I hadn’t heard about this film, let alone seen it, till a few weeks back, when blog reader Hurdy Gurdy Man, commenting on my review of Rashōmon, mentioned it.
Rashōmon—and the Rashōmon Effect—fascinates me, to the extent that I will watch just about any film, read just about any book, that uses this potentially gripping style of multiple narratives. From Andha Naal to The Woman in Question: I am game for them all. So The Outrage, starring one of my favourites (Paul Newman), and in a genre for which I have a soft spot (Western) was immediately bookmarked.
The Three Musketeers meets Hamlet meets Azaad meets general swashbuckling mayhem.
I will admit I watched this film mainly for two reasons: for Sanjeev Kumar, who is deliciously handsome in his early roles; and for the song Nain bedaardi chhalia ke sang lad gaye, which is total eye candy. [I am shallow, that way].
But then, ten minutes into the film, I sat up and began getting my hopes up. Because this was taking the route of one of those classic novels that I’ve always wished Hindi cinema had adapted for the screen: Dumas’s The Three Musketeers.
A hundred years, ago, on June 7, 1917, in Ohio was born Dino Paul Crocetti, the son of an Italian immigrant and his wife, also of Italian origin. Dino spoke nothing but Italian until he was five years old—and didn’t have an easy time growing up, what with having to work jobs as varied as that of a steel mill worker and a gas station attendant. Until 1946, when he finally landed up in Hollywood, changed his name to the more Anglicized ‘Dean Martin’, and teamed up with comic actor Jerry Lewis in a series of comedies. They were to part ways some years later, but Dean Martin went on to become a far greater star—as actor and as singer—than anyone could ever have imagined.
A moment when a man, washing down the head of a young girl who’s grubby as can be, happens to ask her how old she is, and realizes, with a start of embarrassment, that she’s not the kid he’s imagined her to be, but a young woman.
A moment when a girl, grateful for the support and friendship of a crippled man, hugs him—and he, after a moment of euphoria, realizes that the love is all on his side; she does not see him as a lover, but as a friend, perhaps as something like an elder brother.
A moment when a crippled man, desperate to be ‘normal’ again, rises painfully up on crutches, grins in triumph—and crashes to the floor the next instant.
Alfred Hitchcock is, for me, the cinematic equivalent of writers like PG Wodehouse or Georgette Heyer or Agatha Christie: I see their names on a work, and I know that this is something I can read (or watch, in Hitchcock’s case) and almost certainly not end up finding it a waste of time. The other day, trawling Youtube for something to watch, I came across Under Capricorn. I had heard of this one before, but besides being aware that it had been directed by Hitchcock, I knew nothing of the film. A good opportunity to watch a Hitch film I hadn’t seen.
This story begins in an unusual location (for Hollywood, that is): below the Tropic of Capricorn, in Australia. Set in 1831, Under Capricorn begins one day in Sydney, where the new Governor (Cecil Parker) of New South Wales, having just arrived on the continent from Ireland, is addressing the people. His welcome, while all gleaming brass and starched uniforms on the official side, is lukewarm when it comes to the general public. They aren’t especially impressed.
Much is made of International Women’s Day, and I find myself inundated with messages relating to that, beginning a week in advance of March 8. Promotions from online retailers, newspaper ads, flyers offering discounts on everything from spa treatments to cosmetics: it’s all there. I however tend to mostly ignore Women’s Day and treat it just as another day.
This time, though, I thought: why not post a review of a film that puts women in an important role? It occurred to me then that it had been years—more years than I could remember—since I had watched The Women. And that this might be a good excuse to rewatch a very unusual film: unusual, not because of the story (which isn’t so very offbeat), but because of the fact that the film has no male characters appearing onscreen. Men are there in The Women, but they are neither seen nor heard.
Let’s say you’re a film maker in the Hindi cinema of the late 1960s. You’ve set your heart on making a thriller. You have some money, but not enough to be able to hope to churn out something with Shammi Kapoor, set in Europe. You see all these glittering films—Teesri Manzil, An Evening in Paris, Jewel Thief—being released, and it irks you. If they can do it, why can’t you? So one day you gird up your loins, and inspired by all of these, and all the James Bond movies you can lay your hands upon, you set out to make your own thriller.
You cannot afford Shammi Kapoor [or is he perhaps too discerning to agree after he’s read the script?], so you settle for Biswajeet instead. You don’t have the budget to shoot abroad, but that doesn’t matter. You will make do by bringing abroad here to India, by plonking a bronze wig onto Biswajeet and having him pretend to be a Parisian named Robbie for much of the film.
The very first English language film I remember watching was a war film (a farcical comedy called Our Miss Fred, which I’ve never managed to get hold of since). Over the years, and especially during my teens—thanks to a local VHS lending library which stocked mostly war films—I watched a lot more of this genre. I’ve watched violent war films, adventurous war films, propaganda-heavy films, war films that crossed genres and combined war with everything from crime and mystery to comedy, to romance. I’ve watched war films that showed the futility of war.
War seems to be a favourite subject with many film makers.
But who stops to think of what happens when war is over? The Spanish film Bienvenido, Mr Marshall! did explore this idea in a humorous way, but from the point of view of people who were mostly non-combatants in the war itself. What happens, however, to men who have spent a few years in battle, men who have actually been in combat, and that too on the other side of the world from where they usually live? What happens when men come back to their everyday lives, their families and friends, to find that their world has moved on? And that they, too, have changed?
Some definitions that came to my mind, having—over the course of a little over thirty years—watched three versions of the same story:
Nostalgia. A feeling of deep, intense longing for a film you saw in your childhood, and of which you remember nothing except the vague outline of a story.
Serendipity. Searching for a film you know next to nothing about, and finding an earlier version that turns out to be even better than the one you recall seeing.
Double delight. Finding yet another version of a much-loved film, and discovering that this one is just as good as the other versions.
The point being that Shijibganeun Nal, about which I raved so ecstatically a couple of years back on this blog, turned out to have been only the earliest (as far as I know) cinematic adaptation of a comic play about a greedy country gentleman, a quiet and upright maidservant, and a young nobleman. I had originally seen the 1977 version of this film on Doordarshan three decades ago; I found and watched (with much enjoyment) the award-winning 1956 version some time back; and then, the other day, I came across this version (the name of which translates as ‘A Happy Day for Maeng Jinsa’) on Youtube. And how could I resist watching it all over again?
That’s what’s been flooding my timeline on Facebook, that’s what’s coming my way on text messages, in e-mails from family, friends, even banks and online stores. And yes, don’t we all wish for a happier 365 days ahead? Don’t we all wish that this year to come will be full of good health and joy and realized dreams for ourselves and those we love?
The last thing one wants in the first week of January is a reminder of death, especially that of someone we love. Even if that someone was not friend or family, or even acquaintance—someone we only knew through their work. Sadly, though, this has become an almost-given, come December: yet another film star I loved passes away. A year ago, it was the beautiful Sadhana; in 2013, Joan Fontaine, Peter O’Toole, and one of my absolute favourites, Eleanor Parker. Rod Taylor, Suchitra Sen, Nalini Jaywant, Dev Anand… all gone in December or January. And this year, Debbie Reynolds passed away, just the day after her daughter Carrie Fisher died.