In which Biswajeet’s character ends up facing a wall studded with red-hot spikes. You don’t just skewered to death, you get barbecued in the process.
Tag Archives: Anwar Hussain
Sadhu aur Shaitan (1968)
Cinema looking at itself is not an uncommon feature; there have been several notable films, both in India (Kaagaz ke Phool, Sone ki Chidiya) as well as abroad (Cinema Paradiso, 8½, The Bad and the Beautiful, etc), which are about cinema and film-making. But this film, relatively obscure, really should be part of the annals, simply because of its sheer devotion to Hindi cinema. Not because it’s about film-making, not because there is even (as in Solvaan Saal), a single scene on the sets of a film. But because it celebrates Hindi cinema in so many ways, on so many levels.
Sadhu aur Shaitan begins by introducing us to the eponymous ‘sadhu’ of the story: Sadhuram (Om Prakash), a widower who lives with his two children Ganesh (Master Shahid) and Munni (Baby Fauzia), and the maid Ramdeyi (Dulari) who looks after home and the children. Sadhuram is a somewhat excessively ‘good and righteous’ man, the living image of piety (all a little over the top as far as I’m concerned, but at least he isn’t stuffy about his righteousness).
Raat ke Raahi (1959)
What a dreadful year this is turning out to be. As if the communal violence at the start of the year wasn’t bad enough, we were then hit by coronavirus. And as I struggle to cope, trying to keep my spirits high in the face of failing economies, loss of income, and of course the threat of a lethal disease—the last thing I needed was the passing of two of my favourite actors. Irrfan Khan and Rishi Kapoor, both very good actors, immensely watchable and with a charisma hard to match, died within 24 hours of each other.
This blog is not about cinema after 1970, so there will not be a separate tribute piece for these two brilliant actors, but yes: I did want to put it out there, my sorrow at their passing, a blow that oddly enough (given that I never even met either of them) hit really hard.
What this is, though, is a tribute to another actor, someone whose birth centenary it is today. Achla Sachdev.
The Guide (1965)
In 1960, RK Narayan won the Sahitya Akademi Award for his novel, The Guide, published in 1958. The story is of a small town tourist guide who has an affair with the lonely wife of an archaeologist, an affair that has a lasting impact on his life.
Of course, anybody who knows anything about Hindi cinema would recognize the plot (and the name) immediately: this, after all, was (minus the ‘The’) the name of one of Hindi cinema’s most popular films ever made. The Dev Anand-Waheeda Rehman starrer Guide, directed by Vijay Anand, won an impressive seven Filmfare Awards (and that excluding what should definitely have been an award, for SD Burman’s brilliant score for the film).
Ten of my favourite ‘Unusual Singer’ songs
By which I mean:
(a) That it’s the person who’s lip-syncing to the song (and not the playback singer) who’s unusual…
(b) and unusual because the actor in question is a well-known face, but doesn’t usually lip-sync to songs.
The idea for this post arose because of this wonderful post on Ashok Kumar’s songs, over at Ava’s blog. Ava drew attention to the fact that Ashok Kumar—one of the stalwarts of Hindi cinema, and with a pretty long stint as hero, too—rarely lip-synced to songs. In the post, another similar example was pointed out, in the case of Balraj Sahni: also a major actor, also a ‘hero’ in a lot of films, yet a man who didn’t lip-sync to too many songs.
That set me thinking of other people, other actors and actresses, who have rarely ‘sung’ songs onscreen. Not that they’re otherwise unknown; this is not a case of ‘Who’s that lip-syncing?’, but a case of people one generally doesn’t associate with doing too much singing onscreen. The leads of films (barring exceptions like Ashok Kumar or Balraj Sahni) are invariably excluded, because most songs end up being picturized on them. Major comedians, like Johnny Walker, Rajendranath, and Mehmood, also often had a comic side plot and a romance of their own, which allowed them to ‘sing’ often enough in films (have you ever seen a film that featured Johnny Walker and didn’t have him lip-syncing to at least one song?) And the dancers—Helen, Kumkum, Madhumati, Laxmi Chhaya, Bela Bose, et al—may appear in a film for only five minutes, but you could bet those five minutes would be a song.
Which leaves us with the somewhat more unusual people, the actors who played non-comic roles, character actors. Not stars, not dancers, not comedians. The Manmohan Krishnas, the Lalita Pawars, the other not-often-seen-‘singing’ characters. Here, then, are ten songs that are picturized on people not usually seen lip-syncing. As always, these are in no particular order, and they’re all from pre-70s films that I’ve seen.
