our” teachers. somehow it was too far out for me to connect with the place and time .

4) Cinematic elements - for such an emotional film some of the filmy aspects SHOULD have been avoided -
e.g. - 1) When young Rani utters her first world and/or understands its meaning just minutes before amitab is scheduled to leave with a sweeping background score .

5) International Feel: I have seen numerous references to this phrase and so far I am not sure what this means. If this means loosing our ethnicity to win awards then I am disappointed . Look back at the films that was made in India that has won international awards. All of them will have some things common, they would have maintained their ethic nature ( Apu Trilogy, Jalsaghar, Cloud Capped Start among others )

6) Sister/Father – These two characters suck !, I am not yet sure what was the deal with the sibling rivalry ( totally unnecessary in my regards ) and the father seems to have a love-hate relationship with her daughter that lacked depth

My last complaint is more of a social issue – I did not know that the budget of the film was 20 crores ( it shows in the film !). it made me wonder can this film be made with much lesser money and still have the same emotional impact it has had on “us”. My answer would be YES – perhaps a sizable money could have been given to the deaf and dumb school ( who were only thanked when credits rolled in) and a movie made with lesser beauty. It’s the children who are beautiful , its their aspirations that is beautiful , its their courage that is beautiful, its their teachers who are beautiful – Not the outside world that surrounds them. For Black is not about the outside but all about the inside beauty.

Trust me guys I want to call this film a masterpiece more than anyone else ( India has been due for quite a long time !) and hence all the more reason to be critical of the film

That said I did find a few things that I loved about the movie ( other than the stunning cinematography and art direction) and here it goes

1) The Relationship between Amitab and Rani : Traditionally in India women “belong” to three men in their life – Her father, Her Husband and Her Son. The portrayal of all these relationships between Amitabh and Rani is simply wonderful and refreshing. When the film starts She is his daughter , In the middle she is his wife/lover and in the end he is her son. Brilliant character development to say the least, I have not seen this before.

2) Another aspect I loved was the subtle manner in which religion plays a role in the movie, mostly through symbols. My fav scene is in the hospital when you see the “white” cross producing a “black” shadow ( I leave it to you guys to interpret this).

3) Number of references to Chaplin films can be found in black ( The Kid, Gold Rush , Rani mukherjee walking), does any one know what is being implied here ?

Would love to hear if anyone else thinks this movie is over-rated !

with the english in the movie...im sure ppl speak english regularly in india..especially anglo-indians...and there is no specific reason as to why they are what they are..they just are..let them be LOL....

some times, it is amusing, to see in hindi movies, anglo indians and taporis, are how fluent and good in their english

Perhaps that’s one of the BIG reasons why its not basking in BO success. I am sure the same story, characters and beauty of the film will be appreciated by millions if only they can understand and relate to the people/place and time.

well then in that sense it should be basking in overseas box office glory..but it isnt.

http://www.boxofficemojo.com/movies/?id=black.htm

$2,785 US average is not bad for a weekend collection ( 45 theaters only) - considering films like this depend on good word-of-mouth, which it has garnered already.

Another Review i tend to agree with

http://www.upperstall.com/blackthefilm.html

It would be, if only the story/idea was original. But again Sanjay Leela Bhansali chose to take an existing film, and remade it his way.

Not to nitpick ( which is what I usually do ) , I don’t think Black or for that matter any Hindi film released so far this year are 'Oscar' worthy. However that said I am hearing good things about Buddhadeb Dasgupta's Swapner Din (i.e if they decide to send a regional feature!) . Please remember that "Black" is not the only film that will compete, there are films from East Asia (is Wong Kar wai's 2046 this years entry ?) , Europe and Latin American to contend with. Black has nothing that folks have not seen before - While SLB borrows from miracle worker, Ravi K Chandran borrows heavily from Kieslowski's superior Three Color trilogy for his camera work. Black neither bends nor breaks the conventional cinematic paradigm.

