Reader Chris brought the sad lack of reviews on the internet of this film to my attention recently, and I am surprised. This is a really fun film, and though Shammi is admittedly towards the end of his career as a hero, he is still the Shammi who made hearts go pitter-patter. The songs are classic Shanker-Jaikishan-Rafi-Shammi, with the dance-off between Helen and Vijayanthimala probably its most well-known feature. But there’s so much more to it than that! Shammi is less exuberant than the Yahoo Shammi of early in the decade, which gives his performance a more subdued realism. He plays Prince Shamsher Singh, the jaded, bored, arrogant son of the Maharajah of Ramnagar (Ulhas); the film is about how wealth and privilege do not guarantee happiness, not by a long shot. This theme—and the setting, at the twilight of the Princely States—may be be trite, but they are no less valid; and the screenplay and story are penned by none other than Abrar Alvi. And the supporting cast…let’s just say it is a gift that keeps on giving.
This post is dedicated to dearest Edwina, whose husband of 52 years passed away this morning. She and Keith were married the year this film was released, and she has a small speaking part in addition to her song appearances. It is also the newest in the Edu Productions catalog, named in her honor. I have the Sky dvd, and this has about 15 minutes more footage than that, much better subtitles, and video that doesn’t jump around in such a manner as to make me nauseous. Details for watching it online or downloading it are on the Edu Productions page.
I adore this full-on 1940s Hollywood-style soap opera romance, with it’s thwarted love, stylish villainess, crashing ocean waves mirroring internal turmoil, and bonus bakwas filmi medicine. Even though Meena Kumari spends the whole movie dressed like the Flying Nun, you can practically taste the chemistry between her and Raaj Kumar (still blessed with his own hair and very handsome indeed), and Nadira makes a perfect Joan Crawford in a sari. Plus the songs are pure gems, including the one that would be my ring-tone if I had a cell phone (“Ajeeb Dastan Hai Yeh”). From an era when plots like this often devolved into ridiculous melodrama and pointless self-sacrifice this one stays relatively on point and the people in it remain relatively sane. Also woven into the main story is a simply delightful sub-plot about three patients, led by Om Prakash.
This film is exactly why I feel blessed to have discovered Hindi cinema. As Beth said in her review of it this summer, I live in fear of running out of movies like this. Elaan is more fun than anyone ought to be allowed to have, and if it had subtitles my head would probably explode (but please, somebody, subtitle it anyway). The lunatic story (featuring a ring of invisibility that only works when you put it in your mouth) is presented with great relish and plenty of style, and manages to stay on track and is nicely paced. Even the flaws only add to its charms. And all this is embellished with the finest fashions and set decoration the Seventies had to offer!
For me, An Evening In Paris = Pran’s bright orange Joker hair + lovely songs. It’s not one of my favorite Shammi films, although there is lots of pretty—especially Sharmila. In fact, everyone should have two hours of footage like this of themselves looking impossibly glamorous, heart-meltingly beautiful, and haughtily chic. If I were Sharmila I would probably watch this every day. Shammi is quintessential Shammi: he looks a little the worse for wear around the edges, but retains his considerable charm and his willingness to make a complete idiot of himself (one of my favorite things about him).
I think my main quibble is with the plot, which is all over the place (literally!), too long, and brain-dead in places. There’s also a complete lack of real character development. It’s as if Shakti Samanta just needed a backdrop for the music and stars and didn’t care about the rest; unfortunately it gets tedious, stylish though it is—the fashions and hair and sets, oh my! Plus it’s lovely to see the locations (Paris, Switzerland, Beirut, the Niagara Falls) as they were during that era, even if we are required to believe sometimes that Paris is filled with signs in German and that the French countryside looks just like India.
It is a fact that when I started this blog I had grandiose plans to cover every single film Shammi ever starred in (well, that I could find, anyway). Little did I know how distracted I would become by so much other stuff, but here I go in a valiant attempt to move a teeny bit forward towards that lofty goal.
