Shart (1969)

Some weeks back, I and a blog reader were reminiscing about the good old days of Doordarshan, and ended up agreeing that Doordarshan and its penchant for old Hindi cinema had an important part to play in our love for this period of cinema. For me, at least, Doordarshan was the introduction to the cinema of the 50s and 60s: by the time I was old enough to be able to really make sense of cinema, my father had been posted to Srinagar, and the sole movie hall there was too dangerous to visit: it stood in Laal Chowk, in the heart of town, where every other day there was violence of some sort or the other.

So we stayed at home and watched just about everything Doordarshan cared to show. And a lot of it was old cinema.

Shart was one of those films I first began watching on Doordarshan. Barely a few minutes into the film, the electricity went kaput, but by then something sufficiently intriguing had happened for me to want to watch it again. I remember waiting for years before this film appeared again—this time on one of those many channels that had emerged sometime during the early 90s.

I liked the film back then, but over the years I’d forgotten much of it. Time for a rewatch, I decided, if only to see whether it merited a rewatch.

Shart is aptly named, because it centres around Raj (Sanjay Khan), who is always eager to bet on just about anything. He goes about with a bunch of friends, one of whom, Kailash, is always on the lookout for opportunities to have a wager with Raj [Kailash keeps losing, so I cannot see why he continues to bet]. For instance, when the film starts, Kailash bets that Raj won’t be able to walk up to a passing girl and hug her without getting slapped in return.

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Apna Ghar Apni Kahaani (aka Pyaas, 1968)

I have been wanting to watch this film since 1985.

That was the year, while watching Chitrahaar on Doordarshan, that I first heard (and saw) Chaand bhi koi deewaana hai. My sister and I, who loved old Hindi film songs even back then, used to keep a blank VHS permanently cued to record every time Chitrahaar came on, so we recorded this song—and over the years, I watched it so often that I memorized the entire song without ever having heard it anywhere else. When the Internet became easily accessible, I spent ages looking for the song (and finally found it, audio only, a few years back). Since then, I’ve been looking for the film. VCD, DVD, even a grainy version on Youtube would do.

And finally, after countless tries, I got to see the film. When I sat down to watch Apna Ghar Apni Kahaani, I kept reminding myself: most of the films that I’ve watched just because of one good song (or more) have turned out to be duds. I shouldn’t expect much.

Surprise, surprise. Not only did Apna Ghar Apni Kahaani have some good music and a lovely Mumtaz, it was also quite a good film.

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Ten of my favourite Mumtaz songs

Happy 70th birthday, Mumtaz!

I have gone through phases when I’ve been very fond of a certain actor, only to later start disliking them. Or vice-versa. Dev Anand, for a while, I could watch in anything (until I discovered his post-Johny Mera Naam films, and began disliking him even in some of his earlier films). Mehmood I was fond of as a child; now, it’s only the rare film where I like him. Balraj Sahni I found boring when I was a kid: for many years now, he’s been an actor I admire immensely.

Mumtaz (born in Bombay, on July 31, 1947) is one of the exceptions. I have adored Mumu ever since I can remember. From that gorgeous smile to that cute little button nose, to those dancing eyes: I have never not loved Mumtaz. Initially, I remember loving her just for the fact that she was so very pretty and vivacious; later, when I saw films like Khilona, I realized just how good an actress she is, too.

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Rustom Sohrab (1963)

Who would’ve thought that the Ramsay Brothers’ first production was a historical worthy of a Sohrab Modi [granted, it does have two far-too-chubby leading men and its fair share of violence, but still; Rustom Sohrab is no horror film, not by a long shot]? But yes, Ramsay Productions—famous for its B grade horror films of the 80s and 90s—did make this rather surprising debut, a film based on the Persian epic poem Rostam and Sohrab (part of the famous Shahnameh).

Prithviraj Kapoor and Premnath in and as Rustom Sohrab. Continue reading

Yeh Raat Phir Na Aayegi (1966)

Poor Biswajeet must have gotten thoroughly sick of romancing spooky women in the ‘60s. True, in this one, the spookiness is rather more pronounced (Waheeda Rehman was pretty sunny and un-mysterious in Bees Saal Baad; everything else seemed steeped in mystery). But there is the inexplicability of everything around, dozens of very loud and pointed hints of someone haunting an area, and a song that’s sung again and again like a broken record.

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Rustom-e-Hind (1965)

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.

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Mere Sanam (1965)

Nasir Hussain may have made his Tumsa Nahin Dekha story into four separate – and equally successful – films, but did that induce others to be original? On the contrary. Narinder Bedi, at least, probably seemed to think that what worked for Nasir Hussain might well work for him. Therefore, Mere Sanam, which has a storyline similar in many ways to Tumsa Nahin Dekha. (Both films also have fantastic music by OP Nayyar, by the way).

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Ek Nari Ek Brahmachari (1971)

Though I usually restrict this blog to films up to about 1970, I occasionally make exceptions for films that have a 60’s feel to them—Fiddler on the Roof, for instance. And this one, which despite the bell bottoms, the unbelievably gaudy outfits of the supporting cast and the horrendous decor, has a definitely 60’s feel about it. Another reason (and one which I’m not ashamed to admit is probably the main reason) that I’ve decided to make an exception for Ek Nari Ek Brahmachari is that it stars the lovely and vivacious Mumtaz, one of my very favourite actresses.

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Pyaar Kiye Jaa (1966)

I’d planned to watch (and review) something quite different this week, but when Beth announced Shashi Fest, I couldn’t resist the temptation to participate. That resolve was strengthened when I realised that in a year and a half of blogging about cinema, I’ve never once reviewed a Shashi Kapoor starrer. For shame! This, therefore: a farcical and fun film that never lets itself slip into seriousness. It features some of Hindi comedy’s greatest stalwarts, has superb music, and—of course—stars Shashi Kapoor, showing how good he is at comedy.

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Eye Candy Part 4: Bollywood’s Classic Beauties

The last of the eye candy posts, and (in my opinion), the toughest. Hindi cinema—and this is irrespective of era—seems to be replete with beautiful women. Offhand, I can’t think of a single leading lady whom I’d put in the `plain’ category. So, selecting the ten women from the 50’s and 60’s whom I think are the ultimate when it comes to sheer pulchritude was a very, very difficult task. But it’s finally done, and after having changed, rearranged and turned around my list God knows how many times, I’m finally done.

Bollywood's classic beauties

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