Yes, Shyama, of the dancing eyes and the gorgeous smile, passed away almost a week ago, on November 14, 2017. I could not possibly let the death of one of my favourite actresses go unmentioned on this blog, but I’d already done, some years back, a post of my favourite Shyama songs. A film review, therefore, seemed in order. But which one?
The first time I began watching this film was on Doordarshan, many years ago. It surprised me, largely because it featured Waheeda Rehman in a very Westernised avatar I had never seen before. It also had an intriguing story. And Dharmendra, always one of my favourites. And Helen. And Johnny Walker.
Considering ‘arranged marriages’ were—and still are—so common in India, the fact that old Hindi cinema tended to focus mostly on ‘love marriages’ seems rather odd to me. It’s more romantic, I suppose, to imagine that one will fall in love and end up, after various trials and tribulations and having encountered sundry obstacles, married to one’s sweetheart.
There were exceptions, though, the occasional film about people getting married first, and falling in love later. There was Ghoonghat, Saanjh aur Savera, Blackmail, or those examples of child marriages, Chhoti si Mulaqat and Ji Chaahta Hai. Most of them about people who are forced—because of their own submissiveness, and because they can’t pluck up the courage to say no to bossy elders—into getting married to near or complete strangers.
Unlike this one. Mohabbat ZindagiHai is one of the few examples (Mr & Mrs 55 was another) of someone getting married for a very mercenary reason. And, as in Mr & Mrs 55, the heroine here is an heiress who needs to get married in a hurry in order to inherit. No husband, no money. But, unlike Mr & Mrs 55, the heroine here doesn’t marry because she thinks she can easily divorce her unwanted husband soon after; she marries him because he’s on death row. He won’t be alive three days after their wedding.
I feel that, no matter how high an opinion one may have of oneself, it is risky business to attempt to remake a classic. If (for example) Alfred Hitchcock made a film, don’t attempt to remake it—especially if you plan on tinkering with the way the story plays out. Biren Nag (who had already made the pretty good suspense thriller Bees Saal Baad) tried his hand at remaking Hitchcock’s atmospheric Rebecca here, and while he got some things right, the end result is not quite as memorable as Rebecca was.
The main reason I wanted to see this film was that it starred Shammi Kapoor and Geeta Bali—and her not in a mere item number, as in Mujrim, but in a much more substantial role.
Unfortunately, what I didn’t realise was that it’s Mala Sinha who’s paired with Shammi Kapoor in Rangeen Raatein, while Geeta Bali is in the role of a man [what was the director Kidar Sharma thinking of?!]
I am not – most decidedly not – nuts about red hearts and roses and all that bullshit. Really, if you love someone, you love them. And not just on February 14.
But, anyway, here’s my nod to the bandwagon. I’m not jumping on to it, mind you; just reviewing one of my favourite romance films.
So here we go. A Bimal Roy film that’s a must if you like romances.
Dare I repeat myself by admitting that one of the reasons I wanted to see this film was the music? Shagoon (which I think should have been spelt Shagun) combines Sahir Ludhianvi’s lyrics with Khayyam’s music, to stunning effect. But my other reasons for watching this film were equally valid. It stars the matchless Waheeda Rehman in the only film where she co-starred with Kamaljit, later to be her husband. What chemistry there must be here, I thought. Plus the film featured some of the most dependable character actors of Hindi cinema: Nasir Hussain, Achla Sachdev, Pratima Devi, Chand Usmani. This one had to be worth seeing, I thought.
With most films, by the time I see The End come up on the screen, I’ve more or less decided what I’m going to write about it, till which point I’m going to reveal the plot, and so on. With Haqeeqat, I’m still a little dazed. This is one of Bollywood’s earliest—and most realistic—war films, set against a backdrop of what was then the almost inaccessible region of Ladakh. It’s a blend of war and melodrama, propaganda and patriotism… and I’m not sure exactly what can be considered the main story of the film, since it actually consists of a number of stories woven into each other.