Pursued (1947)

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Exactly a week back, this blog was celebrating the birthday of a favourite of mine: the gorgeous Mumtaz turned 70. Today, Dusted Off celebrates the birth anniversary—the centenary, in fact—of another favourite of mine: Robert Mitchum.

Born on August 6, 1917, Mitchum first began appearing in cinema during the early 40s (having already worked in an eclectic range of jobs, from ditch-digging, professional boxing, theatre actor and writer, to a machine operator at Lockheed). Although he is today best known for noir films (think Cape Fear and The Night of the Hunter), Mitchum acted in varied roles and genres. From one of the best submarine war films ever (The Enemy Below) to an unusual—and endearing—love story in Heaven Knows, Mr Allison; from the angsty medical drama Not as a Stranger to the hard-hitting expression against anti-Semitism, Crossfire… Mitchum was in films of all types.

To commemorate Mitchum’s birth centenary, I found myself in a dilemma. I’ve already reviewed several of his best-known films (not to mention several that are barely known). I’ve even devoted an entire week on Dusted Off to Mitchum. It seemed appropriate to review a Mitchum film: one of the classic noirs? Blog reader Hurdy Gurdy Man suggested Out of the Past or The Big Steal. I decided, instead, to review an unusual film, a sort of cusp between the Westerns that marked Mitchum’s early career and the noirs that marked his later years as an actor. Pursued is a noir Western.

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Ten of my favourite Mumtaz songs

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Happy 70th birthday, Mumtaz!

I have gone through phases when I’ve been very fond of a certain actor, only to later start disliking them. Or vice-versa. Dev Anand, for a while, I could watch in anything (until I discovered his post-Johny Mera Naam films, and began disliking him even in some of his earlier films). Mehmood I was fond of as a child; now, it’s only the rare film where I like him. Balraj Sahni I found boring when I was a kid: for many years now, he’s been an actor I admire immensely.

Mumtaz (born in Bombay, on July 31, 1947) is one of the exceptions. I have adored Mumu ever since I can remember. From that gorgeous smile to that cute little button nose, to those dancing eyes: I have never not loved Mumtaz. Initially, I remember loving her just for the fact that she was so very pretty and vivacious; later, when I saw films like Khilona, I realized just how good an actress she is, too.

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Ten songs picturized in famous gardens

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Not too long back, I went on a trip to Kasauli, in Himachal Pradesh. It was a brief, pleasant little jaunt, and on the way back, I suggested that we stop—since it was on the way, in any case—at Pinjore Gardens. Later, back home and settled in, I posted some photos and wrote about the Pinjore Gardens on Facebook, and the post prompted fellow blogger Ava to remind me that several songs had actually been shot in the Pinjore Gardens.

That led me to think: it’s not just the Pinjore Gardens, but several other well-known gardens, that have been the settings for various songs. Some gardens—the ones in Kashmir, notably—are almost instantly recognizable, thanks to those distinct mountains and the towering chinar trees. Others are a little less obvious, but they are, too, quite obviously not just a set, not just a well-aimed, well-timed shot of flowerbeds in spring.

Here, then, are ten songs that have been picturized in well-known gardens. To make the challenge less of a sitter for myself, I added one rule: no two songs should be shot in the same garden. As always, these are all from pre-70s films that I’ve seen, and are listed in no particular order.

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Fanfan la Tulipe (1952)

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I’ve been on a swashbuckler spree these past few weeks, what with a couple of Hindi films and then the Bengali film, Jhinder Bondi. Before I drift off into another genre, I decided I may as well finally watch a film that has been in my to-watch pile for several years now: Fanfan la Tulipe, or Fanfan the Tulip, a swashbuckler with plenty of comedy and romance thrown in. This, originally made by director Christian-Jaque in 1952, was remade in 2003, this time being directed by Gérard Krawczyk.

Fanfan la Tulipe starts off funnily with a dryly witty narration about war, which plays out against a background visual of French soldiers at war. It is the reign of Louis XV (Marcel Herrand). The Seven Years’ War is in progress, and with more men having been killed than are left alive, Louis (who loses hats, not heads, and is therefore able to swiftly get a new hat every time) announces that more Frenchmen must enlist.

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Jhinder Bondi (1961)

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Considering I’ve recently reviewed two Hindi swashbucklers (Baadal and Baadal), both obviously—in one case even with credit accorded—inspired by European sources, I thought it appropriate to continue in the genre for another film. Also a swashbuckler, also inspired by a work from European literature. The Bengali film Jhinder Bondi (‘The Prisoner of Jhind’), based on Anthony Hope’s classic The Prisoner of Zenda (and the novel which Saradindu Bandyopadhyay—of Byomkesh  Bakshi fame—based on The Prisoner of Zenda).

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Baadal (1951)

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The last Hindi film I’d reviewed was the Sanjeev Kumar swashbuckler Baadal. When I’ d begun watching that, I wondered briefly if it would be a remake of the Premnath Baadal, a film I’d seen too long back to remember much of. As it happened, while the later Baadal did borrow some of the basics—the rebel hero who falls in love with a noblewoman whom he should probably be hating instead—it is actually a very different film. Premnath’s Baadal, for one, is no poet, and instead of borrowing from The Three Musketeers, this Baadal is explicitly stated as having been inspired from Robin Hood.

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Doctor, Doctor: Ten songs about medical problems

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It’s often struck me that there are a number of Hindi film songs that could well be interpreted to refer to medical problems. The omnipresent theme of romantic love in itself has enough substance for everything from insomnia to palpitations of the heart, giddiness, and whatnot. Bung in heartbreak (hah! Another medical problem?), and you can also tag on mental illness, in the form of depression. Of course, romance isn’t the only reason for problems concerning one’s health: betrayal, fear, family troubles—everything can be cause for singing about ailments concerning one’s heart, one’s liver, and sundry other body parts.

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The Outrage (1964)

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Rashōmon, set in the Wild West.

I hadn’t heard about this film, let alone seen it, till a few weeks back, when blog reader Hurdy Gurdy Man, commenting on my review of Rashōmon, mentioned it.

Rashōmon—and the Rashōmon Effect—fascinates me, to the extent that I will watch just about any film, read just about any book, that uses this potentially gripping style of multiple narratives. From Andha Naal to The Woman in Question: I am game for them all. So The Outrage, starring one of my favourites (Paul Newman), and in a genre for which I have a soft spot (Western) was immediately bookmarked.

 

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Baadal (1966)

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The Three Musketeers meets Hamlet meets Azaad meets general swashbuckling mayhem.

I will admit I watched this film mainly for two reasons: for Sanjeev Kumar, who is deliciously handsome in his early roles; and for the song Nain bedaardi chhalia ke sang lad gaye, which is total eye candy. [I am shallow, that way].

But then, ten minutes into the film, I sat up and began getting my hopes up. Because this was taking the route of one of those classic novels that I’ve always wished Hindi cinema had adapted for the screen: Dumas’s The Three Musketeers.

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