The Shakti Samanta-Shammi team made several memorable films and I think this is their first together. It has its entertaining moments, but after the first hour or so begins to drag for me. The songs are lovely (Shankar-Jaikishan); Shammi is lovely LOVELY (even in disguise); Padmini and Shashikala and Malaysian actress Maria Menado are lovely; but at the end of the day this isn’t one I want to watch over and over. Shammi’s exuberance seems to have nowhere to go and it fizzles; his chemistry with Padmini is tepid and although I am a fan of Agha, he is not the Shammi sidekick that Rajendranath was.
Now available with subtitles thanks to Tom and Raja!
Sometimes (well, quite often really, due to my suspect tastes) I see a film which wasn’t a hit and I say WHY, UNIVERSE, WHY? Despite the magical combination of Shammi Kapoor in his prime with Shakti Samanta directing, backup from Helen and Asha Parekh, lovely songs (Shankar Jaikishan) and an emotionally compelling and unusual plot, this movie apparently bombed at the box office and has not—until now!—even been put on a dvd with subtitles. (If you would rather just get to the download and not have to read my drivel, scroll all the way down to the end.)
It is not perfect but I found it deeply engaging and sensitive: it is largely about loss, and I think it is one of Shammi’s best performances.
I was pleasantly surprised by this no-holds-barred launch vehicle for producer-director Kishore Sahu’s daughter Naina, although possibly not for the reasons he intended. It is a colorful and melodramatic soap opera of the first order, and the actors are given full scope for expressing every emotion from despair to…well, utter despair. Rarely have I enjoyed other people’s anguish so much. It is also surprisingly progressive, especially for a star daughter’s debut: she gets pregnant while unmarried, and is eventually accepted by the townspeople as a single mother! There’s even a little plug in favor of sex education.
Plus the music is superb: in addition to some pretty love songs are two Helen numbers (and she has a sizable role) and a picnic with everyone doing the twist! Happy, happy.
Why yes, Dharamji, I will. I don’t even care what you want me to do.
I don’t know what it is about him, but for me watching a Dharmendra starrer is like getting a big warm hug. He is just so…comforting and solid, somehow (it’s no wonder he’s my fake-pretend bodyguard). So on a recent snowy night, missing my Dad and needing a sustaining presence, I rewatched Yakeen, one of my early favorite forays into 1960s Hindi cinema. It must be universally acknowledged that two Dharmendras are always better than one, even if one of them has blue eyes and orange hair.
Can a film about a spineless man bullied by his suspicious wife be fun? I admit, I had my doubts. Men complaining about their nagging wives get on my last good nerve. Maybe she’s nagging you because you deserve it! Maybe she was always a nagger and you married her anyway! I don’t have any patience for people (male or female) who claim other people are responsible for their own bad behavior. Khair. I saw this movie long ago in the initial throes of my Helen pyaar and didn’t remember much about it outside of her spectacular song. But my developing fondness for Kiran Kumar, who hit my radar with Jangal Mein Mangal—made by the same team with many of the same actors and a movie I thoroughly enjoyed—decided me on a rewatch.
It’s time to return to beloved Shammi: my eyes have been roving of late (Chandramohan, Shyam, the Shash)—but they will always come back to my favorite! One of my goals for this blog is to write about all his movies that I can find and comprehend (i.e. with subtitles). This is one I haven’t watched in a very long time despite remembering it as a wonderfully romantic story which I enjoyed very much. And I love Shammi in this film; he shows a subdued maturity that is really appealing without losing the Melt Factor that I so adore in him. And although Hema is obviously much younger (she is so gorgeous in this), her character has a gravity that makes it work. The kids are not as annoying as they might be either, especially Master Alankar as Hema’s really cute son Deepu. Baby Gauri—Shammi’s daughter Munni—is a hilarious little monkey, if a little *too* spoiled rotten at times.