I watched this with Carla (Filmigeek), who liked it more than I did possibly thanks to the dazzling spectacle that is Sharmila in a swimsuit. For me it was ruined on the mystery front by obvious red herrings thrown at me like bricks and then left unexplained; and elsewhere by the insistence of the men who supposedly “loved” Sharmila (including the hero, argggghh Shashi) threatening repeatedly to kill her if she didn’t do what they wanted. There was fun to be had in some foot-tapping Kalyanji-Anandji musical numbers (and background score) and the general gorgeous sixties ishtyle of Shashi and Sharmila (what splendid alliteration!), but it didn’t quite make up for the annoyances above and a sad lack of gadgetry, lairs or any other kind of embellishment which might have made it less predictable.
Khair. You cannot always win everything.
Thwarted in my previous snake-movie viewing attempt by Sky Entertainment’s poor quality control, I moved on to this long-overdue-for-watching one and was much happier in any case. Not only is heroine Neelam not smacked in the face every other minute (although her father does want to kill her at one point, but he is Amrish Puri so it’s to be expected); but there are a lot more snakes and Aruna Irani (or her representative) lactates onscreen. She also (a la Smita Patil before her) sets out to pump her newborn son full of hatred, albeit somewhat less successfully, possibly because Jackie Shroff doesn’t have to also learn disco. Or maybe because Jackie has more snake backup than Mithun so doesn’t need to be as angry. I don’t know. I just know that I would much rather watch snakes massing in military formation and launching themselves like missiles than watch men pounding each other to a bloody pulp (although there is some of that too).
If you are enticed by a story built on more than a few ludicrous suppositions and where skin color informs character, you might enjoy Gora Aur Kala. Or you might think—as I did more than once—that the racism inherent in all of it is so despicable that even Madan Puri atop a Disco Throne (before disco!) and the delicious irony of medically separated Siamese twin princes being separated again by fate hardly make up for it. But then again, it is all so very very over-the-top that I giggled at least as much as I cringed.
Rajesh Khanna makes a fabulous
Tarzan Dara Singh hero in this tale of palace treachery which extols the moral superiority of animals over man, a message I wholeheartedly endorse. Zeenat Aman plays a wild jungle girl (yes, it is as hilarious as it sounds), the rightful heiress to her murdered father’s throne, who has been raised from infancy by a very maternal gorilla—by which I mean a guy in an ape suit.
Plus, Pran as Dr. Doolittle! Oh, how I love B-movies. I was fortunate to get this one from my dear friend and Rajesh devotee Suhan, who also watched it with me and filled me in on all the unsubtitled goings-on—and there is a lot going on.
Now available with subtitles thanks to Tom and Raja!
Sometimes (well, quite often really, due to my suspect tastes) I see a film which wasn’t a hit and I say WHY, UNIVERSE, WHY? Despite the magical combination of Shammi Kapoor in his prime with Shakti Samanta directing, backup from Helen and Asha Parekh, lovely songs (Shankar Jaikishan) and an emotionally compelling and unusual plot, this movie apparently bombed at the box office and has not—until now!—even been put on a dvd with subtitles. (If you would rather just get to the download and not have to read my drivel, scroll all the way down to the end.)
It is not perfect but I found it deeply engaging and sensitive: it is largely about loss, and I think it is one of Shammi’s best performances.
We all have our guilty pleasures (if you don’t, I recommend you get some)…and Baadshah is one of mine. Shah Rukh Khan is the first Indian actor that I truly fell head over heels for, and although I have hardly written about any of his movies here it’s not because I haven’t seen them all. I saw this film very early on in my pyaar and what stuck in my head was that although it struck me as incredibly stupid, it was also immensely fun; there was a ridiculous eye-transplant side plot that I found ludicrous at the time which—given what I know now—barely registered on this watch. There is a fair amount of painful hamming and silly slapstick (yes, someone even slips on a banana peel at one point) which puzzled me more than anything (“Does anyone actually find this funny?”), although now of course I realize that it has its roots in a very rich (if mostly unloved by me) CSP tradition.
It is amazing what a mere eight years of devotion to Hindi cinema can teach a person.
Man insists on marrying Woman, although Woman says plainly and clearly that she doesn’t want to get married, to him or anyone else: she wants to dance and see the world. Then he is shocked—shocked!—when she is unhappy and feels trapped.
This was an unexpected treat, a breezy comedy starring Kishore Kumar, Kum Kum, IS Johar, Prem Chopra—in a not-villainous role!—and my would-be bahen Laxmi Chhaya. Greedy bad guys, plenty of disguises, goofball antics and a fine sense of the just plain silly are its hallmarks, along with one of my new favorite Laxmi songs. Actually, all the songs by Usha Khanna are fabulous and worth watching. Kum Kum is an excellent dancer too and plays one in this (as well as her long-lost mother) so she has plenty of scope for showing off her talents as well. The storyline is contrived and conveniently glib, but all in all it’s a very fun watch if you feel like shutting off your brain for some simple but satisfying entertainment.
I have long been meaning to watch this Raj Khosla film again. I saw it a few years ago but remembered little about it except one Sadhana dance which is spectacular: “Jhumka Gira Re Bareilly Ki Bazaar Mein” and a vague feeling that it was pretty good. And it is pretty good—really good in fact! I was riveted and (thanks to my dismal memory) not completely sure I had the mystery figured out until the very end. The performances from Sunil Dutt and Sadhana are wonderful, and the competently plotted story moves along briskly with tension building ever so gradually: the direction and editing are masterful. It’s also beautifully photographed and just chock-full of pretty, especially the locations in Udaipur (and Sunil and Sadhana!). Any quibbles I have are minor: the end is a bit flat after the marvellous buildup, and I got tired of the title song after the umpteenth time hearing it—pretty as it is—but that’s about it.