Today Indian Cinema is narrating visible and invisible cultural artifacts, ethos, dreams and challenges of new age. Indian cinema was evolved out of Ramlila and similar mythologies which are portrayed on stage. Drama was evolved with passage of time, modern science and technology altered the play on stage, local fair, entertainment, career, ethos and Identities. Delhi 6 a film talks about a specific part of Delhi where people from different religion stay together in harmony. Everybody practice their own religion without crossing the boundary of peace. Today's youth who is well exposed to media and wish to go beyond family pride, this film which explores the conflict of individuals and their social identity. Film revolves around Ramlila as a stage craft, social event and real life; it helps to showcase the social unity. It motivates audiences to raise questions about the issues of caste system and social evil. Cinematic space of Delhi 6 talks about the Ram Lila as a craft and its direct association with our life. The use of background music explains the internal and external conflict between characters, society and our relation to it. The cinematic space of Delhi 6 raises the issues of a girl child in Indian family system, her place in society, her limited freedom and about her fate. The other themes like Cultural identity, gender inequality, exclusion, region, language etc. This paper also attempt the various psychological syndromes associated with Indian psyche, the confluence of social and personal identity, unity and ever enriching secular nature of our country. . Ramlila evolved Indian drama and left heavy influence on Indian cinema.Bollywood films of 60s, 70s have shown Ramlila as a part of entertainment or part of lifestyle designed for their characters. Today in Delhi 6 we find it even relevant, as Ramlila is directly compared with the life of Delhi people. Director has raised the question subtly by the use of edit or by giving a direct cut and to the character. Dr Shoma Chattergy wrote said in an interview on October 8, 2010: "Feminist film theories that draw mainly upon psycho-analysis and structuralism do not have much bearing on an analysis of portrayals of women in Hindi cinema. So, one has to develop a new theory of such analysis against the backdrop of the Indian social and economic backdrop within which the real woman lives and works and study the intersections of these with celluloid women in Indian cinema. How distanced are the real women from the celluloid women? Does distancing help nurture better images of the celluloid women or does it hinder the image more and thus distance the audience from these films?"Make-Believe world and Borrowed Identities become a reality of modern day life. I remember the lines of Frida Kahio "What I wanted to express very clearly and intensely was that the reason these people had to invent or imagine heroes and gods is pure fear. Fear of life and fear of death." Self proclaimed god man creates fear among the hearts of Delhi citizens. They succumb to the pressure of society.Sigmund Freud on the same point has mentioned in The Future of an Illusion (The Standard Edition) "It would be very nice if there were a God who created the world and was a benevolent providence, and if there were a moral order in the universe and an after-life; but it is a very striking fact that all this is exactly as we are bound to wish it to be." All Hindu and Muslims are united and living together. Roshan who has a Muslim mother and Hindu father both are from Delhi 6 area, Ali Begh who is a friend of his parents the secret to Roshan that he use to like his mother once she got married things changed but true love resides in hearts. Drama of Ramayana connects both community through business, hospitality, entertainment and celebration. The drama of Ramayana portrays a make belief world and people find it as escapism over entertainment. Rakesh Omprakash Mehra in Delhi 6 juxtaposes the scenes of Ramlila the arch drama of Indian soil with the modern day film making. Times have changed, science has altered the meaning and definition of life but we as human being are still connected with each other with heart. Our heart rules over mind. Delhi 6 film raises many questions on human behavior, human relations and complex day to day life questions. It remind me the novel by Shashi Tharo Shashi Tharoor's Great Indian Novel. It is a popular and acclaimed work of satire, it talks about the ancient Indian epic Mahabharat and retold as modern Indian history - a tale in which well-known political personalities of 20th Century India are imagined as characters from the Mahabharat. Delhi 6 is an agnostic take on typical social-religious idiosyncrasies of town based Indians. This movie is an NRI's indifferent perspective on India's Social-religious-cultural practices. Delhi 6 talks about the story of people who live in a city. The story talks about their life, dreams, relationships, social cohesion, national integrity, unity and secular society. They rejoice and rejuvenate with each other. Religious fundamentalists and politician tried to create a rift between them they become partly successful but being a multicultural and secular society they realize the value of brotherhood and humanity. They become unite once again. This film revolves around the Delhi city and explores the songs and mysteries of lain and by-lanes. Roshan happen to become a part to clear their misunderstanding. Rakesh Omprakash Mehra passes a message of social cohesion, unity and national integrity through Delhi 6. He did not reside to any hero or super hero to imbibe the doctrine on audience. He used natural situation, day to day characters and incidences and unfolds the film in a real life experience. I sum up article on the quote of Satyajit Ray "The only solutions that are ever worth anything are the solutions that people find themselves."

