Baadal (1951)

The last Hindi film I’d reviewed was the Sanjeev Kumar swashbuckler Baadal. When I’ d begun watching that, I wondered briefly if it would be a remake of the Premnath Baadal, a film I’d seen too long back to remember much of. As it happened, while the later Baadal did borrow some of the basics—the rebel hero who falls in love with a noblewoman whom he should probably be hating instead—it is actually a very different film. Premnath’s Baadal, for one, is no poet, and instead of borrowing from The Three Musketeers, this Baadal is explicitly stated as having been inspired from Robin Hood.

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Baadal (1966)

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.

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Hamlet (1954)

Today, April 23, 2016, marks the 400th death anniversary of one of English literature’s greatest writers, a man who had a huge hand in making English what it is today. Though William Shakespeare’s date of birth is unknown, he died on this day, nearly 52 years after he was baptized. In less than half a century, he created a corpus of work that has endured—and continues to spawn adaptations by the dozen in popular culture—ever since.

Shakespeare, died April 23, 1616

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Gumnaam (1965)

For anybody who’s been following my idea of ‘linked posts’ – each post connected to the one before, and to the one after – this probably comes as no surprise. And Then There Were None was based on Agatha Christie’s highly popular novel and play; Gumnaam is, in turn, an adaptation of And Then There Were None. Not a completely faithful adaptation, but a vastly entertaining one, as you’ll see if you scroll through the comments on my And Then There Were None post: most of my readers, even if they’ve not seen the Hollywood film, have had something to say about Gumnaam.

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Aurat (1953)

I’m very fond of Bina Rai. I’m also a fan of Premnath in his pre-paunchy days. And a film that starred both of them? I didn’t even bother to try and find out what it was all about. So, when I began watching it and saw this, it made me sit up a bit:

Credits of Aurat (1953)

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