Sunil Dutt and Waheeda Rehman. The two names themselves conjure up a mix of everything from Pyaasa to Mother India, from Gumraah to Kaagaz ke Phool. Sunil Dutt, whom I tend to associate either with suspense films (Humraaz, Mera Saaya) or angst-ridden (or otherwise philosophical, socially relevant films like Railway Platformor Sujata. Okay, he did do Postbox No 999 and Padosan, but still… Waheeda, whose films with Guru Dutt did showcase her prowess as an actress, but which also tended to paint her as a ‘serious’ actress—although in her case, films like Solvaa Saal and 12 O’Clock showed that she could be as convincing in peppy and light-hearted roles as many of her contemporaries.
If that’s your impression of Dutt and Rehman—two actors who appeared in mostly grim films—this rom-com is worth seeing just for a different, fun, side to both of them.
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.
[To make that clearer to those not in the know: I am a die-hard Shammi Kapoor fan, especially of the Shammi Kapoor between 1957 and 1966. I have watched most of his films from that period, and to find one I haven’t seen is cause for rejoicing. Even if it turns out to be a dud. Therefore the euphoria].
I first came across a mention of College Girl while watching a video of Halke-halke chalo saanwre (from Taangewaali, also starring Shammi). Besides the music (which I loved), I thought the song looked great too, and was eager to try and get hold of Taangewaali—until someone told me that a neat job of mixing had been done here: the audio was of the Taangewaali song, but the video was from College Girl. College Girl went up on my list of films to search for—and I discovered it last week on Youtube.
Mumtaz, as I mentioned in my last post, was one of the best things that happened to Mere Sanam. She may not have had much screen time in the film, but she certainly left her mark – more than she’d been doing in the B-grade films she’d mostly appeared in till then. Rustom-e-Hind, made in the same year as Mere Sanam, is an example of that type of film. It’s basically a Dara Singh showcase – so there’s lots of showing off of wrestling – but Mumtaz gets to smile prettily and flutter her eyelashes, if nothing else.
I was initially undecided about whether I should expend any energy on writing a review for this film. It wasn’t great—not even good, really. On the other hand, it wasn’t a pain to sit through and offered no unintentional hilarity of the Leader brand. Instead, it was a meandering, sometimes pointless film with little development of characters and indifferent screenplay.
Why then this review? Simply because this was the first film of a charmingly gawkish youth who went on to become one of Hindi cinema’s biggest stars—and one of my favourite actors.
Like Sujata, Chhaya is the story of a girl brought up in the house of someone she’s not related to. Like Sujata, it stars Sunil Dutt (and looking gorgeous, too!), and like Sujata, it’s got great music. Also like Sujata, it was directed by a Bengali director: Hrishikesh Mukherjee in this case.
That’s where the resemblance ends, because Mukherjee makes Chhaya a less poignant, less socially relevant film than Bimal Roy made of Sujata. Where Sujata focussed on the understated emotion of a family and a `daughter who’s not quite one’, Chhaya focuses on a mother who’s forced by circumstances to yield up her child to another.
Shaadi isn’t one of the better films I’ve seen in recent times. In fact, it had some definitely irritating moments, and it called for more suspension of disbelief than is generally expected in Hindi films. On the other hand, it had quite a cast: Saira Banu, Manoj Kumar, Dharmendra, Indrani Mukherjee, Balraj Sahni, Om Prakash, Manorama, and others. Even more interestingly, it was Saira Banu’s second film and one of Dharmendra’s first few films. Overall bearable, especially since I didn’t have anything better to do.
Love in Tokyo was before my time, but I can well imagine what its trailer should’ve been:
Japanese gardens! Asha Parekh in a kimono! Joy Mukherji in a wet shirt! Mehmood as a geisha! Mehmood as an Arab doctor! Mehmood as a nawab! Mehmood as Asit Sen!
And so on and so forth. It probably would’ve mentioned a few other attractions: Pran as a lecherous villain (so what’s new?), Lalita Pawar as a tyrannical matriarch with a soft heart (ditto), surprise revelations, a gold digger without a conscience, and a comic side plot without a shred of sense in it.
In spite of all that lunacy, though, this is an entertaining film with a certain mad charm about it.
I’ve been on a Dharmendra-Mala Sinha spree, and it’s been a disaster. Baharein Phir Bhi Aayengi started off promisingly, but deteriorated; and Neela Akash was an even bigger disappointment. I had grave doubts about Pooja ke Phool, and sadly, it proved even worse than Neela Akash. I’m not sure I want to watch any more Dharmendra-Mala Sinha starrers. I’ve had enough.
The film begins in a village where a poor blacksmith called Hansraj (Nana Palsikar) is slogging his butt off trying to scrape together money to pay for a college education for his younger brother Balraj `Raj’ (Dharmendra). The only other member of the family is Hansraj’s daughter Vijay (Sandhya Roy).