Fact 1: Today, January 8, is Nanda’s birthday (mine too, but that’s a different matter).
Fact 2: Since one of Nanda’s finest performances is in Ittefaq, I’d decided I’d review Ittefaq today, as a tribute. Nanda deserves it!
Fact 3: Bollyviewer yesterday did an interesting post: a link to a youtube clip of the launch party of Ittefaq.
Mere coincidence? Perhaps.
And ittefaq, by the way, means coincidence.
It’s a coincidence that memsaab reviewed Woh Kaun Thi? just after I’d seen Gaslight and decided to review it. The films are worlds apart (and yes, Raj Khosla fan though I am, I must acknowledge that George Cukor is better at this!) There is, however, an interesting similarity: a central character who seems to be steadily going insane.
That said, this is a great film, very watchable and with the beautiful Ingrid Bergman in a superb, Oscar-winning performance.
Someone once said that Nasir Hussain came to Bombay with one story in his briefcase, and created a series of blockbusters out of it. This is one of them, and a vastly entertaining film: total paisa vasool. You get your money’s worth.
The story’s similar to that of Dil Deke Dekho, Tumsa Nahin Dekha, and Jab Pyaar Kisise Hota Hai: a couple separates, and one of them raises their only child, a son. He grows up, meets his `other’ parent (who’s wealthy), and they don’t quite hit it off—but he does fall for that parent’s adopted daughter. To complicate matters, there’s a villain who pretends to be the long-lost son, whom the parent has been yearning for all these years.
When I was a kid in the late 80’s, All India Radio used to air a series of Western music programmes, most of which consisted of songs from the 50’s and 60’s. There was one programme—I’ve forgotten what it was called—which focused on music from the movies: Oklahoma!, My Fair Lady, Fiddler on the Roof, The Sound of Music—and High Society. I was singing along to Who wants to be a millionaire long before I realised that yes, I did want to be one.
But, without further ado: this is a film with a title that’s pretty self-explanatory. High society in Newport centres round exquisite Tracy Samantha Lord (Grace Kelly), who’s getting ready to marry distinctly stuffy social climber George Kittredge (John Lund).
I’ve been on a Dharmendra-Mala Sinha spree, and it’s been a disaster. Baharein Phir Bhi Aayengi started off promisingly, but deteriorated; and Neela Akash was an even bigger disappointment. I had grave doubts about Pooja ke Phool, and sadly, it proved even worse than Neela Akash. I’m not sure I want to watch any more Dharmendra-Mala Sinha starrers. I’ve had enough.
The film begins in a village where a poor blacksmith called Hansraj (Nana Palsikar) is slogging his butt off trying to scrape together money to pay for a college education for his younger brother Balraj `Raj’ (Dharmendra). The only other member of the family is Hansraj’s daughter Vijay (Sandhya Roy).
I leave town tomorrow to visit my parents for Christmas—and for a brief break from the virtual world. And so, clichéd though this may seem, I thought my last post before Christmas should be one on a Christmas movie. No, it isn’t It’s a Wonderful Life. This one’s relatively little known, but is a sweet, lovely little gem of a movie—perfect for that warm and fuzzy feeling. And yes, it stars Robert Mitchum (which, for me, is reason enough to watch). Merry Christmas, all!
When I see Dharmendra, Mala Sinha, Madan Puri, Mehmood and Shashikala as part of the cast, I’m inclined to sit back with a happy smile and look forward to the movie. I expect to be entertained, not subjected to a string of disconnected scenes that make me want to weep with frustration. But yes, after Baharein Phir Bhi Aayengi (also Dharmendra and Mala Sinha—I’m losing my faith in these two), Neela Akash was another disappointment.
The film begins with the graduation of Neela (Mala Sinha), the eldest of the three offspring of Karamchand (Raj Mehra) and his wife (Sulochana Latkar). Karamchand is the type of father nobody should be subjected to: he’s bossy, selfish, prone to gambling (and worse, losing) at the races, and a drunk. Fortunately, a good-at-heart goon called Abdul Chacha (Madan Puri) hauls him home every night.
I adore Cary Grant, and Ginger Rogers? Yessir! Unfortunately, the last Cary Grant-Ginger Rogers flick I watched was the somewhat incoherent Once Upon a Honeymoon: a major disappointment, since it couldn’t seem to figure out whether it wanted to be a war movie, a comedy, a romance, or what. Monkey Business, on the other hand, was very watchable and loads of fun. Farce, true; and definitely slapstick in a lot of places, but good for a lot of laughs. And it has a luscious Marilyn Monroe.
With Christmas and New Year’s Eve round the corner, I have friends asking me whether I’ll be going party-hopping, and where. The answer is: nowhere. I’m not a party animal (I’d much rather stay at home and watch an old film), and I can’t dance to save my life. That said and done, though, I love party songs from old Hindi films—especially when there’s dancing too (Herman Benjamin, anyone?) So here’s a list of ten of my favourite dance party songs. They’re all from the 50’s through the 60’s (one from 1970), and only from movies I’ve seen. And yes, all of them have dancing.
Having watched countless Hindi films, I’ve reached the conclusion that the bulk of 50’s and 60’s cinema wouldn’t have been possible without a few stock plot elements. One of these is Divine Intervention (DI); another’s the Mysterious Motive (MM); and yet another—a popular one, this—is Just For A Song (JFAS), when the whole point of a plot element is to bring in a song.
Shakti Samanta’s Jaali Note is replete with DI, MM and JFAS. I don’t really mind this in films, as long as there’s more. Unfortunately, this is where Jaali Note falls flat on its face; there is almost nothing else. Madhubala, looking lovely, and Dev Anand disguised in a thin moustache, but that’s it.
Dustedoff 