I recently watched four films - two of the mainstream variety and two of the new-age - and I loved three and a half of them. Indian cinema finally coming of age, where the adherence to formula is'nt necessary and fresh themes, faces and treatment are making a mark.

The first on my list was "Johnny Gaddar" and I loved it - the story might not be new, we've seen similiar fare dished out many times from Hollywood, but to see an Indian film with such sensibilities was a treat. The story, treatment, music and performances were certainly worth writing home about, and its about time our writers stopped feeling the need to justify any dark move made by our protagonists. The anti-hero has been around for a long time, and has always had a sob story to justify his evil bent of mind (SRK in Darr, Baazigar). More recently, our leading men have learnt that experimenting with shades of grey only makes them recognised as better actors and does not harm their goody-good image. Saif in Omkara, AD and Vivek in Company were given the credit they deserved for delivering outstanding performances even though their characters were negative, and they have only gone onto better and bigger successes (well, apart from Vivek, who is yet to better his debut). In "Johnny Gaddar", Neil Mukesh makes an impressive debut, helped by the fact that his character needs very few expressions - the narrative makes up for the rest. And though his character betrays and murders his friends, he is an unapologetic victim of circumstance, showing little remorse - a reflection of the times we live in, where life is cheap and every one wants to take a short cut to success. He is supported by a bunch of fantastic actors among whom Vinay Pathak stands out yet again for the sheer honesty he instills into every character he portrays.

After JG, the next film in line was "Manorama 6 feet under". Inspired by the classic "Chinatown", Manorama was a languid excercise in story telling. Though slightly ponderous at times, it was nevertheless an engrossing tale set in the wonderful backdrop of Rajasthan, a canvas that adds layers to any text by just being as it is. The treatment was again a salute to a wonderful style that Hollywood has perfected over the years - twsits and turns where nothing is what it seems. Abhay Deol seems to be making a habit of doing story-driven movies and is slowly emerging as an actor of repute. As usual, Vinay Pathak is mesmerising, and Gul Panang does a commendable job. The costumes are excellent and one has to applaud Gul for her characterisation - how many heroines are willing to dress in a shabby night dress with a petticoat showing just above her rubber chappals? She not only nails the look of the character, but is also helped considerably by her earthy appeal and charm.

Finally came Diwali and with it two of the year's biggest releases - OSO and Saawariya. I first watched OSO out of loyalty to my wonderful Jirlax, because I knew it would be a fun entertainer and to judge for myself if Deepika deserved the unconditional gush of emotions she seemed to be getting from everyone. Three hours later, I emerged a believer. SRK is his usual charming best and entertains us thoroughly by refusing to take himself too seriously. Farah's knowledge of the industry makes for some hillarious gags and inside jokes, which most regular film goers should get. And Deepika is incandescent. Her beauty is luminous, capable of lending a warm glow in the darkest reaches, a smile to rival Madhuri, and limpid pools that would inspire Shakespeare. A hint of naivety and sense of awe seems to come through, possibly due to her young age - one hopes she is able to hold on to that innocence and not surrender it to the ravages of time.

The other big release, "Saawariya" was a slight disappointment, only because one expects more from SLB. Slightly self-indulgent, the film is carried on the strength of its lead performers, both debutants boasting a filmi pedigree. Ranbir is allready creating a flutter and has many women swooning at his sight, and it is well deserved. The proud bearer of the Kapoor heritage is a worthy addition to the film galaxy, and will only get better with time. Sonam is another stunner whose simplicity and beauty comes across as a breath of fresh air. Unfortunately SLB gives her little scope as most of the film seems to revolve around Ranbir, but she makes her presence felt and one only hopes she goes on to bigger and better successes, better scripts and a bright future. SLB seems to be on a steady decline ever since his first and best film "Khaamoshi" bombed. While a steady chorus touts "Black" as sheer poetry and the new benchmark in Indian Cinema, one only wishes he would come out with something more original, a story not borrowed or inspired from a classic, where the balance between style and substance is healthy.

Both Ranbir and Deepika seem to be destined for greatness, while one feels a little scared for Sonam. You want her to do well, you wish the best for her, but realise at the same time that in this dog-eat-dog industry, she will face an uphill task. Ranbir now has to prove his chops as an actor and Deepika's beauty will only take her so far. Will she be able to carry an entire film on her pretty shoulders - only time will tell. She does however exude a warmth that embraces the viewer, leaving one feeling attracted and protective at the same time, forcing the viewer to fall in love. It's stuff like this that our dream merchants have peddled so successfully for years, weaving magical tapestries, helping us forget our worries for a few hours and making us believe. Inspite of all the cynical baggage that love carries with it, it still is something to aspire to, something we all want in our lives, something we seek and hope to find. The magic of our cinema is that has the power to make us believe, and Deepika, Sonam and Ranbir are worthy purveyors of this trade. Lets wish them luck so they can go forward and break millions of more hearts and make their magic for a long time to come.