Apradhi Kaun (1957)

The world of Hindi cinema is peppered with names that anyone familiar with the industry (at least the industry of the 50s and 60s) can quickly slot into categories. Star. Villain. Comedian. Character actor. There are many, many names that automatically fall into (almost exclusively) one of these categories. Those that have shifted from one category to another—like Pran, for instance, once the quintessential villain but in later years the more interesting ‘good man’, or Ajit and Premnath, both initially hero and later villain—have again usually not done too many shifts.

Abhi Bhattacharya is one of those relatively rare individuals who seem to have appeared in a wide variety of roles, a wide variety of films. He was the idealistic school teacher of Jagriti, the ‘other man’ of Anuradha. The kind-hearted, principled example of the bhadralok in films like Amar Prem, and the straying older brother of Dev Anand in Love Marriage. He played Krishna and Arjun and Vishnu (the latter in a slew of mythologicals). He even played the villain, in the Vinod Khanna-Yogita Bali starrer, Memsaab.

This year marks the birth centenary of Abhi Bhattacharya (as far as I’ve been able to find out, he was born in 1921, though I’ve not been able to discover exactly when in 1921). To commemorate his career, I wanted to watch a Bhattacharya film, but a dilemma presented itself: which one? Hindi or Bengali? (since Bhattacharya had what seems to have been a very successful career in Bengali cinema as well). Eventually, I homed in on this film, a rare whodunit in Hindi cinema that’s pretty well made too.

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Chase a Crooked Shadow (1958)

One of my favourite genres is suspense. Give me a good Hitchcock film, and I’m a happy camper (Hitchcock happens to be among my favourite directors, but no, that doesn’t mean I regard only him as a great director when it comes to suspense films; there are many films not directed by Hitch that are favourites of mine, including Charade, Gaslight, and How to Steal a Million).

Anyway, talking of suspense: someone mentioned Chase a Crooked Shadow, telling me that it was a good suspense film, and I decided I had to watch it. This one wasn’t directed by Alfred Hitchcock, but by Michael Anderson.

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The Big Clock (1948)

For someone who loves books with as much passion as she does old cinema, it’s hardly surprising, perhaps, that I get especially excited when I discover a screen adaptation of a book I like—or vice-versa.

Earlier this year, I stumbled upon Kenneth Fearing’s novel The Big Clock. I had never heard of it before, and the first couple of chapters of the book didn’t endear me to it: too dry, too full of journalistic jargon, too business-y. But I persevered, and suddenly, the story took a turn that caught me by surprise. And then it became such a gripping, unputdownable book that I ended up racing through it, eager to see where it would go.

… which was why, when I found it had been also made into a film, I approached the cinematic The Big Clock with some trepidation: would they have been able to do justice to it?

As it turned out, yes. More than justice.

The Big Clock centres round a mammoth publication company, named Janoth Publications, after its owner, Earl Janoth (Charles Laughton). Janoth Publications is housed in a multistory building, each floor being devoted to one publication churned out by the behemoth: Styleways, Sportways, Newsways, and so on—and, the publication which becomes the focus of this story, Crimeways. As its name suggests, Crimeways is devoted to crime reporting, and is headed by George Stroud (Ray Milland).

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Pathlaag (1964)

Some years back, a comments thread on a blog post sparked off a discussion, the net result of which was that I learnt about Pathlaag, the Marathi original of Mera Saaya.

Suspense is one of my favourite genres, and when it comes to 60’s Hindi cinema, Mera Saaya remains one of my favourite suspense films. And I am always eager to see the originals or the remakes—even in different languages—of films I particularly like. So I quickly put Pathlaag on my list, and set about trying to find a subtitled version. Some hectic trying, and I realized just how difficult this was going to be. I found VCDs aplenty; I even found a version—uploaded in five parts—on Youtube. None had subtitles. Then, Pathlaag again cropped up in conversations when I posted my review of Mera Saaya, I decided to give it another try. This time, I found an English subtitles file of Pathlaag. With much jugglery and some tech work, I managed to fit film to subs, and watch it.

Appropriate, perhaps, considering—as Harvey and Milind’s discussion indicated—‘pathlaag’ can mean ‘chase’ or ‘follow’. I really had to chase this film down.

Bhavna and Kashinath Ghanekar in Pathlaag

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Mera Saaya (1966)

Permit me one last Sadhana-related post before I put aside my unexpected (even to me) sadness at her untimely death. I know I’ve already been through two tribute posts, but even as I was writing those posts, I couldn’t help but think of the Sadhana films I haven’t reviewed on this blog (and there are several of them, including all the ones she made with Rajendra Kumar). When I think of Sadhana, I always think of her in Raj Khosla’s suspense films. Three of them, two opposite Manoj Kumar (Woh Kaun Thi? and Anita), and this one, opposite Sunil Dutt, with whom Sadhana also starred in Gaban and Waqt.

Sadhana in Mera Saaya

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Baat ek Raat ki (1962)

Anu had started this month with a Dev Anand film—and I, following suit, decided I would review a relatively little-known Dev Anand film too, to begin August. But, while Anu’s kept up the Dev Anand theme all through August, I’ve meandered off in different directions, all the way from The Rickshaw Man to jeep songs. But solidarity among friends counts for something, doesn’t it? So here I am back again, with another Dev Anand film. The sort of film that, on the surface, looks like it’s got everything going for it: a suave Dev Anand opposite a very beautiful Waheeda Rehman (who, along with Nutan, was, I feel, one of Dev Anand’s best co-stars as far as chemistry is concerned). SD Burman’s music. Suspense. Some good cinematography.

Waheeda Rehman and Dev Anand in Baat ek Raat ki

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Baazi (1968)

The first time I began watching this film was on Doordarshan, many years ago. It surprised me, largely because it featured Waheeda Rehman in a very Westernised avatar I had never seen before. It also had an intriguing story. And Dharmendra, always one of my favourites. And Helen. And Johnny Walker.

Waheeda Rehman in Baazi Continue reading

Saajan (1969)

The other day, a fellow blogger, mentioning her distaste for Manoj Kumar’s films said that while she has “nothing against the man himself”, she really hates his films. I know what she meant (at least I think I do): I hate that insufferably xenophobic “all that is Indian is good, all that is Western is bad” philosophy espoused by films like Upkaar or, even worse, Purab aur Pachhim.
But I tend to shove that lot of films to the boundaries of my recollection of Manoj Kumar’s films. For me, his best films are the outright entertainers, the romances and suspense thrillers he worked in. Especially the suspense thrillers: Woh Kaun Thi?, Anita, Gumnaam—and this one.

Manoj Kumar and Asha Parekh in Saajan Continue reading

The Lady Vanishes (1938)

It’s been a long time since I reviewed a film by one of my favourite directors, so I decided this one merited a rewatch. Like The 39 Steps and Young and Innocent, The Lady Vanishes is one of Alfred Hitchcock’s early British suspense films. I saw it first when I was about 12 years old; but in the years since, I’ve never forgotten the story – I still remember almost every twist and turn of this film. And I still think that it’s one of the best train journey films ever made.


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Bees Saal Baad (1962)

Several people who read my last post – which, as I’d mentioned, was an adaptation of a suspense novel, and in turn was remade in another language – guessed what this post would be all about. You were all kind enough to not let the cat out of the bag, but I guess you all got it right. The Hound of the Baskervilles, made in 1939 with Basil Rathbone as Sherlock Holmes, was remade in Hindi 23 years later, as Biswajit’s first Hindi film, Bees Saal Baad.

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