Although this movie was made in 1964, it very well could have been made in 1954 or even 1944 given the quality of its special effects. They are so very special! In addition, the heroine of the film is none other than the ever-fabulous Helen, opposite wrestler Dara Singh. Aaya Toofan was the source for this trivia post, and for my avatar as well. This is not to say that it’s a good film; it most emphatically is not. It’s really bad. Silly story, bad acting, the whole nine yards. But it’s B-movie fun for those who enjoy such things (I do! I do!), and of course there is Helen. And wrestlers. Lots and lots of wrestlers.
Anita (1967)
Anita might be a good film. The only thing is: the SUBTITLES! SUCKED!! They came on five-ten seconds after the dialogue or scene had ended; sometimes flashed so briefly that there was no way to read them; and very often there were large gaps where single words would just show up occasionally. Because the story was fairly complex (a murder/suicide/reincarnation/multiple personality/ghost story) I had a headache in no time.
And I became distracted by mostly irrelevant details (as you will see). Luckily there were plenty of irrelevant details to entertain, but still. As I said—I think properly understood, this might be a good film. I wish I knew for sure. The music is certainly delightful!
Mera Gaon Mera Desh (1971)
Widely considered the inspiration for Sholay, this film is quite simply awesome. It’s much smaller in scale, but director Raj Khosla’s deft treatment of the same themes, the pace and the fantastic performances by everyone make it just as compelling. Laxmikant-Pyarelal’s tunes are foot-tappingly addictive too.
Laxmi Chhaya is especially impressive in her role as a dancer spying for the dacoits. Besides her dancing ability (she’s memorable as the girl in the golden dress in “Jaan Pehchaan Ho” from Gumnaam), she has acting skills too. She very competently played Asha Parekh’s best friend in Teesri Manzil, and she’s beautiful to boot. But in all her films (sadly few in number) she was relegated to secondary roles and bit parts. I don’t get it.
Manchali (1973)
Pyar Kiye Jaa (1966)

Attention all Shashi fans (and I know you’re out there)—this is a must-see movie for you! It is just so much fun, and Shashi is so…well…Shashilicious! His first song alone is worth buying the DVD for (I’ve watched it many times already and just can’t get enough of it). It’s called “Kehne Ki Nahin Baat” and it features Shashi dancing like Shammi, a marching band and a bunch of guys wearing berets with pom-poms.
Ansoo Ban Gaye Phool (1969)

Despite the DVD cover showing Deb Mukherjee and Alka looking young and beautiful, their romance is only half of the plot. The other half revolves around Ashok Kumar’s character, the principal of a college named Vidyanand. This is not a bad thing! it’s a nice drama about keeping one’s integrity and lofty ideals intact even in the face of injustice. There’s also a rich-vs-poor subtext which starts out strong but doesn’t really go anywhere. The very very best things about the film are the marvelous songs by Laxmikant-Pyarelal, including two Helen numbers, and—Deb Mukherjee! I did not see that coming, I confess.
Karz (1980)
Karz was a smash hit in India when it was released. It has those ever-popular elements of reincarnation, deep spiritual connection to one’s mother, revenge and bad disco music. It also has a grandiose plot very characteristic of its director, Subhash Ghai. You might think from these comments that I did not care for the film, but I found it strangely enthralling. It veers crazily from one genre to another — is it a disco movie? a romance? a murder mystery? a supernatural thriller? — the answer of course is yes, all that and more besides!
The story begins with a courtroom judgment being delivered in favor of Ravi Verma (Raj Kiran) and against a mute sinister figure (Premnath), whose name is referred to variously throughout as








