After the trauma of little Master Bunty’s plight in Aakhri Khat, I needed to bask in the manly warmth of Dharmendra’s strong arms and glorious Greek god looks. And Dharmendra is pretty much the only thing that got me through this nonsensical film (well, him and Sharmila’s and Mumtaz’s outfits). What a criminally stupid waste of a good cast. The story, such as it is, isn’t helped by incredibly choppy editing, which can probably be blamed on KMI since Hrishikesh Mukherjee edited the original film and I can’t imagine that he would have done such a hack job of it. Additionally, each character is totally infantile, lacking any kind of self-awareness or empathy for others; not to mention that none of them seem to have been taught that honesty is the best policy. Plus, they are all as dumb as rocks, seriously. It is pitifully easy for them to keep pulling the wool over each other’s eyes. By the end I felt like I had just spent two and half hours in a nursery school housed inside a mental institution.
Safar (1970)
Or: Life Goes On…And On…And On…
Oh so unfair! This film beguiled me at the beginning with its humor, pretty songs, and lovely characters, and then sucker-punched me: ka-POW! It turns dark and depressing, full of tragic misunderstandings and a fatal lack of communication. The final message that I got out of it made me want to stick needles in my eyes (there are spoilers towards the end), although I’m pretty sure that’s not what the makers intended.
Waqt (1965)
Beth and I rewatched this the other night in honor of her Shashi Week 2009 (everyone should have his or her own week, I think, at least once a year). To be honest, Beth rewatched it; I thought I had seen it before, but if so all memory of it had been crowded out by something else—Dara Singh trivia maybe, who knows? I can’t see how I wouldn’t remember it though. It’s a really really good movie.
To use Beth’s turn of phrase, it is completely proto-masala in that it has a family separated by circumstance and all the attendant near-misses, filmi irony, etc. along with fabulous sixties (and occasionally fifties) style. The screenplay choreographs the events as smoothly as the film’s title would imply; and what a cast! Balraj Sahni, Achala Sachdev, Raaj Kumar, Sunil Dutt, Shashi Kapoor, Sharmila Tagore, Sadhana, Shashikala, Madan Puri. Wah! At least I retained memory of the songs, since they are composed by one of my favorite (underrated) music directors, Ravi, with lyrics by Sahir; they are just gorgeous.
Desh Premee (1982)
I would be hard-pressed to choose my favorite Manmohan Desai film were I ever forced to. But Desh Premee would be near the top of the list. I loved this film; once again the great director has given us a sprawling and complex story encompassing themes of compassion, unity, justice, patriotism, faith and love. He uses leprosy both as a metaphor for the corruption eating away at his country, and as a message of non-exclusion, and the unwavering courage and integrity of Masterji both destroys his happiness and saves his loved ones at the end. There are many moments of humor and silliness, of course, but the movie’s overall tone is quite serious as compared to some of his other work.
I think I’ve finally put my finger on why I love Desai’s films so much. Like me he has a cynic’s view of the world; and also like me, a romantic soul underlying that cynicism. That juxtaposition between often harsh reality and what we wish were real instead is present in all his work, and he always lets the “wishing” side win. Even when the ending is somewhat sad (like Roti) we are still left with a sense of hope. Plus, his imagery and plots are just so FAB.
Sharmila eyes
Pinups
Another Sharmila saree ad
Being as that I brought in the New Year with Abbott & Costello and Lee Van Cleef and Gina Lollobrigida instead of Hindi movies, all I have to offer today is this lovely 1973 saree ad, courtesy of Sharmila and Bombay Dyeing. More soul-stirring synthetics! How I love them.
My ten favorite Dharmendra songs
Everyone knows that Dharmendra is a he-man, good at fighting and drinking and other manly stuff. Luckily for us ladies, he is also good at romance. And as Jaya Bachchan has famously pointed out: he is as handsome as a Greek god. Almost all the playback singers of his time could sing realistically for him, too; he didn’t fit just one type of voice. Here are my ten favorite (so far! I still have lots more of his films to watch) Dharmendra musical moments.