I have firmly believed, for the past few years, that Hollywood would have been a lot poorer had it not been for its Europeans. All the way from writers and composers to directors—and, of course, the most visible, actors. Charles Boyer, Ingrid Bergman, Hedy Lamarr, Rossano Brazzi, Greta Garbo, Cary Grant, Michael Caine, Curt Jurgens… and, one of my absolute favourites, the very handsome Louis Jourdan. I remember, as a young teenager, being completely bowled over by him in Decameron Nights, Three Coins in the Fountain, and The Swan. And this film, the quintessential Louis Jourdan one, about a wealthy young man who finds love in an unlikely place.
Some days back, I’d written about one of Delhi’s large but little-known mosques, the massive Begumpuri Masjid, near Malviya Nagar. In a turn-around, this week’s (or fortnight’s, whatever) interesting medieval mosque is one that’s much more visible, even though most … Continue reading
The other day, thinking over the themes for song lists that I’ve posted over the years I’ve been writing this blog, two came forcibly to mind: rain songs (a list, in fact, which has proved very popular—I was even interviewed about it by a Canadian radio station); and wind songs.
Rain. Wind. And what goes with that? Clouds. Clouds, which are so common in Hindi film songs. Clouds, as harbingers of rain. Clouds that thunder, clouds that pour. Clouds that symbolize everything from relief and coolness to bleak despair. Time, I decided, to do a list of cloud songs that I like a lot.
This is a somewhat belated tribute, to yet another star of the silver screen. Aussie actor Rod Taylor (January 11, 1930 – January 7, 2015) arrived in Hollywood in the 1950s, and though he never achieved the fame of fellow countrymen like Errol Flynn (and, much later, Hugh Jackman, Nicole Kidman, Russell Crowe, etc), he did star in several big films, including Hitchcock’s The Birds, The Time Machine, Young Cassidy, 36 Hours (and, his last outing, Inglourious Basterds, in which he played Winston Churchill).
Serendipity isn’t something I encounter too frequently while watching Hindi cinema. More often than not, it’s the other way round: I watch a film because I liked the cast, or because the story sounds appealing, or (and this happens with appalling frequency) because the music is wonderful. That I should watch a film about which I know next to nothing—on a whim, so to say—and find that it’s not just watchable but actually quite enjoyable is something to be grateful about. Which is why this review. Seriously speaking, I hadn’t expected much of Parivaar (the name itself conjures up one of those extremely melodramatic social dramas AVM used to specialise in).
Worse, I had my memories (I wish I could rid myself of them) of having watched the utterly execrable Nanda-Jeetendra starrer Parivaar, one of the worst films from the 60s I’ve ever wasted three hours upon. But, back to this Parivaar, which brought a smile of pleased anticipation to my face as soon as the credits began to roll. Directed by Asit Sen and produced by Bimal Roy, Parivaar is set completely within the large haveli of the Choudhary brothers, where all of them, with the exception of one brother, live as a joint family. Over the first hour or so of the film, we are introduced to these men, their families, and their servants. Continue reading
A few weeks back, I’d decided to begin a series of articles on some of the more interesting medieval mosques of Delhi. I began with an introduction to mosque architecture, then wrote a piece on one of the most striking … Continue reading
There’s this delightful, irreverent new literary journal called AntiSerious. Which, as its name suggests, is all about not being serious. Not being serious about politics, society and its morals, the economy, literature, or whatever. When AntiSerious were starting up, they asked me if I’d like to contribute an article. They left the choice of subject matter to me, and I (gleefully, with a whoop of joy you could’ve heard in Chinchpokli) picked old Hindi cinema. (Yes, well. What did you expect?)
What emerged was this, a brief (really, compared to the usual length of my posts) essay on what it is I like about old Hindi cinema. What makes the 50s and 60s the cinematic equivalent of comfort food for me.
Click here to read on:
Comments on blog posts here tend to go off on tangents. I don’t have a problem with that (in fact, I often contribute)—and, best of all, sometimes these completely tangential comments give me ideas for other posts. The other day, commenting on my C Ramachandra post, Harini had remarked that Asha Bhonsle’s voice in Aa dil se dil mila le sounded a lot like Noorjehan’s. That reminded me of the lone Pakistani film I’d seen till then, the wonderful Dupatta (which starred Noorjehan). And I decided it was time to watch another Pakistani film. After all, Lollywood did share a lot in common with Bollywood in the early years, didn’t it?
While I am passionately fond of food, and can cook a decent enough meal (or so possibly biased people have told me), I do tend to get cold feet at the thought of cooking for any number of people. Six … Continue reading
…specifically, songs which he composed, not just songs he sang (since C Ramachandra also lent his voice to some of his best songs).
Chitalkar Ramachandra was born 97 years ago—on January 12, 1918, in the town of Puntamba in Maharashtra. Although he’d studied music, it was as an actor that C Ramachandra joined the film industry—he debuted in a lead role in a film called Nagananda. This didn’t continue for long, though; he eventually shifted to composing songs, first for Tamil cinema, and then for Hindi. And he came like a breath of fresh air to Hindi film music: in a period dominated by classical tunes composed by the likes of Naushad, Anil Biswas and Pankaj Mullick, C Ramachandra had the guts to bring in music with distinctly Western rhythms, what with hits like Aana meri jaan Sunday ke Sunday and Mere piya gaye Rangoon. And he was brilliantly versatile: as the following selection will (hopefully) show, he could compose just about everything from peppy club songs to lullabies to ghazals (if one can expect a particular style of music for a ghazal) and lilting love songs.