Two for the Road (1967)

Life has been very hectic the past few months. I’ve been working on several writing assignments, switching from one novel to another; the LO, now poised to leave kindergarten and progress to Class I, requires a good deal of attention, and various lit fests or other book events have entailed (and are going to entail) some travelling.

So, when British actor Albert Finney passed on February 7th this year, while I did notice the news article about his death in the newspaper, I passed it by without it really registering who Albert Finney was (Poirot, in the 1974 version of Agatha Christie’s Murder on the Orient Express, just in case, like me, you were clueless too). It was blog reader Hurdy Gurdy Man who, a few days later, reminded me of Finney’s death and asked me if I was meaning to review a film of his by way of tribute. I thought I would: Two for the Road, I told Hurdy Gurdy Man in an e-mail.

But, the sad irony of fate: just a couple of days back, I got another e-mail from Hurdy Gurdy Man, informing me that the director of Two for the Road, Stanley Donen, had passed away as well. Stanley Donen (who died on February 21) had directed some of Hollywood’s most popular musicals, such as Singin’ in the Rain, An American in Paris, and Seven Brides for Seven Brothers, before he directed Indiscreet and then moved to the UK, where he directed (among other films) The Grass is Greener, Charade, and Two for the Road, an important landmark in the history of British cinema—a classic film of the British New Wave.

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Ten of my favourite romantic serenades

This blog has been in existence ten years, and I suppose you can tell how important (or not) Valentine’s Day is over here by the fact that in all these years, I’ve dedicated a post to this day only twice—once, with a list of love songs in ten different moods, and (more recently) with a list of romantic duets.

So here we are, jumping on to the bandwagon yet again. This time, it’s a list of romantic serenades, of people singing in praise of the person they’re in love with (or, as in the case of a couple of fraudulent characters in this list, pretending to be in love with). There are serenades to others (Hindi cinema is full of serenades): to mothers and their near-divine maternalism; to the motherland and to the bond between siblings. None of these, I think, are as ubiquitous and as common as the serenade to a loved one. The praise in honour of his/her beauty, charm, sweetness, simplicity, virtues: going by the way Hindi songs serenade a love interest, you’d think the realm of Hindi cinema was crammed with utter paragons.

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Bhuvan Shome (1969)

My relationship with the cinema of Mrinal Sen is somewhat paradoxical. On the one hand, I have seen (and this I confess with the requisite amount of shame and self-reproach) very little of his cinema. On the other hand, one of my earliest memories of watching a Hindi film is of one of Mrinal Sen’s films: Mrigyaa, which I probably watched when I was about nine years old and, perhaps to my own surprise, understood at least more than I would have been expected to.

But, to come to the point. When I heard of the passing away of Mrinal Sen a few days ago, it seemed appropriate to finally watch and review one of his films. Trying to find a subtitled version of one of his earlier Bengali films might have been difficult at short notice, but Bhuvan Shome held out more promise. Not just in Hindi (it was Mrinal Sen’s first Hindi film), but also such a classic that it was fairly easy to track down.

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Imitation of Life (1934)

I have a confession to make: I hadn’t heard of this film, or its (supposedly much better-known) 1959 remake until blog reader Kenneth J Narde mentioned it in a comment regarding my introductory post for Food and Food Movie month on Dustedoff. Kenneth wrote of pancakes—and I was immediately sold. I am a pancake fan, you see. I love pancakes in all their many avatars, from crepes to those buttery, maple-syrup laden stacks…

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Onscreen Chefs: The Myth and the Reality

(This is a longer  version of an article I wrote for Cuisine Digest, a hospitality industry magazine. Cuisine Digest does have an online presence, in the form of a Facebook page, but does not offer the option of reading the magazine online. The article I wrote for Cuisine Digest was the cover story for the August-September 2018 issue; bound by strict word counts, it was a heavily truncated version of what follows).

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Ten of my favourite food songs

This blog has been in existence for nearly ten years now, and every now and then, someone suggests a theme for a song list. Some theme requests keep cropping up repeatedly (lullabies and bhajans being popular ones), because these are topics people know would have a large number of songs to choose from.

One topic which has cropped up perhaps only once or twice is that of food songs. Not even songs in praise of food, but which just mention food, in some context or the other. I remember friend and erstwhile fellow blogger Harvey remarking that while there are several songs that do mention food, the food mentioned is rarely the type that makes you salivate at the very thought of it (that’s probably changed somewhat in more recent films—chicken fry appeals to me, as do potato-filled samosas, though the songs in which they feature are appalling).

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The Food and Food Movie Project, Part 2

(This is a sequel to Part 1, where I introduced this challenge I set myself. It’s about five months, May-September 2018, during which I watched sixty-odd films and cooked 30-odd dishes or meals to go with those films. In Part … Continue reading

Dil Tera Deewaana (1962)

Shammi Kapoor plays a wealthy man who pretends to be poor while far away from home. He falls in love with the only daughter of a poor blind man. Pran comes along and throws a spanner in the works.

Kashmir ki Kali? Yes, but also Dil Tera Deewaana.

It’s been a long while since I reviewed a Shammi Kapoor film, and considering he happens to be my favourite actor, I decided it was high time I revisited one of his films. I’d watched Dil Tera Deewaana many years back and remembered just the bare bones plot (besides the title song, which I don’t really care for). I did remember, though, that it was fairly entertaining as a film.

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Persona (1966)

I have a confession to make. While it’s been many, many years since I first heard the name of Ingmar Bergman (perhaps I was a teenager? I remember wondering at the time if he was in any way related to one of my favourite actresses, the gorgeous Ingrid), I have actually never got around to watching any of his films. Despite having heard high praise of his cinema. Despite being given recommendations. And despite having started to watch one of his films (The Seventh Seal), which I abandoned after perhaps about ten minutes.

Today is the hundredth birth anniversary of Ingmar Bergman, and it seemed high time I watched one of his films. I remembered that a blog reader had mentioned Persona as being a good way to ease into Bergman’s cinema, so this was what I watched to commemorate this birth centenary.

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