Fate has conspired to push snake movies at me from all angles this month; so be it. Until Doodh Ka Karz came along this was my topmost favorite of the genre and it is at least still tied for first. I love it for the ridiculous special effects, the Seventies style, the star-crammed cast and the shape-shifting, vengeful ichchadhari nagin Reena Roy. These things more than make up for the heavy-handed (at times) preaching on a wide number of subjects: marriage, wifely duty, religion, sacrifice, revenge, redemption. I was only planning to mine this for screenshots for my “Nahiin! Face Gallery” (coming soon), but I couldn’t stop watching once I began. There are lots of Nahiin! Face moments, but there are some surprisingly sensitive ones too. All in all it’s an odd mixture of things, almost none of them boring.
There is really only one compelling reason to watch Ponga Pandit: the costume designer (credited as Manorama Ralhan, who—judging from her other film assignments—I would guess was married to OP Ralhan).
This is a movie where an Elvis poster competing for wall space with a picture of a skinny fuchsia guy and a pair of teepee chairs are not the most startling visuals in the room. Plus, Go-Go Barbie goes practically unnoticed!
For a much better and way more progressive version of the basic story (if, you know, that’s what’s important to you), watch Mem Sahib from 1956 instead.
Despite my near-certainty that I should know better, I once again succumbed to the lure of the Mithun-Ravi Nagaich combo. Feeling that I needed something *fun* to do, I watched Gun Master G-9 battle the unnecessarily complicated maneuverings of Evil with equally needlessly elaborate gadgets and code names—all the while still failing to convince me that his lacklustre activities in various nightclubs could really be classified as “dancing.” Ahem.
The beauty of Surakksha lies in the triumph of imagination over economics. I pretty much have to love and respect a filmmaker who spends most of his spy-movie budget on wallpaper and furnishings. This lacks the yellow plastic locusts of its sequel Wardat, sadly, but compensates by making said locusts appear positively high-tech in comparison to what GMG-9 encounters here. And the cinematography, courtesy of director-producer Nagaich in a triple threat, is really interesting. Crazy angles, migraine-inducing lighting…it’s all there. This writeup is even more screenshot-heavy than usual, due to the spectacular visuals which have to be seen to be believed. No real attempt to link plot points together is made: the story consists mostly of random (stolen from Bond) events which serve as an excuse for plenty of action and accessories which are a cracktastic tribute to the Indian spirit of jugaad.