Posts tagged ‘Salil Chowdhury’

April 18, 2010

Mem-Didi (1961)

Is this film famous and I the only person who was unaware of it until now? Amazing performances and great direction from Hrishikesh Mukherjee place it far above the usual, and the story is told with such exquisite economy of effort that it flies along, yet you feel at the end as if you have known and loved the characters for an entire lifetime. David and Jayant play Bahadur and Shera respectively—a pair of goondas strongly reminiscent of Munna and Circuit with their warm-hearted, funny and sometimes misguided largesse—who befriend an older woman (Lalita Pawar) whose life has been one of hardship and toil, but whose spirit has remained strong and pure. Add a very young and pretty Tanuja to the mix, along with Salil Chowdhury’s sparkling songs (including a hilarious duet between Tanuja and a stray dog!) and the result is a heartwarming and comic tour de force.

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March 23, 2010

Usne Kaha Tha (1960)

There is a lot to appreciate in this Bimal Roy production (Moni Bhattacharjee directs), but for me anyway not a lot to LOVE. It is meticulously crafted; I enjoyed the settings and portrayal of life in small-town India, but everything is so picture-postcard perfect that it began to get on my nerves (I like a bit of “messy”). Even the war scenes in the second half feel far too carefully arranged. In the long run, it somehow lacks the heart to really be a classic although it certainly looks like one; but it’s more a coffee-table book of pretty photographs than an engrossing movie. It didn’t help that the painstaking care taken over the characterizations, photography, songs and script was all in service of a complete downer of a plot! But I didn’t mind the gloomy story as much as I missed that intangible sense of life—it just wasn’t there.

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January 10, 2010

Anokhi Raat (1968)

Oh, how I loved this film. It is an absolutely riveting and heartwrenching story, with fine performances and stunningly beautiful songs (Roshan’s last—the film is dedicated to him). The background music is superb too, by Salil Chowdhury; and the black and white cinematography is lush and gorgeous, with richly patterned detail and stunning closeups of the characters. I am running short of superlatives! The message is nothing new (see screenshot above) but the treatment—nuanced, balanced—is unusual.

It is interesting to see actors I am less familiar with, too. Zaheeda, the heroine, is a niece of Nargis and Anwar Hussain (also in this), and she looks so much like Nargis sometimes that it’s startling. And Parikshat Sahni (son of Balraj, whom I just saw as Farhan’s father in 3 Idiots) made his debut with a central role here: such a natural actor, and so handsome too! Tarun Bose, Aruna Irani, Anwar Hussain, Badri Prasad and Mukri add able support as well. But the film really belongs to Sanjeev Kumar as a simple and sweet villager who is transformed by events into a dacoit with a big price on his head.

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December 30, 2009

Apradhi Kaun (1957)

I hold a definite opinion about judging Hindi cinema against western cinema, which is that it is basically unfair. And by unfair I do not at all mean that Hindi cinema cannot hold its own, but that it is an apples to oranges comparison and therefore pointless. Even so, there are two genres where I find it difficult not to judge: film noir and horror. Many of you know that I hate horror films, because they scare me (!) so Hindi movie “failure” on that front doesn’t bother me at all (in fact, I prefer it). However, I am a big fan of old 40s and 50s detective films and I generally feel a bit let down by Bombay’s counterparts. There is compensation in other areas (songs and general gorgeousness, e.g.) but I am hardly ever mystified; and even when I am, the plot holes and ham-fisted red herrings annoy me. I won’t even talk about dramatic expositions which come out of nowhere.

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