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.
This Sharmila Tagore home production took years to make and it shows, mostly in Rajesh Khanna’s hair. But it’s sort of fitting, actually, because the story itself takes place over years—as do all of the Sharmila-Rajesh movies, with lots and lots of suffering and noble sacrificing principles (tyaag!) along the way. This is full of all that, but still I enjoyed it: sometimes angst is not misplaced and human frailties can cause a lot of trouble. I will say that the subtitles leave a lot to be desired—they are patchy in places (long dialogues with short or no subs) and hard to read at best. My friend Suhan did her best to fill in the gaps but even so a lot of the dialogue went over my head, making the film much less meaningful for me I think than it might otherwise have been. The music by SD Burman (his last soundtrack) is also very pretty indeed (my favorite is the duet “Hum Tum Hain Tum Hum”).
Who would have ever thought that B. Subhash—maker of such spectacularly trashy fare as Disco Dancer, Kasam Paida Karne Wale Ki, Dance Dance, and on and on—and Aamir Khan—now justifiably renowned for his perfectionism and serious approach to filmmaking—ever teamed up to make a film? Well, probably a lot of you guys did know that, but it was a bit of a shock to me.
Of course, I could not resist the lure of such a clash of sensibilities, especially since Aamir is paired with Juhi Chawla, with whom he always had great chemistry. So how did it go?
When people roll their eyes and scoff at “Bollywood” this is the kind of film it’s nice to have on hand to prove all their misconceptions wrong. It is a powerful social drama with great performances from everyone and a tightly written (Gulzar) and directed (Hrishikesh Mukherjee) story. There’s not a minute wasted. It’s sad—and you know I hate sad—but it’s a film I’m glad I’ve seen and would heartily recommend, though my swollen eyes may never recover. Wah!
Rajesh Khanna and Amitabh Bachchan are paired again as best friends after Anand, and are superb. And Om Shivpuri (who is inextricably linked in my brain to evil Mr. Oberoi in Disco Dancer) delivers in a small but pivotal role as an unscrupulous businessman. The core issue—socialism as a cure for the plight of the middle and lower classes (and a responsibility of the wealthy) still seems as relevant today as it was thirty-five years ago.
I was positively filled with glee when I saw this DVD. Shashi! Pran! Zeenat! Dadamoni! Thievery! Mid-70s! I was not disappointed. Truly fabulous funky music from Kalyanji Anandji adds to the fun. And in one of those “only in Hindi movies” coincidences, Anwar Hussein from Aaya Toofan was in this too. I can’t even count the times when I’ve noticed an actor in a film, and then he or she shows up in the next ten films I watch.
MemsaabStory 