Archive for ‘Hindi movies’

August 3, 2007

Saadat Hasan Manto

Found a site with four letters written by the great Urdu short story/screenplay writer Saadat Hasan Manto (and translated by Khalid Hasan). They are the first four of a series of nine letters written by Manto to “Uncle Sam” in the 1950’s before he died of alcoholism at the age of 42 in 1955, and they are hysterically funny. He talks about America’s plan to provide military assistance to the fledgling nation of Pakistan*, being tried on pornography charges, his alcoholic tendencies, plastic surgery, American casual wear shirts, Packards, Buicks and Max Factor cosmetics. The letters are sharp, sarcastic, and very very witty.

I have a book which he wrote called “Stars From Another Sky” about the Bombay film world in the 1940’s. It’s a great read too, if you can find it (I had to go all the way to India for my copy). So are his short stories about Partition (you can find them on Amazon or online used bookshops).

Among the funny lines in these letters:

“Pandit Jawaharlal Nehru is a Kashmiri, so you should send him a gun which should go off when it is placed in the sun. I am a Kashmiri too, but a Muslim which is why I have asked for a tiny atom bomb for myself.”

About Gregory Peck’s visit with the Indian movie star Suraiya he wrote:

“Have all Pakistani actresses croaked that they should be ignored! We have Gulshan Ara. She may be black as a pot but she has appeared as the lead in many movies. She also is said to have a big heart. As for Sahiba, while it is true that she is slightly cross-eyed, a little attention from you can take care of that.”

Now I need to track down the last five letters. I’ll let you know if I find them.

*India at that time was leaning towards communism and the Soviet Union for support—as anyone who has watched Hindi films from the late 40’s/early 50’s knows!

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August 1, 2007

Johny Mera Naam (1970)

I finally had the requisite 3 spare hours it takes to get through a Hindi movie Monday evening, and it was time SO well spent! I love Vijay Anand’s movies, especially his captivatingly convoluted crime capers (including Teesri Manzil and Jewel Thief). And my undying devotion to Shammi notwithstanding, Dev Anand is particularly suited for the genre. This entertaining story about two brothers separated in childhood after the murder of their father features an absolutely stellar cast. One brother, Sohan (Dev Anand), grows up to become an undercover policeman, while the other, Mohan (Pran), becomes a criminal working unknowingly for the very man (Premnath) who ordered the murder of his father. As our story begins, Sohan is starting an undercover job working as a small-time thief and smuggler named Johny. He infiltrates the gang headed by Mohan (now called Moti) with the help of a beauty named Rekha (Hema Malini), who has her own motives for being part of the gang.

What follows is an engrossing tale with twists and turns, double-crosses, and multiple nefarious activities set against the breathtaking backdrop of Nepal. I can never resist Pran. He is in disguise heaven here, even for him:

jmn_pran_sadhu.jpg

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July 31, 2007

Rang De Basanti (2006)

Since I finally watched it a few months ago, I have been trying to figure out why I didn’t really like Rang De Basanti. The other day I came across this interview with one of Gandhi’s great-grandsons, Tushar Gandhi* and it set my brain off again on the subject:

Q: What did you think of “Rang De Basanti”?

A: Though I liked the film the conclusion was inapplicable and problematic. It just offered an emotional eruption. The parallels between the freedom fighters and today’s youth were interesting but inaccurate. I appreciated the parallels between history and contemporary times. I thought it was a technically brilliant film.

Q: So, are you saying it trivialised history?

A: I’d say so.

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July 18, 2007

Starter movies

rani.jpg

People are always asking me what movies I would recommend to them so they can become more familiar with Hindi movies. Of course, that’s like asking what Hollywood movies one would recommend*; obviously it depends on personal preference for genre, etc. but I’ve done my best to come up with a “one size fits all” list. These are not here just because they are favorites of mine (although they all are), but because I think they are also easily accessible to the western sensibility while remaining true to the culture they come from.

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July 15, 2007

Sahir Ludhianvi

There is a nice article about the great Urdu poet and film lyricist Sahir Ludhianvi in today’s Mid-Day (Mumbai) newspaper. I fell in love with his lyrics watching the 1958 movie Sadhna starring Sunil Dutt and Vijayanthimala. Fortunately for me, the songs were subtitled — and subtitled beautifully, I might add! (The major reason I really need to learn Hindi/Urdu is so that I can comprehend and appreciate the poetry of songs from older movies without having to depend on subtitles…but anyway, back to Sahir Ludhianvi.) By all accounts, his life was unhappy and he was considered very arrogant and difficult to work with. But he was a genius, and he knew it. Bless him!

