When a film’s credits list Homi Wadia as director and producer; JBH Wadia as screenplay writer; John Cawas (Nadia’s frequent co-star) as assistant director; Babubhai Mistry as art director; and a cast which includes Feroz Khan, Kumari Naaz, and Dog Romer—I am guaranteed to love it. When Todd reviewed it over at D4k I felt actual despair at not having it myself. Luckily I have since fixed that, and this weekend was able to wallow in the sumptuous, colorful, cracktastic goodness that is Char Dervesh.
Feroz looks like he is about 18 years old, and he is faced with seemingly insurmountable obstacles: a two-headed monster, a lecherous sorcerer, greedy brothers and a lazy genie (with full support from the Genie’s Union), among others. He is aided by the love of two beautiful princesses, a diminutive sidekick and his clever canine in a rollicking, humorous Arabian Nights tale with really lovely songs by GS Kohli throughout.
This movie is what happens when a person (producer/director/writer Pachhi) with money to burn sets out to follow his dream—a dream for which he has no aptitude whatsoever. I can’t even say I wasn’t warned. But the temptation of Dharmendra and Feroz Khan circa 1974 in a film by the awesome name of International Crook proved too much for me to resist. Even the presence of Saira Banu dressed up like a dog’s dinner did not deter me. And while I won’t *quite* say that I’m sorry I watched it, I will say that it is a bad film. A very bad film.
Despite a silly plot filled to the brim with irresponsible adults and many creepy (as in “ewwwww” creepy) developments, I could not help but find this entertaining. As noted in my previous trivia post, the film featured all of the best dancers of the era in several very fun songs: Laxmi Chhaya, Padma Khanna, Bindu, Faryal and Jayshree T, along with the inimitable and legendary Helen (who appeared as herself, and was given a well-deserved tribute in the dialogues). Hema Malini and a very young Neetu Singh had dances too, and Madan Mohan’s music along with the plentiful eye candy—both human and inanimate—conspired to prevent me from running away screaming as I should have, in all honesty.
Warning: Post below contains many screen shots of dancing girls, so if they are not your thing you’ll need to use your scroll bar (although I must ask: how could they not be your thing?).
Here’s what Stardust had to contribute about Dharmatma.This was in 2003 1973; the film didn’t come out until 2005 (yes, too much wine at New Year’s) 1975—and I have to say that I did notice some Feroz age continuity issues while I was watching it, although they didn’t affect my feelings for the film. But in any case, I hope the Bush-kashi is more horse-friendly than it looked!
Ah, Feroz Khan. As a producer and director, you spare nothing! I watched Dharmatma a long time ago and it was time for a rewatch in the wake of the fantabulous Apradh. I remember that I had liked it, but I was bowled over completely the second time around.
Premnath dominates as the title character: a wealthy and powerful man who believes entirely that the end justifies the means, who has convinced himself that his bad deeds are compensated for by his good ones. Indeed, he is called “Dharmatma” (God Man) by everyone because of those good deeds. Feroz Khan plays his son, a man standing firmly on principles that are completely at odds with his father’s.
Their conflict plays out against a backdrop that includes the gorgeous Afghani landscape, crazy nightclubs (and a dwarf bartender!), opulent mansions, and all the stylish goodness you’d expect from the era (and from Feroz too). The production values are high, the camera work spectacular. Plus: Hema Malini as a gypsy dancer! Danny Denzongpa! Ranjeet and Sudhir in matching outfits! Rekha! Helen! Nadira as a gypsy fortuneteller! Faryal as a sexy nurse! Iftekhar as not a police inspector! And Kalyanji-Anandji’s music doesn’t suck either, especially the background score.
So much fun and stylish goodness packed into one movie, it is beyond belief. Mumtaz is gorgeous, Feroz very manly in his hirsute way (and their chemistry sparkles). It’s really more like two films for the price of one. The first half takes place in glamorous Europe and revolves around a jewel theft, with some pretty scary-insane bad guys and some gloriously kitschy sets and costumes.
In the second half our hero and heroine return to India where the hero’s crime-lord brother awaits. Prem Chopra has an opportunity to do more than spit out one-liners through his clenched jaw, with a more nuanced role than he usually gets; and it contains one of the best nightclubs in Hindi cinema (my screencaps are out of control) complete with one of my favorite Helen songs of all time. In fact, all of Kalyanji Anandji’s songs are great. There’s plenty in general to entertain, and it’s clear that producer-director-star Feroz Khan spared no expense or imagination! (Also see Shweta’s review for her take on it—and more screen cap delights!)
After suffering through the last two films, I really needed a dose of Mohammed Hussain, maker of low-low-low-budget zany B-movie fare. Fortunately, I had just the thing on hand: a film starring Feroz Khan, Mumtaz, Helen and Bela Bose, with appearances by Tun Tun and Master Shetty! Music by OP Nayyar, choreographed by my new best friend Herman! A plot about a scientific formula written in code for making something touted as a “peace bomb”! I settle into my chair with a happy sigh.
Produced by Homi Wadia, and written by JBH Wadia, this film surprised me. It lacks their usual emphasis on stunts and crazy special effects, which I always enjoy; but is a solidly entertaining filmi noir more along the lines of Howrah Bridge and C.I.D. (although not nearly as competently done) than of Aladdin. Dwarka Khosla (any relation to Raj?) directed, and the plot is interesting (in spite of the many holes), with good performances and—best of all—spectacular music.
Feroz Khan stars in one of his first roles; as Todd pointed out in a comment elsewhere, he seems to have started off his film career as a poor man’s Shammi Kapoor. If that was his brief from the filmmakers, he certainly lived up to it during the songs at least. I will say that if Shammi and, say, Madhubala or Asha P. had starred, it would have probably taken the film to a whole other level; but as it is Feroz and Chitra deliver consistently if not spectactularly.
I have tripped and fallen over a theme song of my very own! There are two reasons, no three many reasons why I cannot resist it:
The lyrics “Lo Memsaab Salaam, Salaam Memsaab Salaam”
Rafi sings it, and I love him; plus, he yodels!*
It’s from Reporter Raju which was made in 1962 (so it’s *almost* as old as I am)
The film is a Wadia Brothers production, and I love the Wadias
Even though Shammi isn’t in it, Feroz Khan does his level best to channel Shammi; and I can close my eyes and pretend it’s Shammi, since it is a very Shammi-like song (Shammi Shammi Shammi!)
It’s lively and fabulous (is there an Indian instrument that sounds like an accordion, or is it an actual accordion? either way, too much fun)
It’s short, like my attention span!
Here it is: “O Chale Ho Kahan Kaho” from Reporter Raju, sung by Rafi, music by S.S. Mohinder:
*Edited to add: My very reliable and informed friend Sunny has informed me that Kishore actually does the yodeling here for Rafi, which makes no material difference to it remaining my theme song, but good to know!
*Edited again to add more: Now more people are on board the it’s-Rafi-yodeling boat, see comments if you are interested! It’s still my theme song, no matter who yodels, even if it’s a Swiss farmer who was imported just for the task.
Ah, testosterone. It pours out like a river from the screen during Qurbani. One fistfight leads to another, and another, and another. Punctuating the fisticuffs are doses of male bonding and declarations of undying friendship. Also many many (not necessarily testosterone-related) Poor Decisions are made.
MemsaabStory 