If you’ve been reading this blog for a while, you’ve probably realized by now that I’m a sucker for suspense films. And that I have a soft spot for Dharmendra. And Helen. And Pran. Bring all of those together, and I’m pretty much willing to give it a try. Kab? Kyon? Aur Kahaan? is a film I’d watched many years ago, and liked, so I decided it was time for a rewatch [especially since I’d forgotten pretty much everything of it except for one very taut and tense section]. As it turned out, this was one of those films that make me realize how much more forgiving I was in my younger days. I’d forgotten, for instance, how Babita’s eyebrows managed to give Dharmendra’s a run for their money in the bushiness department.
Friend, blog reader and sometime fellow blogger Harvey nudged me gently last week with a bit of information I hadn’t remembered. August 13th, 2014 was the 115th birth anniversary of Alfred Hitchcock. Was I planning to post something Hitchcock-related to mark the occasion?
And how could I not? Hitchcock – in my opinion, one of the best directors cinema has ever seen, regardless of time and place – is a firm favourite of mine. I’ve reviewed several of his films; in fact, one of the first films I reviewed on this blog (The 39 Steps) dates from Hitchcock’s early British period. I’ve reviewed a hilariously black comedy (The Trouble with Harry); I’ve reviewed classics like Rebecca, and relatively little-known ones (among those not Hitchcock aficionados, I hasten to add) like Strangers on a Train or Lifeboat.
Time (and occasion) therefore, I concluded, to review one of my favourite of Hitchcock’s colour films, in the classic suspense mould. Rear Window, about a photographer stuck in his tiny apartment with a broken leg…
When I posted my review of Charade a couple of weeks back, I ended up being reminded of this film. Firstly, because Charade is referred to as ‘the best Hitchcock film Hitchcock didn’t direct’. Secondly, because in the comments, a couple of readers mentioned a film in a similar vein, the Gregory Peck-starrer, Arabesque. My mind did a quick jump ahead, and came up with this: Hitchcock + Peck = Spellbound.
And, as if fate itself had decreed it, I realised just as I was beginning to write this review, that today – August 29 – is the birth anniversary (and, oddly, death anniversary, too) of Spellbound’s leading lady, the lovely Ingrid Bergman. This was the day she was born in 1915, and this was the day she died, in 1982. Happy birthday, Ms Bergman – and RIP.
While, in the world of Hindi films, songs are often sung on trains, alas – trains too are occasionally dangerous places to be in. And I’m not simply talking about a train in which a heartbroken and lonely hero or heroine is travelling [such trains invariably have frightful accidents in which the hero(ine) is about the only person left alive and whole, though he/she has lost his/her memory, leading to interesting complications].
Memsaab’s excellent review of the Dev Anand-Waheeda Rehman starrer Solva Saal reminded me of this film. Also Dev Anand, also a suspense thriller, and also with great music. And, may I add, like Solva Saal, extremely entertaining.
So I rewatched this and enjoyed myself all over again, ogling Dev Anand, humming along with the songs, and wishing there were more films like this.