Other than content - a serious amount of lobbying is needed to make it to "their list". I mean look at the winners so far , in 77 years not one Indian film has won honors at the academy



http://awardsdatabase.oscars.org/ampas_ ... Stats.html

Statistics are valid through the 2004 (77th) Academy Awards, presented on February 27, 2005. [document last updated 4/15/05]

FOREIGN LANGUAGE FILM FACTS


MOST NOMINATIONS ([#] indicates number of awards)
33 France [9 (plus 3 Special/Honorary Awards)]
26 Italy [10 (plus 3 Special/Honorary Awards)]
19 Spain [4]
14 Sweden [3]
11 Japan [0 (plus 3 Honorary Awards)]
9 U.S.S.R. [3]
8 West Germany [1]
8 Hungary [1]
7 The Netherlands [3]
7 Poland [0]
6 Czechoslovakia [2]
6 Denmark [2]
6 Israel [0]
6 Mexico [0]
6 Yugoslavia [0]

MOST AWARDS ([#] indicates number of nominations)
10 Italy [26] (plus 3 Special/Honorary Awards)
9 France [33] (plus 3 Special/Honorary Awards)
4 Spain [19]
3 The Netherlands [7]
3 Sweden [14]
3 U.S.S.R. [9]
2 Czechoslovakia [6]
2 Denmark [6]
2 Switzerland [5]
1 Algeria [3]
1 Argentina [5]
1 Bosnia & Herzegovina [1]
1 Canada [3]
1 Czech Republic [3]
1 Germany [5]
1 West Germany [8]
1 Hungary [8]
1 Ivory Coast [1]
1 Russia [4]
1 Taiwan [3]
0 Japan [11] (plus 3 Honorary Awards)

In some respects, I think Black is Bhansali's homage to Kieslowski's visual style. I remember reading an interview of Bhansali's sometime back in 2004, where Bhansali practically praised Kieslowski as the greatest artist known to cinema. If you like, I can dig up this interview and post it for you, it was rather a good read, he even mentioned Fellini as a strong infulence on him.

That will be wonderfull if you can point me to it. Kieslowski's influence i can see ( the mirror shot with Batchan and the mother is so much like a shot from blue with Julie and her mother) -but fellini, i wonder how ? . I actually liked Bhansali for Khamoshi but thats where my taste-in-him stopped the rest in my opinion was more style and less content from him

Amen!!

Bhansali, got corrupted, Ramu gone underworld, and Spielberg is infatuated in KJ way with Tom Cruise churning SFX one after the other..Pointless!!

Here it is, all I can really say about SLB at this point in time is that, I don't think he's relatively an important filmmaker(yet), but irrespective of this, I still throughly enjoy every film he's made to date. Learning more about this filmmaker gives me the notion to believe that he's yet to make his masterpiece. Until than, I'll look forward to everything and anything with his name attacted to it.

On a side note, the only thing I can't seem to understand about him is his fondness for Salman Khan.


SANJAY LEELA BHANSALI

100 WATT CONTROL

This film-maker tells Harneet Singh he loves Raj Kapoor, worries about his hair and vents his anger on his cellphones. Are you ready for his Kieslowski-inspired Black?

Posted online: Sunday, January 09, 2005 at 0000 hours IST



SANJAY LEELA BHANSALI’s typical day: Sleep at 2 am. Dream. Wake up. Dream. Work for 14 hours. Go for a walk or a drive, depending on the mood. If it’s a drive then it must be with Norah Jones, Lata Mangeshkar, Madan Mohan and RD Burman (a song a day from each, please). Eat. Sleep. Dream some more.

The 40-year-old film-maker of modern classics like Khamoshi, Hum Dil De Chuke Sanam and Devdas rarely steps out of his home, never parties and has very few friends in the industry. He’s so reclusive that every two weeks, actor and best buddy Salman Khan calls to check if he’s still alive.

‘‘After my mother, Leela, the only human contact I have with the world is through my characters. Cinema is the only life I live. I find it difficult to reach out to people. Actually, I don’t feel the need,’’ he shrugs.

We’re comfortably ensconced in his workspace, the balcony of his minimalist Mumbai apartment, with dreamy white chiffon curtains and muddy Shahbad tiles straight out of Khamoshi. ‘‘I’m not a marble flooring person. You can’t look at it daily, this is so clean,’’ he says.

I express my personal anguish in my cinema. The world can deduce and debate about my life from my movies
As the photographer begins taking pictures, the director switch flicks on. ‘‘Mera right side bad angle hai. Left se photo le.” He wants to know if the light is falling on his face. ‘‘Is it a close-up? Don’t come so near, my nose is too long.’’ He’s also unhappy about his hair. ‘‘I’ve gone to so many barbers but nobody has been able to help. Now I have accepted that my hair will always stand on end.’’ He checks the display on the digital camera and wants some shots deleted.

