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.
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.
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.
Or 1971, if you go by the year the film was made, not the year the film was released. Or 1974, which was when the censor certificate dates from.
I came to know of Love in Bombay a few months back, when a newspaper article mentioned that Joy Mukherji’s sons were finally going to be releasing this film. I forgot about it until I discovered that it had finally been released this last Friday—and then I was in a quandary. To see or not to see, as I put it. Various friends urged me on: Harvey, for instance, said that with Agha Jani Kashmiri having revised the script, it may be pretty good. Beth said that she’d heard the costumes were good. Sidharth Bhatia suggested that the presence of Joy Mukherji and Kishore Kumar might be one reason to watch.
I feel that, no matter how high an opinion one may have of oneself, it is risky business to attempt to remake a classic. If (for example) Alfred Hitchcock made a film, don’t attempt to remake it—especially if you plan on tinkering with the way the story plays out. Biren Nag (who had already made the pretty good suspense thriller Bees Saal Baad) tried his hand at remaking Hitchcock’s atmospheric Rebecca here, and while he got some things right, the end result is not quite as memorable as Rebecca was.
Why not begin, I thought, where I left off in my last post? The last song I listed in my post on my ten favourite Waheeda Rehman songs was Jaane kya tune kahi, from Pyaasa. Interestingly, this was also the first song in the film. It’s a film I’ve seen a few times – always with increasing appreciation, as I begin to see more nuances, more things to admire about it. But do I really have anything new to say about Pyaasa that hasn’t been said before?
What made Bees Saal Baad such a good watch was its music, its fairly good suspense – and its lovely heroine.
Waheeda Rehman had it all: an immense amount of talent, a rare beauty, a grace and dignity that few possess – and she was a superb dancer. What’s more, as I discovered in a TV interview a couple of years back, she’s also very modest. “When I was a girl, my siblings would call me the ‘ugly duckling’”, she said. A flash of that trademark smile, and she added, “The camera was very kind to me.” As fellow blogger Sabrina Mathew remarked when I recounted that on her post, “I want that camera!”
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.
One reason I’m glad I began this blog is that, because of it, I’ve met (although in most cases only in cyberspace) a lot of other people who are as enthusiastic about cinema as I am. Through these friends, I’ve been introduced to ‘new’ old films, to songs and directors and actors and styles of cinema that I hadn’t known before. Occasionally, too, my friends have been able to persuade me to give up a prejudice and watch a film I had no great expectations from. This is one of them.
At least four fellow bloggers/readers/friends – Yves, Bawa, Harvey and Pacifist – had been advising me, for a while now, to watch Teesri Kasam. I was assured that Raj Kapoor wasn’t at all Chaplinesque (something I dread in RK’s films) here, and that the film itself was excellent. I’d been trying to get hold of Teesri Kasam too, but the DVD rental company I subscribe to never seemed to have it in stock. Finally, last Sunday, I watched the film on Youtube. And yes, it is a wonderful film. Sensitive, lyrical, quiet, and easy to like.
Dare I repeat myself by admitting that one of the reasons I wanted to see this film was the music? Shagoon (which I think should have been spelt Shagun) combines Sahir Ludhianvi’s lyrics with Khayyam’s music, to stunning effect. But my other reasons for watching this film were equally valid. It stars the matchless Waheeda Rehman in the only film where she co-starred with Kamaljit, later to be her husband. What chemistry there must be here, I thought. Plus the film featured some of the most dependable character actors of Hindi cinema: Nasir Hussain, Achla Sachdev, Pratima Devi, Chand Usmani. This one had to be worth seeing, I thought.