Scaramouche (1952)

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The French Revolution’s been the setting for a handful of films, but I’ve got to admit I don’t much care for everything that’s been produced. For instance, A Tale of Two Cities—despite starring Dirk Bogarde—has too sad an end to invite repeated watching. The Scarlet Pimpernel, though definitely more entertaining, stars Leslie Howard and Merle Oberon, neither of whom tops my favourites list.

Scaramouche, with an oh-so-ooohh Stewart Granger in the title role, some absolutely unbeatable swordplay, lots of wit (plus two beautiful heroines), therefore wins hands down. You may not learn much about the French Revolution, but entertainment’s guaranteed.

A scene from Scaramouche

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Ten of my favourite O P Nayyar songs

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My sister gave me Ganesh Anantharaman’s Bollywood Melodies: A History of the Hindi Film Song for Christmas. Yes, I know, my sister’s a gem: I adore her. I also adore a lot of the people Anantharaman writes about in his book. He admits he’s biased towards classical music, but then he does go on to acknowledge the worth of people like O P Nayyar, who’s a classic example of unclassical.
Omkar Prasad Nayyar was born on January 16, 1926 (now you know why this post today, of all days). He grew up in Lahore, and was composing music for All India Radio Lahore by the time he was fifteen (makes me feel utterly worthless. All these child prodigies do). When India was partitioned in 1947, Nayyar left Lahore and came to Bombay. Thank heavens. The rest, clichéd though it may sound, is history.

O P Nayyar

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Ujala (1959)

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I watched this film because it stars Shammi Kapoor. Also, perhaps, because the cast had Kumkum in it—a very good dancer and a not-bad actress, and sadly underrated. Some of the songs I’d heard were hummable. And Mala Sinha (even though she’s beginning to pall on me after a series of awful Mala Sinha-starrers I’ve seen recently) is still bearable. I thought I could deal with Raj Kumar.
What I hadn’t bargained for was an erratic screenplay, some awful acting, and much irritating shrieking and sobbing on the part of Leela Chitnis. But Shammi Kapoor keeps me going through it all.

Shammi Kapoor in Ujala

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The Desert Rats (1953)

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I’m not a fan of mindless violence and blood and gore, but I’ve always adored old war movies. Whether it’s a fast-paced Alistair MacLean type thriller (read Where Eagles Dare, one of my all-time favourites) or a reliving of a real event, I love the atmosphere: the Schmeissers and the Vickers, the invariably atrocious German accents, the partisan natives, the courage and inherent good-ness of the good guys, which always triumphs over their own other weaknesses. Clichéd, I know, but watchable, too—as in this case.

The defence of Tobruk

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Ittefaq (1969)

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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.

Nanda in Ittefaq

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Gaslight (1944)

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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.

Ingrid Bergman in Gaslight

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Phir Wohi Dil Laya Hoon (1963)

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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.

Joy Mukherji and Asha Parekh in Phir Wohi Dil Laya Hoon

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High Society (1956)

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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).

George and Tracy

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Pooja ke Phool (1964)

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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).

Hansraj, Raj and Vijay

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Holiday Affair (1949)

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Christmas border

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!

Robert Mitchum and Janet Leigh in Holiday Affair

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