By some strange oversight, despite the fact that Waqt is one of my favourite masala films, I’ve never reviewed it on this blog. And I’m wishing I didn’t have to end up writing about it on such a sad occasion—because Achla Sachdev, the actress who played the self-sacrificing, long-suffering mother and wife in this film, passed away on April 30, 2012.
I ended up re-watching this film in a roundabout sort of way, which is a story in itself. A few months back, my sister (a historian, whose PhD was on 19th century Delhi) remarked, “I’d like to watch Lal Qila. I’ve never been able to find it in stores.” So, good little sister that I am (and a shameless opportunist), I figured out at least one of the things I’d gift my sister for Christmas.
Before gift-wrapping the VCD, I decided to watch Lal Qila, and write up a review right after. The latter didn’t happen – because Lal Qila is so badly written, so badly directed, and such a crashing bore, I couldn’t make head or tail of it most of the time. Only Rafi’s superb renditions of Bahadur Shah Zafar’s poetry – especially Na kisi ki aankh ka noor hoon – are a saving grace.
I was so peeved and disappointed after Lal Qila, that I needed this to buoy myself up. In any case, I told myself: logically, the two films are related (other than the fact that both feature Helen): the Lal Qila and the Taj Mahal were both built by Shahjahan.
Here we go, then. One of Hindi cinema’s better historicals, with a stellar cast and very good music.
In an interview, while reminiscing about his first few years in the Hindi cinema industry, Naushad mentioned how, after he had moved to Bombay and become a music director, his parents arranged his wedding. “We have told your future in-laws that you are a tailor,” his mother said. “If we’d said you were into music, you’d never have gotten married!” The irony of the whole thing was, recalled Naushad, that at the wedding, the band that came along was playing all the latest hits – all of which happened to be from Naushad’s first big score.
Which, as you’ve probably guessed by now, was from this film. Naushad came to Bombay from Lucknow in 1937, and though he did get some work over the next few years, it was not until Rattan that he got a chance to compose the sort of music that catapulted him to the top.
At home, our tastes (when it comes to cinema) are very varied. My husband likes science fiction or fantasy, kung fu, conspiracy, superheroes, and (occasionally) comedy. And very little of it pre-90’s. I watch just about anything that’s pre-70’s. So, when we were deciding which DVDs we wanted to order next from our DVD rental service, I was taken aback when my husband said, “Baiju Bawra.”
“That’s black and white,” I said, wondering if the recent bout of long and stressful work hours had taken its toll. “Early 50’s. Hindi.”
“I know,” he said. “Good music.”
And yes, good music is the outstanding feature of this film. It had to be, since it’s about the legendary 16th century singer and musician Baijnath (‘Baiju’) Bawra.
After having watched Akira Kurosawa’s brilliant Shichi-nin No Samurai last week, I figured it was time to rewatch this film, which goes so far as to mention that it’s based on Shichi-nin No Samurai. For me, The Magnificent Seven has much to recommend it. Firstly, it’s a Western, a genre I’m usually fond of (as long as it steers clear of the run-of-the-mill formulas that John Wayne acted in during the early 30’s—and which, sadly, continued in a lot of films well past the 30’s). Secondly, The Magnificent Seven stars one of my favourite actors, Yul Brynner. Thirdly, it was directed by John Sturges, the very capable man behind classic adventure films like Escape from Fort Bravo, The Great Escape, and Ice Station Zebra.
I first watched Khamoshi when I was a child (and too immature to really understand it). I last watched it as a teenager, more able to appreciate the film—which left a handful of clear, sharp images burnt into my memory: Dharmendra, looking out over a balcony and singing Tum pukaar lo; Dharmendra flinging a glass of water at Waheeda Rehman and then watching, half-bemused, half-shy, as she laughingly wipes her face against the front of his shirt. Waheeda Rehman, clinging to Rajesh Khanna but thinking of Dharmendra.
So, considering that this last week saw Dharmendra’s 74th birthday (on December 8th), and having read some very enjoyable posts by fellow bloggers: I decided it was time to re-view and review Khamoshi. It came as a bit of a surprise to realise that Dharmendra actually appears onscreen for just over 5 minutes (and that includes a song). The male lead is Rajesh Khanna. And the film belongs to Waheeda Rehman.
Akeli Mat Jaiyo (‘Don’t Go Alone’—specifically addressed to a female) is, if nothing else, very aptly titled. Because if you gallivant where you’re not supposed to, you run the risk of being pursued by a moron whose best friend is a ventriloquist’s dummy. You may end up betrothed to somebody whose family includes a father with a loony sense of humour. Worst of all, you may have to stake your all on saving the ‘life’ of that ventriloquist’s dummy. So yes, akeli mat jaiyo. No way.
Memsaab’s excellent review of the Dev Anand-Waheeda Rehman starrer Solva Saal reminded me of this film. Also Dev Anand, also a suspense thriller, and also with great music. And, may I add, like Solva Saal, extremely entertaining.
So I rewatched this and enjoyed myself all over again, ogling Dev Anand, humming along with the songs, and wishing there were more films like this.