Mohabbat Isko Kehte Hain (1965)
A little less than a week ago, on December 4, I received news that a very dear aunt had passed away. My parents, my sister and I made arrangements to travel to Kolkata for the funeral, the next day. Early in the morning, just as I was about to leave for the airport, the newspaper was delivered, and one headline sprang out at me: Shashi Kapoor had passed away, too. On the very same day as my aunt.
I suppose if Shashi Kapoor had passed away on any other day, on a day when I was not quite so swamped in sorrow of my own, I would have posted a tribute to him earlier. Later, I thought. When I am a little less distraught. My father, reading the newspaper, remarked that he and Shashi Kapoor had been born in the same year, just 6 months apart (my father in September 1938, Shashi in March 1938). My mother, looking at a lovely photo of a smiling and very handsome young Shashi, remarked that he looked uncannily like a cousin of mine (which I have to agree with; I have thought so many times). In our own ways, all of us remembered Shashi Kapoor.
Tum Haseen Main Jawaan (1970)
Some weeks back, in commemoration of the birthday of Hema Malini, Anu (at Conversations Over Chai) did a post on the actress, listing some of her best roles. Reading that post, I could not help but remember some of my favourite roles of Hema Malini’s. Many, of course, were the type that Anu covered in her post: roles that showed off Hema’s skill as an actress, roles which had her portraying strong-willed, humorous, interestingly unusual, or just plain old feisty females. But to my mind came also roles that were more of Hema as eye candy. And thinking of that—and of Dharmendra, so inseparable from Hema, really—I could not help but think of Tum Haseen Main Jawaan.
Some to-and-fro of comments on Anu’s posts ended up in a joint decision to do a simultaneous Dharam-Hema Double Bill. Anu has written up her review of another early Dharmendra-Hema entertainer (the delightful Raja Jani), which you can read over here, at her blog. Mine, also a review of a Dharmendra-Hema film that was outright entertainment (especially with both of them looking pretty much at their best), is what follows.
In Rajinder Singh Bedi’s Dastak, there is a scene well into the film which offers a glimpse of both what this film is about and what its tone is like, how it conveys its messages.
Hamid Ahmed (Sanjeev Kumar) is about to leave home for office. His wife Salma (Rehana Sultan) brings him a cup of tea. In a large cage that sits in their room is a mynah which has been mimicking Salma’s voice so perfectly that Hamid has mistaken something it’s said for his wife’s words. Salma, smiling mischievously, points out his error and tells Hamid about a so-called brother of hers from her village.
Salma: ‘… woh kaha karte thhe, “Pinjre mein panchhi ko band karne se bada paap lagta hai”.’ (He used to say, ‘It is a great sin to imprison a bird in a cage.’)
Hamid (smiling): ‘Chhod dene se bhi toh lagta hai.’ (‘Releasing it too can be a sin.’)
Salma: ‘Woh kaise?’ (‘How is that?’)
Hamid: ‘Baahar sainkaron baaz, shikre… koi bhi khaa jaaye.’ (‘There are so many birds of prey outside. Any of them might eat this one up.’)
Bahaaron ke Sapne (1967)
I can blame my not having watched Bahaaron ke Sapne all these years on my father: when I first expressed an interest in the film because it had been directed by Nasir Husain (back then, a teenaged me associated Nasir Husain only with frothy and entertaining films like Dil Deke Dekho, Tumsa Nahin Dekha, and Phir Wohi Dil Laaya Hoon), my father said, ‘It’s a serious film.’
And that was that. Because, back then, I didn’t care to ask how serious. Anything that smacked of reality rather than escapism was not to be touched with a barge pole.
Mera Saaya (1966)
Permit me one last Sadhana-related post before I put aside my unexpected (even to me) sadness at her untimely death. I know I’ve already been through two tribute posts, but even as I was writing those posts, I couldn’t help but think of the Sadhana films I haven’t reviewed on this blog (and there are several of them, including all the ones she made with Rajendra Kumar). When I think of Sadhana, I always think of her in Raj Khosla’s suspense films. Three of them, two opposite Manoj Kumar (Woh Kaun Thi? and Anita), and this one, opposite Sunil Dutt, with whom Sadhana also starred in Gaban and Waqt.