In which Iftekhar, playing against type, acts the part of a lecherous villain. And Chitragupta, composing against type, proves he was no one-trick pony.
But, to begin at the beginning (and Kangan gets into action right at the start, not dilly-dallying about with incidental stuff). Karuna (Nirupa Roy) is about to get married, and her widowed father (?) is giving her his blessings and wishing her mother were still around. Just then, Kamla (Purnima) comes in; she is not just Karuna’s bridegroom’s sister, but also a good friend of Karuna’s. Karuna’s father leaves the two women together and goes off.
This blog focuses almost exclusively on films from before the 1970s. Very occasionally, though, I make exceptions. For films that are pretty much on the cusp, and which evoke more a sense of 60s cinema than 70s, which were made mostly during the 60s (or even earlier, as in the case of Pakeezah) but were released only later, but basically for films that, when I watch them, seem as if they were made in the 60s. Because of the people who star in them, because of the costumes, the songs, the feel of them.
When Vinod Khanna passed away last week, I wanted very much to review one of his films as a way of paying tribute. There are a couple of 60s’ films of Vinod Khanna’s that I’ve seen—the forgettable Man ka Meet, for instance—but I settled on a rewatch of Mera Gaon Mera Desh, not just because it features Vinod Khanna in one of his most memorable outings as a villain, but also because it is an interesting example of a film that may have only been moderately successful, but is the very obvious inspiration for one of the biggest hits ever in the history of Hindi cinema: Sholay.
I should have smelt something fishy when I saw this:
That looks like Ravindra Dave was doing all his unemployed relatives a favour. Or, more ominous, he’d cut corners and employed people whom he could bully into accepting fees in kind—Diwali dinners hosted at the Ravindra Dave home?
Two hours down the line, and I am certain that Ravindra Dave didn’t really have the money to have been making a full-length film. A short, perhaps; but not this.