This blog focuses almost exclusively on films from before the 1970s. Very occasionally, though, I make exceptions. For films that are pretty much on the cusp, and which evoke more a sense of 60s cinema than 70s, which were made mostly during the 60s (or even earlier, as in the case of Pakeezah) but were released only later, but basically for films that, when I watch them, seem as if they were made in the 60s. Because of the people who star in them, because of the costumes, the songs, the feel of them.
When Vinod Khanna passed away last week, I wanted very much to review one of his films as a way of paying tribute. There are a couple of 60s’ films of Vinod Khanna’s that I’ve seen—the forgettable Man ka Meet, for instance—but I settled on a rewatch of Mera Gaon Mera Desh, not just because it features Vinod Khanna in one of his most memorable outings as a villain, but also because it is an interesting example of a film that may have only been moderately successful, but is the very obvious inspiration for one of the biggest hits ever in the history of Hindi cinema: Sholay.
I’m sitting near an open window, breathing in what we always knew as the saundhi khushboo of wet earth (I’ve since discovered the correct English term is petrichor). Outside the window is a balcony, crowded with plants that are suddenly no longer limp and weary with the heat. Beyond the balcony is a field dotted with cows and cattle egrets. Pools of water shimmer silver in the field. The grass and the trees around the edges are bright green against the brooding grey of the clouds beyond. The monsoon is here. Finally, thankfully, here.