Over the years, I have heard and read much praise for this relatively little-known film. Its songs, which various people have introduced to me over the years, are good, and Anu—whose taste and opinion usually match my own—had good things to say about New Delhi in her review of the film. I decided it was time to watch it for myself.
New Delhi is set, of course, in New Delhi (though a bit of Old Delhi intrudes now and then, even as it does in everyday life in Delhi today). The film begins outside New Delhi Railway Station, where Anand Kumar (Kishore Kumar) has just arrived from Jalandhar, to study radio engineering. Anand hails a passing taxi at the same time that Janaki (Vyjyantimala), who is standing a few steps further along the road, does too. One taxi draws up; both Anand and Janaki get into it, and then start arguing over whose taxi this is.
I’m reading Jai Arjun Singh’s The World of Hrishikesh Mukherjee: The Filmmaker EveryoneLoves these days (yes; a review will be posted sometime this month). A few pages into the book, and I came across a mention—followed by more interesting stuff—about a film I’d run into once, about ten years back. Biwi aur Makaan, of which I’d happened to find a VCD and had happily bought, guessing (from the synopsis on the VCD cover) that this might be fun.
That VCD turned out a dud: the first disc was fine, the second refused to play. So I set Biwi aur Makaan aside (regretfully), and ended up forgetting about it. Until earlier this week, when, reading Jai’s book, I was reminded of it, and on a whim, decided to see if I could find it on YouTube. Sure enough, there it was. And here is my review.
The other day, someone mentioned that after Omkara, Maqbool and Haider—based respectively on Othello, MacBeth and Hamlet—Vishal Bhardwaj was going to be making a trio of films based on Shakespeare’s comedies. The thought came into my head: had any Hindi film maker remade a Shakespearean comedy before? The very next moment, the answer popped up. Of course: Angoor. And (my brain was beginning to work overtime by now), another film based on A Comedy of Errors and also starring Sanjeev Kumar: Gustakhi Maaf.
I hadn’t heard of Gustakhi Maaf until a few years back, when I happened to find (and subsequently buy) a delightful lobby card featuring Sanjeev Kumar in this film. I went looking for the film, discovered that it was based on A Comedy of Errors and that it starred the ever-bubbly Tanuja—but I couldn’t get hold of the film anywhere. Until Harini (over at bagsbooksandmore) pointed me to it. So here goes: review #1 of 2015, of a fun, frothy film.
What is a country to do if its economy suddenly takes a nosedive? What if the country’s sole source of income is a product that’s suddenly no more in demand? Are economic reforms in order? Or a smart political move?
No; I’m not talking a 1950s tale of courage and enterprise in the face of economic disaster (not in the way one would’ve expected, at any rate). Not when you know that the star of this film—in a triple role, too, one of which is a woman—is the inimitable Peter Sellers. And not when you know that it revolves around a fictitious country, supposedly the smallest in the world, which decides that what its economy needs for a turnaround is to declare war on the United States of America.
Among the lesser-known films for which my Uncle Vernie played was Shrimatiji, made by (and featuring) some of his closest friends. IS Johar, who was one of Vernie Tau’s chums, wrote, directed, and acted in it. The three music composers for the film (Jimmy, Basant Prakash, and S Mohinder) too were friends of Vernie Tau’s, Jimmy an especially close pal.
My father had recently expressed a desire to watch this film, mainly to hear his elder brother’s music. When I discovered it starred Shyama (whose gorgeous smile and dancing eyes make her one of my favourites), I decided I needed to watch it too. And, since the only other film in which I’ve seen Nasir Khan was Ganga-Jamuna, I wanted to see if he was any different in a much earlier film.
The other day, I was thinking aloud, wondering what to do for my next blog post, and my husband said, “Review a comedy.”
So here it is. A review of a film that’s intentionally funny, and which, furthermore, stars one of my favourite Hollywood actors: the incomparable Cary Grant, a leading man who had a fantastic flair for comedy. In this one, he teams up with the equally superb Katharine Hepburn in a crazy story involving a millionaire aunt, a big game hunter, a tame leopard, and a Brontosaurus bone, among other odds and ends.
My original plan had been to watch and review Neecha Nagar, and follow it up by watching and reviewing Kurosawa’s Donzoko (also based on The Lower Depths). By the time I’d read Gorky’s play and seen Neecha Nagar, that plan had changed a bit—because I was feeling sorely in need of a funny film. La Grande Guerra was what I chose, because it had come highly recommended by friends whose judgment I trust.
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.
One final tribute on which to end the year: a goodbye to another of the many luminaries who made our films of yesteryears what they were. This time, I’m remembering Blake Edwards, the writer, director and producer who made such varied films as Operation Petticoat, Breakfast at Tiffany’s, The Great Race, Victor Victoria and the Peter Sellers Pink Panther series—and who was also famous for being the husband of Julie Andrews. Edwards died on December 14, 2010, aged 88, and leaves behind a formidable array of work—plus much admiration. Polls during his time behind the camera showed that Edwards was that rare personage in Hollywood, a director who was a marketable commodity!
Unlike Madhumati and Aar Paar, where he was just a supporting actor (though, in my opinion, his contribution to both films far surpassed the actual screen time of the characters he played), in Chhoomantar Johhny Walker is not just the funny man, but also the hero. He gets to sing and dance (the latter even in drag!). He gets to woo a pretty heroine, be brother to another lovely lady, and he gets to kick some serious ass.