Tag Archives: Bollywood

Jaali Note (1960)

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Having watched countless Hindi films, I’ve reached the conclusion that the bulk of 50’s and 60’s cinema wouldn’t have been possible without a few stock plot elements. One of these is Divine Intervention (DI); another’s the Mysterious Motive (MM); and yet another—a popular one, this—is Just For A Song (JFAS), when the whole point of a plot element is to bring in a song.

Shakti Samanta’s Jaali Note is replete with DI, MM and JFAS. I don’t really mind this in films, as long as there’s more. Unfortunately, this is where Jaali Note falls flat on its face; there is almost nothing else. Madhubala, looking lovely, and Dev Anand disguised in a thin moustache, but that’s it.

Dev Anand and Madhubala in Jaali Note

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Baharein Phir Bhi Aayengi (1966)

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Like DG, I’m a die-hard Dharmendra fan. In my opinion, this was one actor who had it all: he looked splendid, and he could act (look at stuff like Satyakam and Anupama: sterling performances all the way). For me, Dharmendra by himself was enough reason to watch Baharein Phir Bhi Aayengi. Add to that the vivacious Tanuja—one of my favourite actresses—and a madcap Johnny Walker, plus a great musical score, and this was one film I was sure I’d enjoy.
Post view reactions? Mixed. Read on.

Dharmendra and Tanuja in Baharein Phir Bhi Aayengi

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Chhoti si Mulaqat (1967)

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Considering my mother’s part Bengali, I suppose I should be feeling a little ashamed that I don’t know the language. The only time it’s bothered me, though, is when it means I can’t see Uttam Kumar’s Bengali movies without subtitles. Chhoti si Mulaqat is one of the few Hindi movies the Bengali superstar ever made, and luckily for me, this is (unlike Anand Ashram or Amanush) in his pre-pudgy days. Sneak peek:

Uttam Kumar in Chhoti si Mulaqat

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Vidya (1948)

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When I was a teenager, Dev Anand ranked way up on my list of favourites—right at the top, in fact, with Shammi Kapoor. This film, one of his earliest, stars him opposite his real life ladylove Suraiya, but other than some nice songs, is fairly forgettable. And yes, along with a callow Dev Anand, it also has a very young-looking (yet villainous) Madan Puri.

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Amar (1954)

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Mehboob Khan, who directed Aan, Andaz and Mother India, also made this unusual film. It explores themes that were avant garde for the 50’s: a man’s sudden succumbing to sheer lust, while being in love with another woman; a woman’s sympathy for `the other woman’; a villain who’s shades of grey rather than totally black-hearted. Not exactly standard Bollywood fare. There are clichés of course, but on the whole, this is worth a watch.

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A mere coincidence—or what?

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The other day, watching Mr and Mrs 55 for the nth time, I found myself realising that it shares a few details with the equally delightful Shammi Kapoor starrer Professor (1962).

For starters, both films have a poor, unemployed hero called Pritam:

Guru Dutt and Shammi Kapoor as Pritam Continue reading →

Saathi (1968)

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This film has melodrama and mindless self-sacrifice, two elements that invariably put me off. And Saathi really was no different: I got thoroughly put off. Oh, it starts off all right—much happiness and flowers kissing etc—but then the lives of the protagonists fall apart so completely, it’s just not on. Nobody should be subjected to so much tragedy, not even on screen.

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Anokhi Raat (1968)

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Asit Sen directed some of my favourite films, including Mamta and Safar. I’ve just added another to the list: Anokhi Raat. I’d wanted to see this film for two reasons: one, it stars Sanjeev Kumar, who’s one of my favourite actors. Two, it features the classic Oh re taal mile nadi ke jal mein: a beautifully lyrical song in more ways than one. By the end, I had plenty more reasons to label it a great film. Read on.

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China Town (1962)

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Like memsaab, I too am a diehard Shammi Kapoor fan. Which is why China Town—with Shammi Kapoor in a double role—is bonanza! Add to that good music and two gorgeous heroines (Shakila and Helen) against the backdrop of Calcutta’s Chinatown (well, a sanitised set version), and you have a movie that’s quintessential Shakti Samanta: very entertaining.

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