The film’s title is actually Lalkar (The Challenge) but I never did figure out what the Challenge was, other than getting through the Comic Side Plot interruptions and tepid romantic interludes which kept intruding on the otherwise fun espionage plot. Rajendra Kumar and Mala Sinha get top billing, so I was hoping to collect some Nahiiin Face additions for the Gallery but they were fairly restrained. They are supported by a stellar cast of character actors led by the inestimable Shyam Kumar as the eye-patch wearing Japanese villain, Dharmendra at his peak, saucy Kum Kum, some really special special effects, and a host of small details that made it eminently watchable.
From the archives: more filmindia
Jalte Badan (1973)
I have seen Kiran Kumar as a hero in a few films now and loved him in every single one. He has a sweetness about him, slightly clueless but kind at heart, which I find really appealing. He might not carry off “Angry Young Man” roles, but he is great in romantic and comedy films. This particular movie only falls under the comedy genre accidentally, but the role of a befuddled hayseed led astray by sophisticated evildoers is just perfect for Jeevan’s beta.
The Satan of unemployment
If I weren’t so lazy I would start another blog made up of nothing but the muddled synopses with which foreign cinema dvds are littered.
Sometimes they make me wonder why I even bother when my own prose will so obviously never reach such fevered heights.
And also, it looks like I may need to fast-forward through the first half of this one in order to get to the poisonous tentacles of the drug peddlers as fast as possible. Many thanks to Todd for bringing it so vividly to my attention.
Haye Mera Dil (1968)
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.
Jab Se Tumhen Dekha Hai (1963)
Way back when I wrote my “ten favorite qawwalis” post, someone pointed me to the one from this film (only available on vcd at the time) which features Shammi and Shashi Kapoor plus Bhagwan, Om Prakash, Kumkum and Shyama in guest appearances. So when the movie finally appeared on a dvd with subtitles I jumped at it. Of course one should perhaps be wary when the dvd cover expends much of its available space advertising the “Star Studded Qawwali” but never mind. I cannot resist Shammi.
Tu Nahin Aur Sahi (1960)
One of things I find so fascinating about Hindi cinema is how many people there are who had the ability to carry a film no matter how dreary the story and their co-stars. That some of these people have been almost criminally ignored, by and large, is a subject for another day. I would not have made it through this one without the sparkly and mesmerizing presence of Minoo Mumtaz. She has some support in the presence of Anwar Hussain, a spectacular Helen dance and lovely songs from Ravi; but even Kum Kum can’t overcome her sanctimonious dialogues and Nishi has the dubious honor of playing one of the most hateful female characters ever. Pradeep Kumar is the nominal hero and I will leave that to speak for itself.
Funtoosh (1956)
At a run-time of just over 1 hour and 45 minutes, significant portions of this film have been edited out (this is also obvious as you watch). It may have once been a good story, but the missing scenes rendered it a bit choppy (not as bad as Jaal, but not good either). It also felt to me like the filmmakers (Chetan and Dev Anand, director and producer respectively) thought they had something of great portent to say, but the messages sprinkled about struck me as childish and trite rather than very meaningful. And I found the portrayal of mentally ill people more than a little irritating. The mental institution in which we meet Funtoosh is a cartoon insane asylum, with inmates cackling uncontrollably and saluting each other; and the protagonist Funtoosh himself is a caricature and a badly drawn one at that. I think he is supposed to represent the “divine fool”—but he is mostly just a fool.
Ankhen (1968)
First, let me give you a brief history of the Memsaab’s relationship with this movie: “Ooh! Piece of candy! Ooh! Piece of candy! Ooh! Piece of candy!” I own about five copies of it—it has always struck me as a movie I really HAVE to see, but somehow I always manage to forget that I already have it, and I’ve seen it too. I start watching my new copy, and I’m all like: “Oh, this film again.” And I shelve it right next to all my other Ankhen dvds. This is my typically verbose way of saying that it is neither a cracktastically great film nor a terrible film, but one that seems like it ought to be one or the other. Instead it is a competently made spy film with fantastic songs (Ravi) and some eye-popping fashions but little else apparently for my memory cells at least to latch onto.
Main Wohi Hoon (1966)
A filmi noir murder mystery starring the lovely Kumkum and the even lovelier (to my eyes) Feroz Khan, with fantastic music by Usha Khanna: how could it possibly go wrong? Well, here’s one way: our hero and heroine are squeezed into the plot around IS Johar, who uses the story as an excuse to don various silly (and occasionally racist) costumes and play the fool. Don’t get me wrong, I love the man—but it is kind of a waste of Feroz and Kum Kum. Also, the script is a total mess.