Hindi cinema has, for many decades (much of its existence?) been stereotyped. Mush, melodrama, music. The usual plot of countless films over the years has been dominated by a few given elements, even when the film’s main story may straddle other genres, such as thriller or comedy. You can’t have a Hindi film without romance, song and dance, and melodrama, seems to be the rule followed by most film makers.
Which is why the exceptions to the rule come as such a breath of fresh air. Majhli Didi, Dekh Kabira Roya, Kaanoon, Ittefaq… and this touching, tragic yet heartwarming story of a toddler wandering through the streets of big, bad Bombay.
Hindi cinema has its share of films in which children play an important part. And not just as the childhood version of the adult who plays the lead. Sometimes (Dhool ka Phool, Bandish) as unwanted. More often (Do Kaliyaan, Andaaz, Detective, Ek Hi Raasta, Laajwanti) as the means of bringing together two adults in a romantic relationship, or trying to hinder that relationship.
Less often, but I think often with more impact, children play the lead role: the film is about children, and the adults are mostly peripheral. Boot Polish and Diya aur Toofaan fall into this category. As does Naunihaal, about a little boy who sets off to meet Jawaharlal Nehru.
Yes, this post is four months late: Kaifi Azmi’s birth centenary was on January 14th this year. I will not make excuses about why I missed that date. Let me just say that I didn’t know about it until the 14th itself, and by then, it was too late. I cursed myself for having forgotten that 2019 marked the birth centenary year of one of Hindi cinema’s finest lyricists. But today is the death anniversary of Azmi Sahib, and in any case, all of this year is his birth centenary, so I thought better late than never.
Whenever people ask me what my movie blog is about, I say pre-70s cinema. Pre-70s, yes, but with a few (very few) exceptions, and those are films released in the very early 70s, but with a distinctly 60s feel to them. Pakeezah is the example I invariably give: a film released in 1972, but with an aura that’s recognisably of an earlier period about it, whether it’s in the fashions, the actors, or the overall look of the film.
Since I generally steer clear of reviewing very well-known films, the format of this review is going to be slightly different from my usual film review. I’ll begin with a much briefer synopsis than usual, then go on to discussing—in far greater detail than I normally do—what I liked about the film, what I didn’t like, and sundry other musings regarding Pakeezah.
A couple of years back, I dedicated one month of blog posts to the readers of Dusted Off. Since then, many more readers have begun following this blog. Some drop by, leave a comment, or like a post. Some lurk in the background. Some become staunch friends.
It’s been a while, so I thought it was time to repeat what I’d said back then: Thank you. Thank you for reading my blog, for encouraging me, and keeping me going. It’s because of you that I blog. It’s for you that I blog.
To express some of my gratitude for my blog readers, February 2013 on Dusted Off is dedicated to you. All the posts this month will be related to blog readers: reviews of films recommended by readers, lists requested by readers, and so on. To begin with, a film that I’ve wanted to see ever since Shalini recommended it three years ago. I finally found Lala Rookh in Induna’s catalogue a few months back, and pounced on it.
This is another of my ‘prize posts’, dedicated to one of the people who participated in the Classic Bollywood Quiz I hosted on this blog last year. One of the quiz questions was a toughie that no-one was able to answer: Which was Sahir Ludhianvi’s first ghazal to be recorded in Hindi cinema? I did provide one clue: the operative word is ‘ghazal’.
This post therefore is dedicated to Ravi Kumar, the only person who guessed which song I was referring to, though since his guess came in the wake of his submission, it didn’t count. The song was Tadbeer se bigdi hui taqdeer bana le, from Baazi (1951) – a song which is, in my opinion, a good example of what a ghazal is and isn’t. No, it’s not defined by its music – so, it needn’t be slow and soulful; it can be fast-paced and peppy. What does define a ghazal are its lyrics: rather, its structure and its rhyme scheme.
The other day, after a long gap of 16 years, I met someone who used to teach me in college. I never knew back then that he was a Mohammad Rafi aficionado; and now, chatting with him about Dusted Off, I got a request: do a Rafi post.
So, as a sort of gurudakshina, here it is: a Rafi post. And since I cannot even begin to think of trying to narrow down my favourite Rafi songs to just ten (or even a hundred), I’m taking the easy way out. Rafi, in ten moods. Ten songs that showcase the breathtaking versatility of this man and his voice. There will always be dozens of other Rafi songs out there that reflect the same emotions behind these songs, but these are my favourites. And, in keeping with the rules I always set for myself, they’re all from the 50’s and 60’s, from films I’ve seen.