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July 14, 2007

“Borrowed” from Hollywood

I watched Aamir Khan’s movie Dil Hai Ke Manta Nahin yesterday. It is an obvious remake of Frank Capra’s It Happened One Night and it got me thinking, not for the first time, about why I prefer the Hindi film version of some of my favorite Hollywood films. The Hindi film industry is often accused of stealing entire plots without acknowledging (or paying for) copyrights held on their Hollywood counterparts. And to be sure, a movie like DHKMN should acknowledge Frank Capra’s work as its direct ancestor. What I don’t understand is why so many people hold these remakes in contempt and use them as examples of how Indian filmmakers lack creativity. After all, Hollywood itself remakes its old films.

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July 12, 2007

Aamir Khan’s blog

I love love love Aamir Khan’s latest post on his blog (http://www.lagaandvd.com/blog.php). He talks about mainstream Hindi “masala” films and why he does them, and why he thinks they are as important as the more “highbrow” films he is famous for. Here is a small part of what he says (copied and pasted, all spelling etc. errors are his :-):

“I can see that some of you did not like FANAA, and I can understant why. Happily more of you loved it. Which is why it is among my biggest hits. I want you’ll to understand that when I am attempting to entertain such a LARGE and VARIED audience it will not always be possible for me to entertain EVERYONE at the same time. People have different tastes, different emotional keys, different perpectives. And there will be times when a certain section of my audience likes one of my films better and another section some other film. I personally think that this is very healthy. I dont want to do only one particular sensibility or taste of film. I want to give myself the freedom to do all kinds of cinema. I dont want to do just those kinds of films which make a social comment, or are very logical. Sometimes I too feel like doing something mushy, mad, crude, sentimental. RDB, LAGAAN, MANGAL PANDEY, DCH, SARFAROSH, JJWS etc are my kind of films, but that doesn’t mean that I dont enjoy doing FANAA, RAJA HINDUSTANI, ISHQ etc. which are not typically my kind of films.

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July 11, 2007

Hmmmm…

I started this blog intending to use it to write about Hindi movies. But clearly I need to do some work on focusing.

I knew that already!

Sigh. I have so many movies running around in my head that I can’t decide which one to write about. So I’m attaching a link here to an article in the Washington Post that is about one of my favorite Hindi movies ever: Lage Raho Munna Bhai (and I will write about the film in more detail soon)…

But for now I’m going to go have a glass of wine.

Gandhigiri zindabad!

www.washingtonpost.com/wp-dyn/content/article/2007/07/10/AR2007071002055.html

July 9, 2007

Bara-Dari (1955)

Since I couldn’t find a single synopsis of this film’s story online, I figure I might as well tell it. So reader beware, because I am giving away practically the entire plot.

The movie starts with a woman visiting her husband in jail. He is a Rajput lord from the town of Ajaygarh named Ranvir, imprisoned by the King because he refuses to pay tax. She pleads with him to compromise with the King for the sake of their unborn child. He says that he will not. Cut to palace, with Ranvir in chains before the King and court. Ranvir gives an impassioned speech about being a Rajput and not bowing to some King even though they were formerly friends, blah blah, and although the King pardons him, he is beheaded by the King’s army commander Karan Singh.

A few months later, Ranvir’s widow gives birth to a son (Ajit) at the same time as the Queen gives birth to Prince Vijay. The Chief Minister of the court consults an astrologer, who reads the Prince’s chart and declares that he must be kept away from the King until he is eight years old. The King agrees but says that the prince must be raised by someone of “equal status” (more Rajput pride) and the CM says that the only woman suitable is Ranvir’s widow. They take the prince to Ranvir’s widow and after some argument she takes him in and raises him with her own son, because:

Ma hai

Surprise!

The boys grow up together as brothers until the prince reaches the age of eight, when the Chief Minister comes and retrieves him and promises that the town of Ajaygarh will no longer be raided or taxed by the King’s army. Tearful goodbyes, Ajit’s friend Gauri comforts him; and segue into Ajit and Gauri ten or fifteen years later singing a song and obviously in love. Of course, their peaceful existence is about to come to an end.

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June 28, 2007

Rajnigandha (1974)

First off —- aaaaaarrrrrrgggghhhhhh! Hindi movie subtitles make me crazy sometimes, the way they randomly appear and disappear just when you need them most. In this case, the *most important line* of the film was lost to me. I have no clue what happened at the end (or more accurately, WHY what happened at the end happened). All I know is that Deepa was happy and there were subtitles:

deepa happy

Then she became sad and disturbed, and the subtitles were gone:

sad deepa

I do know that on the way there I enjoyed sumptuous 1970’s era fashions and general grooviness*…

navin_glasses.jpg

and nostalgic views of Bombay and Delhi. Amol Palekar was sweet, Vidya Sinha and Ranjita Thakur very beautiful (in spite of it being the 70s, and who among us can say that)…and the story slow as molasses. I don’t know why, but I just need more action in my films. But it was a trip back in time for sure.

And if anyone reading this can explain the end to me, I will be most grateful.

*Sunglasses so huge they would completely engulf poor little Nicole Ritchie’s head

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