I’m reading Jai Arjun Singh’s The World of Hrishikesh Mukherjee: The Filmmaker EveryoneLoves these days (yes; a review will be posted sometime this month). A few pages into the book, and I came across a mention—followed by more interesting stuff—about a film I’d run into once, about ten years back. Biwi aur Makaan, of which I’d happened to find a VCD and had happily bought, guessing (from the synopsis on the VCD cover) that this might be fun.
That VCD turned out a dud: the first disc was fine, the second refused to play. So I set Biwi aur Makaan aside (regretfully), and ended up forgetting about it. Until earlier this week, when, reading Jai’s book, I was reminded of it, and on a whim, decided to see if I could find it on YouTube. Sure enough, there it was. And here is my review.
Suspense is one of my favourite genres, and when it comes to 60’s Hindi cinema, Mera Saaya remains one of my favourite suspense films. And I am always eager to see the originals or the remakes—even in different languages—of films I particularly like. So I quickly put Pathlaag on my list, and set about trying to find a subtitled version. Some hectic trying, and I realized just how difficult this was going to be. I found VCDs aplenty; I even found a version—uploaded in five parts—on Youtube. None had subtitles. Then, Pathlaag again cropped up in conversations when I posted my review of Mera Saaya, I decided to give it another try. This time, I found an English subtitles file of Pathlaag. With much jugglery and some tech work, I managed to fit film to subs, and watch it.
Appropriate, perhaps, considering—as Harvey and Milind’s discussion indicated—‘pathlaag’ can mean ‘chase’ or ‘follow’. I really had to chase this film down.
Permit me one last Sadhana-related post before I put aside my unexpected (even to me) sadness at her untimely death. I know I’ve already been through twotribute posts, but even as I was writing those posts, I couldn’t help but think of the Sadhana films I haven’t reviewed on this blog (and there are several of them, including all the ones she made with Rajendra Kumar). When I think of Sadhana, I always think of her in Raj Khosla’s suspense films. Three of them, two opposite Manoj Kumar (Woh Kaun Thi? and Anita), and this one, opposite Sunil Dutt, with whom Sadhana also starred in Gaban and Waqt.
I am a creature of habit. And a lot of habits of mine kick in around Christmastime every year. One is the daily posting, on Facebook, of a favourite Christmas carol. Another is this: the reviewing of a film that centres round Christmas. Over the years this blog has been in existence (I began it in November 2008), I’ve reviewed several films, some well-known, others not. This one, according to several polls, is listed as one of the very top Christmas films ever made.
It begins at Thanksgiving in New York City. The huge department store, Macy’s, at 34th Street, is holding its annual Thanksgiving Day Parade, and the employee in charge of managing much of the parade is Mrs Doris Walker (Maureen O’Hara). Doris is very harassed, what with the large number of people she has to juggle and instruct; thus, when she discovers that her Santa Claus has been drinking and is now tipsy, she nearly loses it.
My mother grew up in a family ruled by the iron hand of her grandfather, a strict disciplinarian who thought dining out, nightlife, and cinema were a waste of time. Not to mention immoral. As a result, while he was alive, about the only films the family went to watch were The Ten Commandments, Ben Hur, and Kismet.
Mummy once told me that the first film she happened to watch after the old gentleman (and his controlling ways) had passed on was The Innocents. And that she liked it. When I discovered that it starred Deborah Kerr—a favourite of mine—I was curious. I watched this film shortly after I began blogging, but decided I’d postpone a review (and a rewatch) for after I’d read the story on which this film was based: Henry James’s famous The Turn of the Screw.
One post often leads to another on this blog. When I posted my list of jewellery songs, blog reader Afsal posted a song from the 1965 Mahabharat—so I went and watched Mahabharat, and reviewed it. And, when I mentioned in that review that I found the reduced-to-almost-nothing character of Karna very disappointing (since I think of Karna as one of the most intriguing characters of the epic), another blog reader—kayyessee—recommended a film that might be of interest, since it focused on Karna. The 1964 Tamil film, Karnan, with Sivaji Ganesan in the lead role. Kayyessee reminded me, too, that it had been a long time since I’d reviewed a regional language film.
Anu had started this month with a Dev Anand film—and I, following suit, decided I would review a relatively little-known Dev Anand film too, to begin August. But, while Anu’s kept up the Dev Anand theme all through August, I’ve meandered off in different directions, all the way from The Rickshaw Man to jeep songs. But solidarity among friends counts for something, doesn’t it? So here I am back again, with another Dev Anand film. The sort of film that, on the surface, looks like it’s got everything going for it: a suave Dev Anand opposite a very beautiful Waheeda Rehman (who, along with Nutan, was, I feel, one of Dev Anand’s best co-stars as far as chemistry is concerned). SD Burman’s music. Suspense. Some good cinematography.
I had no particular film review or song list in mind for this week, but when Anu declared August Dev Anand month over at her blog, and Harini reviewed Duniya, I saw a bandwagon that I liked—and decided to jump on to it. With a film that reminds me of Duniya in some ways: Dev Anand, late 60s, suspense.
I hadn’t heard of this version of the Mahabharat till a few days back (not, of course, that the existence of this film is surprising; given Hindi cinema’s love for mythology, there was bound to be at least one version of this epic floating about). Then, commenting on my jewellery songs post, blog reader Afsal posted a song from Mahabharat, and mentioned part of the cast: Pradeep Kumar as Arjun. Dara Singh as Bheem. Padmini as Draupadi. And good songs.
I won’t narrate the complete story here; the Mahabharat is too well-known for that (and if you aren’t familiar with it, I’d advise checking it out first before watching the film). Suffice to say that the film begins right in the middle of some action, without setting any preliminary background in place. At the court of the blind King Dhritrashtra in Hastinapur, the entire court is watching the two cousins Bheem (Dara Singh) and Suyodhan/Duryodhan (Tiwari) engage in a wrestling match.
The first Omar Sharif film I remember watching was Mackenna’s Gold. As the bandit John Colorado, Sharif made a very young me (I was a child) feel that, my goodness, how could someone be so cruel and nasty and not at all nice? Then, a couple of years later, I saw The Night of the Generals and refused to believe that the upright Major Grau could be played by the same man who played the evil Colorado.
In the many years since my teens, I have seen many more of Omar Sharif’s films. I’ve seen him play everyone from a Mongol warrior (Genghis Khan) to a Russian doctor (Dr Zhivago), an Armenian king (The Fall of the Roman Empire), a German officer (The Night of the Generals), an Arab tribal leader (Lawrence of Arabia)… and a Spanish prince.