Der Tiger von Eschnapur and Das Indische Grabmal were, as Anu called them, ‘raja-rani’ (‘king-and-queen’) films, no matter how warped they may have been as examples of that genre. In line with my last post, therefore, here’s another film: also raja-rani, also set in the India of maharajas, evil plotters wanting to make a grab at a throne that’s not legitimately theirs, and a pretty lady at the heart of it all. Kohinoor, however, is a blessedly long way from Fritz Lang’s Indian epic. This film’s a rollicking farce mostly all through, with plenty of good songs, a great cast, and some superb comedy sequences.
Announcing: The Eighth Guest & Other Muzaffar Jang Mysteries
A number of readers have been asking me when the next Muzaffar Jang book – the sequel to The Englishman’s Cameo – will be out. So here it is.
Muzaffar Jang features again, in this series of mystery stories, nearly all of them set in Shahjahanabad, the Dilli of Shahjahan’s last years as the Mughal Emperor. As the blurb on the back of the book puts it:
“It is the year 1656. Muzaffar Jang, that rare creature in Shahjahan’s Dilli, an aristocrat with friends in low places, is recovering from injuries sustained during his recent adventures involving two mysterious Englishmen and some reprehensible activities against the Imperial Exchequer.
Muzaffar’s bruised shoulder has yet to heal when he finds himself catapulted into a series of mysteries: An elephant in the Royal Elephant Stables goes berserk and kills its mahout – or does it? A scholarly nobleman – but, oh, such a pompous bore – is left a very puzzling legacy by his father. An artist at the imperial atelier is found murdered next to one of his works.
Muzaffar must pit his wits against treacherous noblemen and scheming traders, greedy villagers and lovelorn men – and women.
But who knows? Before the year is out, Muzaffar may just meet his match…”
I am especially fond of writing short stories, so this collection is one I’ve particularly enjoyed putting together – and they’re stories I hope you will like. The book will be formally released in Delhi, at the India Habitat Centre, on August 19, 2011 – but you can pre-order now on any of these online bookstores:
Landmark | Flipkart | Crossword | IndiaPlaza
And yes, there’s even an early review already published, on this blog.
Enjoy!
Der Tiger von Eschnapur (1959)
… and its sequel, Das Indische Grabmal, also 1959.
Fritz Lang made the visually stunning Metropolis in 1927. Over thirty years later, freed from the constraints of black and white and silence, he made two films, which are together known as ‘Fritz Lang’s Indian epic’. The second film was Das Indische Grabmal (‘The Indian Tomb’); the first was this one, Der Tiger von Eschnapur, or ‘The Tiger of Eschnapur’.
The story is basically the same as that of a film Lang had made even further back than Metropolis; in 1921, he had made Das Indische Grabmal, based on a book by his wife Thea von Harbou (who, as you’d recall, also wrote Metropolis). In the 1950s, Lang remade Das Indische Grabmal, this time cutting it into two parts. Both Der Tiger von Eschnapur and Das Indische Grabmal were released in 1959, and have been much acclaimed ever since.
Metropolis (1927)
As Samir pointed out in a comment on my last post, Pyaasa was one of the films (in fact, the only Hindi film) to find a place on Time Magazine’s all-time 100 best films list. That’s something Pyaasa shares in common with this film. Metropolis, a silent film made in Germany thirty years before Pyaasa, is also on the list. It was directed by Fritz Lang, who co-wrote the screenplay along with his wife Thea von Harbou. The result is a film like none other.
Some thoughts on the songs of Pyaasa
Why not begin, I thought, where I left off in my last post? The last song I listed in my post on my ten favourite Waheeda Rehman songs was Jaane kya tune kahi, from Pyaasa. Interestingly, this was also the first song in the film. It’s a film I’ve seen a few times – always with increasing appreciation, as I begin to see more nuances, more things to admire about it. But do I really have anything new to say about Pyaasa that hasn’t been said before?
Ten of my favourite Waheeda Rehman songs
What made Bees Saal Baad such a good watch was its music, its fairly good suspense – and its lovely heroine.
