I had read a review of this film on a blog years ago, but besides the fact that it starred Prithviraj Kapoor as the father-in-law of three women, I remembered nothing of what I’d read. Then, some weeks back, when Shashikala passed away, a couple of people remembered her role, as a popular film star, in this film. I was tempted to watch it.
The teen bahuraniyaan (the three daughters-in-law) live in one rambling house along with their husbands, their children, and their father-in-law Dinanath (Prithviraj Kapoor)a retired school teacher. The patriarch’s three sons, from eldest to youngest, are Shankar (Agha), Ram (Ramesh Deo) and Kanhaiya (Rajendranath). Appropriately enough, their wives, respectively, are Parvati (Sowkar Janki), Sita (Jayanthi) and Radha (Kanchana). Sita’s sister Mala (Vaishali), who’s come to town to do college, also lives with them.
It came as a shock to me to learn that Shashikala had passed away on the 4th of April, 2021. She was 88 years old, so a ripe old age, yes; but there was something so alive and vibrant about Shashikala even in her old age that I never actually realized how old she was. I would see photos and videos of hers in recent times, her brilliant silver hair stylishly cut, that trademark smile like a 1000-watt bulb. She was not one of those reclusive actresses who go into their shells and disappear after they retire; no. Shashikala always seemed so alive.
Years ago, in the good old days when the single channel on Doordarshan was our main source of entertainment and we therefore watched everything that was telecast, I watched 12 O’Clock. I’d already seen Guru Dutt’s big films—Pyaasa, Sahib Biwi aur Ghulam, Kaagaz ke Phool, Chaudhvin ka Chaand. I assumed, based on those (I had yet to watch Bahurani or Saanjh aur Savera, and had thought Mr & Mrs 55 a flash in the pan), that 12 O’Clock would be along the lines of the serious stuff Guru Dutt churned out.
… which this is not. Because this is one of a handful of the films Guru Dutt acted in but did not direct.
I am not a one to make New Year’s resolutions; more often than not, it’s just something I silently tell myself I should attempt to do over the course of the coming year. At the start of 2014, I decided I should read more classic fiction this year—and, importantly, more fiction that wasn’t originally in English. Since the only two languages I am fluent in are English and Hindi, it meant that the only untranslated works I could read would be in either of those two languages. So, after many years (if I remember correctly, I last read a Munshi Premchand novel in school), I decided to read his landmark novel, Godaan.
…and didn’t even know, till a couple of months back, that it had been adapted into a film. When I discovered Godaan on Youtube, I bookmarked it immediately (noting, though, with trepidation, that it starred two people I’m not especially fond of: Raj Kumar and Kamini Kaushal). And I vowed to watch it as soon as possible, at least while the novel was still fresh in my mind.
Several readers have told me, over the past couple of years, that I should watch this film. It is, if you go by just the details of cast, crew, and awards won, a promising film. Directed by Yash Chopra, starring Mala Sinha, Rehman, Ashok Kumar, Shashi Kapoor (in his first role as an adult), Nirupa Roy, Indrani Mukherjee, Manmohan Krishna—with guest appearances by Rajendra Kumar and Shashikala. The winner of the President’s Silver Medal for Best Feature Film in Hindi at the National Film Awards.
And with lyrics by Sahir Ludhianvi, set to music by N Dutta. I could well imagine Dharmputra would be a film worth watching. So when I finally managed to lay my hands on it, I didn’t waste much time getting around to seeing it.
I’ve been exceptionally busy over the past few weeks, and even had to give up the idea of publishing a post last week—simply because I didn’t have the time. But today is the birthday of my favourite Hindi film star, Shammi Kapoor—how could I not post a tribute?
So, even though it’s meant doing some crazy juggling of schedules, here we go. A Shammi Kapoor film that, while it’s not classic Shammi, is at least fairly entertaining. And has the distinction of being the earliest Hindi film I’ve seen which was actually filmed abroad, not just set abroad.
By some strange oversight, despite the fact that Waqt is one of my favourite masala films, I’ve never reviewed it on this blog. And I’m wishing I didn’t have to end up writing about it on such a sad occasion—because Achla Sachdev, the actress who played the self-sacrificing, long-suffering mother and wife in this film, passed away on April 30, 2012.
For a lot of people of my generation – or those younger than me, who have seen Shammi Kapoor in his earlier films, this is the film that is probably representative of Shammi Kapoor: the ‘Yahoo! Kapoor’ as a friend of mine says with a sneer. Junglee is one of the major successes of Shammi Kapoor’s heyday. It is also, with Shammi’s wild whooping and crazy antics in songs like Suku suku, an important reason for him getting saddled with that ‘Yahoo! Kapoor’ epithet.
I’ve been very busy the last couple of days, and the busy-ness doesn’t look like it’ll come to an end soon. My husband, therefore (and what a model of husbandly devotion!) offered to write the review of Abe-Hayat for me. This, mind you, without having seen the film, just on the basis of a very sketchy gist I’d narrated of the first half while we were on our evening walk. Tarun said he’d do a 3-sentence review:
Once there was an evil jaadugar named Saamri. There was a prince, and a princess. The prince killed Saamri, and then he and the princess lived happily ever after.
Hindi cinema’s fascination for the Mughals is – well, fascinating. Even before independence, we were busy churning out semi-historicals such as Humayun (1945) and Shahjehan (1946); then, in the 50s and 60s, there followed a spate of rather more big-budget extravaganzas, complete with big names, vast armies, glittering palaces and superb music: Mughal-e-Azam,Taj Mahal and Anarkali (Note: As a character, Anarkali seemed to be especially popular. Besides the Bina Rai-Pradeep Kumar version, there were Tamil, Telugu and Malayalam versions of her story; even a Pakistani version starring Noor Jehan. And that list neither includes the two versions made in 1928, nor a 1935 film starring Ruby Myers. Note that Mughal-e-Azam is also about Anarkali).