Posts tagged ‘Tarun Bose’

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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May 4, 2009

Oonche Log (1965)

oonchelog

Now and then a film comes along that gives the viewer true insight into the time and place in which it is set. I’m not talking about flowered go-go boots or violently patterned wallpaper here, but about a look at the generation that is passing and the one taking its place; about moving forward and looking back, and setting a course for the future. Most of the tributes to Feroz Khan that I’ve read in the week since his death have mentioned Oonche Log as the movie that established him in his career, and I can certainly see why. He holds his own with ease opposite two established and charismatic actors, Ashok Kumar and Raaj Kumar, in a complex and layered story requiring skillful, nuanced performances (there are very few characters).

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