‘‘I can’t help it,’’ he shakes his head. ‘‘Film-making is imprinting a moment permanently in time. You never get the moment back. And I don’t want anyone to spoil it for me.’’

Over the years he’s acquired an impressive collection of labels—neurotic, obsessive and eccentric, among others. Stories of him slapping assistant directors and ‘punishing’ them abound. Ask him about it and Bhansali grimaces. ‘‘I am 100 watts. I am very temperamental. I am very edgy. I am very passionate.’’



Bhansali’s ire is easily triggered when someone upsets the balance in the only place he believes he has any real control—the destinies of his characters. ‘‘I spend hours looking at every stone of a pillar on my film set, if I see a speck of dust, I am bound to lose it.’’ But he dismisses all the OTT urban legends. ‘‘I don’t hit anyone. I might give my ADs a rap on their shoulders but that’s it.’’ Maybe he doesn’t go that far, but apparently, his favourite forms of punishment are slightly more school marmish—Bhansali makes errant ADs stand in the sun, or orders them off the set if they so much as whisper.

He also likes taking it out on cellphones. ‘‘I get a strange satisfaction from breaking mobiles. If you go to the lake at Filmcity, you’ll find lots of broken handsets; they are all my doing.’’

I get a strange satisfaction from breaking mobiles. If you go to the lake at Filmcity, you’ll find lots of broken handsets; they are all my doing
THE signs that you’re in a film-maker’s home are everywhere. You can pay homage to Frederico Fellini as you wait for someone to answer the doorbell. Several frames of the Italian director during the making of his decadent 1960 masterpiece, La Dolce Vita, cover one wall. In the study, there’s no shortage of books on movies. An autobiography of David Lean, The 5 C’s of Cinematography, Painting with Light, Notes On The Making Of Apocalypse Now, The Films of Akira Kurosawa jostle with Robert Ludlum, Paulo Coelho, and Richard Bach. There’s a book on North Atlantic lighthouses (that explains Salman Khan’s lighthouse-home in Khamoshi). There are five cupfuls of sharpened pencils; because that’s how Bhansali writes.

Right now, all his attention is focussed on next month’s Black, a dramatic departure from the Rs 50-crore operatic opulence of Devdas. This is his first film without a Khan (Salman or Shah Rukh). And Black’s unlikely lead pair of Amitabh Bachchan and Rani Mukerji will have to make do without the usual boost from Ismail Durbar—it’s a songless film. It is also a stark canvas of black, white, grey and blue.

Though Bhansali regards Devdas as his ‘‘finest work in terms of cinematic form,’’ Black, he says, is his reason to be proud. The story of a deaf, blind and mute girl who wants to sing is Bhansali’s quest to find out if his cinema can go beyond words. ‘‘People noticed even the colours of the curtains in Hum Dil De Chuke Sanam and Devdas. I wanted to prove that I can make a rich and vibrant film in monochromatic colours. Black is an important experiment in positive colours.’’

But it’s an experiment that bears a strong resemblance to Krzysztof Kieslowski’s critically-acclaimed three colour trilogy, Blue, White, Red. Bhansali admits to being “definitely inspired” by Blue. “Which film-maker wouldn’t be inspired by Kieslowski? He’s the only modern-day master. And Blue is my favourite film, so might as well,’’ he laughs.

LIKE his previous films, Black is about hope and pain. And this one too seems autobiographical. ‘‘I express my personal anguish in my cinema. The world can deduce and debate about my life from my movies,’’ he agrees.

Bhansali says that he cries while writing about his characters’ lives. His father died nursing a dream to become a director. His mother worked hard so her children could follow their passion for cinema (sister Bela now edits all his films). The past is also about a love gone wrong, but Bhansali never talks about that. ‘‘I’ve gone beyond all that. These days, I am floating. I am happy.’’

And now, nothing comes between him and his obsession. Salman Khan wanted a two-minute appearance in Black but was firmly refused. ‘‘I don’t make changes for anyone,’’ says Bhansali. Ask Aishwarya Rai. It’s well-chronicled how Bhansali’s ex-muse wanted Khan out of Bajirao Mastani, his ‘‘next dream’’. So he opted for Kareena Kapoor instead. As of now, Bajirao Mastani is on hold because Khan and Kapoor have already signed two films.

But Bhansali is confident it is ‘‘destined’’ to be made. A poster of a moustached Khan and a kohl-eyed Kapoor in Bhansali’s study is proof enough.