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Can true love materialize from a transactional affair? Let me turn to a certain Akira Kurosawa in order to broach my preoccupation with this capacious question, one that preoccupied a set of commercial Hindi films in a postwar, post-independence period of the long 1960s. By “Akira Kurosawa,” I am referring to a song sequence (clip 1) from the unassuming Hindi comedy Chintu Ji (Mister Chintu, Ranjit Kapoor, 2009). The sequence offers a playful retrospective homage to a historic binary that crystallized over the period in question: between the spec­tacular audiovisual excess of the Bombay-based Hindi-language cinema on the one hand and the canonical acclaim of an auteur-driven world cinema on the other.