Waheeda Rehman had it all: an immense amount of talent, a rare beauty, a grace and dignity that few possess – and she was a superb dancer. What’s more, as I discovered in a TV interview a couple of years back, she’s also very modest. “When I was a girl, my siblings would call me the ‘ugly duckling’”, she said. A flash of that trademark smile, and she added, “The camera was very kind to me.” As fellow blogger Sabrina Mathew remarked when I recounted that on her post, “I want that camera!”
Short Story in the Brunch Quarterly
Although I have been busy (winding up the writing of the second Muzaffar Jang novel, finalising the cover and final text of the first set of Muzaffar Jang stories, and beginning work on the second set of Muzaffar Jang – as you can see, Muzaffar Jang more or less rules my life), I have also been doing other writing. An example of this has just been published, in the Hindustan Times Brunch Quarterly, July-September 2011 issue.
Though most people know me as the creator of Muzaffar Jang, the Mughal detective, here I’ve ventured into territory I’ve never traversed before. The editor at the Brunch Quarterly said, “Could you please write another historical detective story for us?”, but since the word limit was 3,000 – a little difficult to fit detection into, at least for me – I decided to make this a somewhat different story. No sleuthing. No Mughal India. But, yes; it’s still not contemporary – it’s set in the Calcutta of the very late 19th century, and it involves, if not a crime, at least something not very nice.
An excerpt from the story, which is named Mangoes and Indigo:
Oscar Leadbetter, after two months on board ship, followed by a cross-country journey from Bombay to Calcutta, was ushered into his cousin’s presence by a turbaned servant. The man, his white muslin jama swishing about pyjama-clad knees, bowed out. Oscar stood before the vast mango-wood desk behind which his cousin sat. Stephen’s drooping moustache and thinning hair were blond, his icy blue eyes the gift of some long-ago Nordic ancestor. He turned that frosty gaze on Oscar.
‘I have had to get rid of my last secretary to accommodate you,’ he said. There had been no invitation for Oscar to sit, no ‘Koi hai?!’ yelled to a servant for whisky.
Oscar murmured something about trying his best, and was treated to a cold stare before Stephen began listing his duties. They were many, and varied. Oscar would receive and segregate correspondence. He would write suitable responses. He would keep the accounts for the house. He would be in charge of making large purchases – not the meat and vegetables, or the dhobi’s lye, but the substantial ones. Furniture, for instance, or mattresses.
‘Do you expect them to wear out every few months?’ Oscar asked.
Note: Although you can read Hindustan Times online, Brunch Quarterly is in the form of a magazine, available at most large newsstands. Pick up a copy and read for yourself!
Bees Saal Baad (1962)
Several people who read my last post – which, as I’d mentioned, was an adaptation of a suspense novel, and in turn was remade in another language – guessed what this post would be all about. You were all kind enough to not let the cat out of the bag, but I guess you all got it right. The Hound of the Baskervilles, made in 1939 with Basil Rathbone as Sherlock Holmes, was remade in Hindi 23 years later, as Biswajit’s first Hindi film, Bees Saal Baad.
The Hound of the Baskervilles (1939)
My last two posts were related in a way common in cinema: the first was a review of a film based on a book, and that was followed by a review of a film that was a remake – in another language – of that film. So here’s the first of another duo of reviews, along the same lines. This film too was based on a book, and engendered in its turn a remake. And, to further keep up the link with the previous post, this one is suspense too.
Gumnaam (1965)
For anybody who’s been following my idea of ‘linked posts’ – each post connected to the one before, and to the one after – this probably comes as no surprise. And Then There Were None was based on Agatha Christie’s highly popular novel and play; Gumnaam is, in turn, an adaptation of And Then There Were None. Not a completely faithful adaptation, but a vastly entertaining one, as you’ll see if you scroll through the comments on my And Then There Were None post: most of my readers, even if they’ve not seen the Hollywood film, have had something to say about Gumnaam.








