Taqdeer—a remake of the Konkani film Nirmonn (1966, directed by A Salaam, who also directed Taqdeer)—wouldn’t have been a film I’d have watched had it not been for one particular song that I like a lot: Jab-jab bahaar aayi aur phool muskuraaye. I noticed the film was up on Youtube (incidentally, this is a surprisingly good print, and with seemingly no arbitrary snipping off of sections). So I settled down one night to watch. For the song. And discovered that the film wasn’t bad—and was somewhat different from the usual.
What if you woke up one day to find that you couldn’t speak, couldn’t move, and—even worse, perhaps—had no idea who you were? And that when you set out to find out, you opened up a can of worms? That every other person you met seemed to be wanting to beat you or kill you (or ended up dead)—and you had absolutely no idea why?
Some years back, watching Hitchcock’s excellent Lifeboat, I was fascinated by John Hodiak. It was the first time I’d seen this actor, and I wanted to see more of him. After some searching, I discovered this intriguing example of film noir which starred Hodiak as the amnesiac who sets out to discover his identity—and ends up with some even more baffling answers.
The first time I began watching this film was on Doordarshan, many years ago. It surprised me, largely because it featured Waheeda Rehman in a very Westernised avatar I had never seen before. It also had an intriguing story. And Dharmendra, always one of my favourites. And Helen. And Johnny Walker.
There is a scene well into Satyajit Ray’s Jalsaghar (The Music Room) in which the protagonist, a reclusive and close-to-bankrupt zamindar named Bishwambar Roy (Chhabi Biswas) stands outside his crumbling palace and looks out towards the riverbank, where his elephant Moti—his only asset worth anything—is standing. Bishwambar Roy’s stance, the squared shoulders, the raised chin, shows his pride: his pride in the elephant, his pride in the many generations of wealthy aristocracy that he can lay claim to, his pride—as he tells someone in another scene—in his blood.
Even as he looks out at his elephant, a truck, with the name of Ganguli (Roy’s wealthy, ‘self-made man’ neighbour) on it comes along. It’s heading towards the riverbank too, and as it proceeds, it raises clouds of dust, obscuring the river, the land, and the elephant. Blocking out Bishwambar Roy’s view of that last vestige of his wealth, and prompting him to take what turns out to be a decision that will prove a turning point in the story.
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
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?
Happy New Year!
The other day, someone mentioned that after Omkara, Maqbool and Haider—based respectively on Othello, MacBeth and Hamlet—Vishal Bhardwaj was going to be making a trio of films based on Shakespeare’s comedies. The thought came into my head: had any Hindi film maker remade a Shakespearean comedy before? The very next moment, the answer popped up. Of course: Angoor. And (my brain was beginning to work overtime by now), another film based on A Comedy of Errors and also starring Sanjeev Kumar: Gustakhi Maaf.
I hadn’t heard of Gustakhi Maaf until a few years back, when I happened to find (and subsequently buy) a delightful lobby card featuring Sanjeev Kumar in this film. I went looking for the film, discovered that it was based on A Comedy of Errors and that it starred the ever-bubbly Tanuja—but I couldn’t get hold of the film anywhere. Until Harini (over at bagsbooksandmore) pointed me to it. So here goes: review #1 of 2015, of a fun, frothy film.
There are two traditions I’ve maintained on this blog ever since I began blogging. One is to celebrate my birthday with a pertinent post (coming up in two weeks’ time). The other is to, for Christmas, review a Christmas-themed film (of which there are examples aplenty). For once, though, the Christmas film I’ve chosen is one with a difference. It’s a Western, and – while it doesn’t have any actual blood and gore shown – there is death here. It’s not a sugary film, and even though the first half has its share of humour, the final impression is one of a bittersweet story of a world that isn’t quite black and white.
This post is a consequence of the last film review I did: that of the 1966 Dharmendra-Rajshree starrer, Mohabbat Zindagi Hai. A ‘marriage of convenience’ theme about an heiress who must marry in a hurry in order to inherit the wealth due to her—and chooses a man on death row as her husband, so that she can legally get her money, but is conveniently widowed. Only to find that things don’t quite work out the way she’d expected.
The connection with Dynamite, made nearly 40 years earlier, by the legendary Cecil B DeMille? This film, DeMille’s first full-length sound feature, has several similarities to Mohabbat Zindagi Hai: the rich female lead; the clause in a dead relative’s will requiring her to marry in order to inherit; the down-to-earth coal miner who is accused (and convicted) of murder and is chosen by the heiress as a temporary husband so that she can get her money…