For me, after finding it a reasonably focused & not too difficult to understand constrained-range-of-opportunities shell-shock for the main character , & i became more interested than expected , However , as it neared the end, there was one scene in which hopefully , a poorly chosen / overall-left un-edited/re-added-to sequence, has a standing-side-by-side 'understanding' ,between two characters as things are starting to heat up between the Muslims & locals , in which one of the characters says in slow , extra film-time ,Something like ; let the doors open and another's wind will blow in, or something like that.(sigh). While I'm all for , ACTUALLY consistently applicable FOR ALL , & ABOUT ALL , sayings , patronizing , history manipulative BS like that, coming from history-editing scum that try to portray stuff like that, is STILL just as patronizing & full of it, as Mugdhal or Timur-ite 'wisdoms' , ever were , & whoever let it remain like that in can goto hell for all i care.While , yes , dismaying , regretful sayings have their value from the guilty parties' perspectives , understanding the past to be able to not make the same mistake again , especially if you've been punished for it ... but it was not appropriate for the relationships , and WHERE , choice was/was-not occurring - it was separated , a commentary of sorts.Such wisdoms of 'choice' , are meant to be warnings of memory & expectation - that one cannot EXPECT what a wind will bring , whereas to me that scene was commentary & out of place with much of the ordinary speech, wordless , wisdom-less , & beautiful in portrayal of people & NOT things convoluted-by-words & wisdoms ; scenes, people, & art.the simplicity of the characters although to some stereotyped , is suddenly whoooaa!! ... all of a sudden made politically contextual.my point being that while little attention needed to be paid to exactly what was happening to whom & why , one could absorb the emotional effects upon relationships with contextual breadth of implied differences between culture.while we could follow him and changes in his emotion as acted , or of changes in his character , all of a sudden there is a imposition of a YOU-left-the-door-open , slap in the face , which even offended an Aussie , practically a world away on mars , with Jack Nicholson Badgering me into command...eek !deliberate?& as for the very short lived "buying property" / burning ______ sub text lines that followed , need i say more.At that point , i was like, what happened?To the following of this character , & of what he could BRING , instead of becoming a visitor ; protecting the local girls , less-protecting of the the STREET low caste woman , etc , a transparent parental trash TV character.his dream sequence was MUCH more interesting. there was obviously much more going on in there than what we got when he had to awake again in melodrama-land.Disappointing at that point , but then also ruined by the unrealistic instant switch , from, two committed-believer groups about to kill each other, to ... what ... purifiers?*scoff* HA! nice try.neither would such groups suddenly switch to chase a mere street-pest ; & nor , would characters like the black-capped father thinking our main character the rapist, all of a sudden think he's deserving of 'human' treatment , simply because he wasn't a monkey.SPECISM, rather than sexism , or racism , is what we call that down here.Not civilization , not purity-of-humanism ... burying your head in the sand , & waking up to bear-hibernation-dreams , not bear-Gryls commitments... *scoff*Thank you, makers of Borat. you know why.Reversion. Disgraceful. More than the folks-back-home's don't-know-better'innocence' & whatnot.You would not be welcome here, unlike those amongst all others over there who can & do see what animals & other creatures have brought , & even for a Pakistani , further away from the unfamiliar , that would be a low blow.Satrap nonsense/illusion.Truly better bred quality , do not bastardize.They are reborn, poor or rich, via demonstration of equity & justice & things in NEITHER. Islam brought little other than suffering & death to millions then , & still does.A American idol dancer, is no heroine.The potential of realizations upon 'each other' , is locals / Muslims , but then passed onto SE Asians , over flying-prince winds , through shadows, but significantly , UPON them .Would GHANDI think passing the buck , a good thing , by Muslim , OR , Hinid / whatever standards ?I think not. shame shame.Were i your governor , you'd be getting a whipping. It is a indirect attempted bringing together of two religions & cultures that are NOT somehow now all neo-globally brought-together.'wisdom' , from RELIGION-EXPLOITING leaders of the past , regretful or not , should not be slipped in there suruptitiously.it will instead of creating peace , cause some to be attracted to that wisdom , now no doubt self-claimed by Islam.One does not need religion , to learn such. The INCLUSION of such , is only that. A inclusion in-amongst , not a dependency.people inconsiderate of each other's rights / 'person's to the point of violence, do not suddenly abandon their impositions so easily.i wish they do, but they don't.get over it.

Delhi-6 is a great attempt aimed at bridging the illusory Hindu-Muslim divide amongst an otherwise co-existent community of Hindus and Muslims using 'kala monkey'. It makes sense that Roshan was created to bring forth the blend, not only as someone born of a mixed marriage between a Hindu father and a Muslim mother, but also of someone who is far from such illusory divides (that India still goes through) as an outsider, an American. There were other sub-plots like the unbelievable superstition Indians steep themselves with and the romance, which converges at the last moment ... this must appeal to the intellectual movie- goers (although loosely in my opinion), if not the masses. Delhi-6 is an icing over films like Kya Dilli Kya Lahore and Anwar, which were either bridging attempted between two individuals of separated nationalities across the border or none at all. We need many more such integrating themes, which makes people think before they act foolishly.

Too many big names associated with this project. Apart from the mammoth star-cast, please pay attention to the three "intellectual pool" of writers contributing to the ahem... broth. The answer lies somewhere in between "Brainstorming exercise gone haywire" or "paradigm shift went overboard". Juxtaposing is a tried and tested method for Mr. RO Mehra. The autobiographical attempt is presented with the narrative concept from Malgudi Days and juxtaposing the socio-economic Mini-India. Noble intentions indeed, sadly attempted too early considering his single-digit film-making career. There are shades of great directors in the attempt however the plot fails to connect. I will refrain to comment on performances and this is because the character seems "small" and the actor for the part "big". Practically, everybody seems grossly under-utilised. There is hardly any actor that stays on your mind after you walkout of the cinema. Just a second, it just struck me that Rishi Kapoor was in the movie as well. Music is innovative and loaded with good tracks. However owing to the pot-hole the Malgudi Days drops everybody into, the songs are truncated big time and lose their very purpose. Well under-utilised there again.The last 15-minutes takes a complete mickey out of the audience. Whoever came up with it let me assure you it was a monkeys idea. Not removing the mask at the very least saved further damage. And yo - from where did the flat-liner bit seep in? With "Aks" Mr. RO Mehra learnt a valuable lesson about the importance of screenplay. The debacle of D-6 would have contributed to the learning curve I am sure. PS:: Jr B's accent - nay!!! Should have let him be... or watch Siddharth Makkar in "Straight" from as a reference point.