Category Archives: Dusted Off

Kakushi-toride no san-akunin (1958)

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Known in English as The Hidden Fortress, though the literal translation is The Three Villains of the Hidden Fortress. One of Akira Kurosawa’s finest samurai films.

I’ve made it a blog tradition that, every year on my birthday, I review a film featuring someone who shares the same birthdate as me, January 8. So, over the years, I’ve reviewed films starring Nanda, Fearless Nadia, Elvis Presley and José Ferrer, among others. This year, I decided it was time for a change. Two changes, actually. For one, the film I’m reviewing is neither in English nor in Hindi: it’s Japanese. And, the person who shares my birthday in this case—Japanese actor Susumu Fujita—isn’t one of the leads. In fact, he doesn’t even appear in the film till the second half. But he is there in The Hidden Fortress, and he’s a good actor. Plus, even though his role here is fairly small, it’s a critical one. Enough reason.

Susumu Fujita as General Hyoe Tadokoro in The Hidden Fortress. Continue reading →

Gustakhi Maaf (1969)

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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.

Tanuja as Asha and Seema/Asha in Gustakhi Maaf Continue reading →

3 Godfathers (1948)

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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.

Three godfathers Continue reading →

Book Review: Gautam Chintamani’s Dark Star: The Loneliness of Being Rajesh Khanna

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I was born in an odd generation that somehow missed the Rajesh Khanna euphoria. I missed inheriting it from my parents, who had been young and film-crazy when Ashok Kumar, Shammi Kapoor and Dev Anand had been in their prime. And I missed being part of it; I was born just after Rajesh Khanna—who had one of the shortest-ever reigns of any superstar anywhere—had come to the last of his 15-in-a-row super hit films.

Yes, I admit it: I am not too much of a Rajesh Khanna fan. I like him alright; I think he’s gorgeous in films like Aradhana, and so very poignant in Anand. But I wouldn’t go out of my way to read a biography of the man. So, when I received a review copy of Gautam Chintamani’s Dark Star: The Loneliness of Being Rajesh Khanna (Harper Collins Publishers India, P-ISBN: 978-93-5029-620-2; E-ISBN: 978-93-5136-340-8; ₹499; 242 pages), I was a little ambivalent. I was not particularly interested in the life of Rajesh Khanna. On the other hand, this man had acted in some of the greatest hits of the late 60s, films that were both extremely popular as well as critically acclaimed.

Gautam Chintamani's 'Dark Star: The Loneliness of Being Rajesh Khanna'
Continue reading →

Ten of my favourite Dharmendra songs

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Happy birthday, Dharmendra!

Considering I am so fond of Dharmendra (and I’ve reviewed so many of his films—including his debut film, the forgettable Dil Bhi Tera Hum Bhi Tere), it seems odd that I’ve never created a list of my favourite Dharmendra songs. Even though he did have a lot of good songs picturised on him. And he acted in some excellent films.

Born on December 8, 1935, in Sahnewal (Punjab), Dharmendra arrived in Bombay after winning the Filmfare New Talent Award. His first films weren’t huge successes: Dil Bhi Tera Hum Bhi Tere, Shola aur Shabnam, and Boyfriend were all flops, despite (in the case of Boyfriend) having an otherwise very popular lead pair. Within a couple of years, though, by appearing in hits like Anpadh and Bandini (in both of which, though, he didn’t have very major roles), Dharmendra began to be a known face—and was soon, by the mid-60s, one of Hindi cinema’s hottest (literally). He was to go on to become the ‘Garam Dharam’ of the 70s, but to me, the Dharmendra is the 60s hero: the quiet, sensitive poet of Anupama; the idealist of Satyakam; the dashing spy of Aankhen.

Dharmendra (in Shikar) Continue reading →

Ten of my favourite Geeta Dutt duets

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This was not the post I’d got planned for this week. But then, when so many people commenting on my Geeta Dutt solos post began writing about Geeta Dutt duets, I decided I may as well compile my list of the Geeta Dutt duets I love the most. After all, I knew I’d do this post, sooner or later. So why not now?

Geeta Dutt Continue reading →

Ten of my favourite Geeta Dutt solos

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Looking back at the six years this blog has been in existence, I find myself surprised that I’ve never done a post on Geeta Dutt. Geeta Dutt, née Geeta Ghosh Roy Chaudhury, the woman with that beautifully melodious, faintly nasal voice, who was known for singing bhajans and other songs with a classical or folk lilt to them—until SD Burman chose her to sing Tadbeer se bigdi hui taqdeer bana de, and opened up to millions of listeners across the years the astounding versatility of this glorious voice. Geeta Dutt, who could sing with equal finesse everything from club songs to wandering minstrel ones. Geeta, who sang some of the most achingly beautiful songs in Hindi cinema.

Geeta Dutt Continue reading →

Dynamite (1929)

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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…

Charles Bickford and Kay Johnson in Dynamite Continue reading →

Mohabbat Zindagi Hai (1966)

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Considering ‘arranged marriages’ were—and still are—so common in India, the fact that old Hindi cinema tended to focus mostly on ‘love marriages’ seems rather odd to me. It’s more romantic, I suppose, to imagine that one will fall in love and end up, after various trials and tribulations and having encountered sundry obstacles, married to one’s sweetheart.

There were exceptions, though, the occasional film about people getting married first, and falling in love later. There was Ghoonghat, Saanjh aur Savera, Blackmail, or those examples of child marriages, Chhoti si Mulaqat and Ji Chaahta Hai. Most of them about people who are forced—because of their own submissiveness, and because they can’t pluck up the courage to say no to bossy elders—into getting married to near or complete strangers.

Unlike this one. Mohabbat Zindagi Hai is one of the few examples (Mr & Mrs 55 was another) of someone getting married for a very mercenary reason. And, as in Mr & Mrs 55, the heroine here is an heiress who needs to get married in a hurry in order to inherit. No husband, no money. But, unlike Mr & Mrs 55, the heroine here doesn’t marry because she thinks she can easily divorce her unwanted husband soon after; she marries him because he’s on death row. He won’t be alive three days after their wedding.

Dharmendra and Rajshree in Mohabba Zindagi Hai Continue reading →

Godaan (1963)

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I am not a one to make New Year’s resolutions; more often than not, it’s just something I silently tell myself I should attempt to do over the course of the coming year. At the start of 2014, I decided I should read more classic fiction this year—and, importantly, more fiction that wasn’t originally in English. Since the only two languages I am fluent in are English and Hindi, it meant that the only untranslated works I could read would be in either of those two languages. So, after many years (if I remember correctly, I last read a Munshi Premchand novel in school), I decided to read his landmark novel, Godaan.

…and didn’t even know, till a couple of months back, that it had been adapted into a film. When I discovered Godaan on Youtube, I bookmarked it immediately (noting, though, with trepidation, that it starred two people I’m not especially fond of: Raj Kumar and Kamini Kaushal). And I vowed to watch it as soon as possible, at least while the novel was still fresh in my mind.

Raj Kumar and Kamini Kaushal in Godaan Continue reading →