Forgiveness comes naturally (Bahurani)

This is a typical family masala entertainer that sails smoothly because of its easy story and good performances. Yes, the melodrama, the conniving, the songs, the twists, the dances are all in place. But what stands out in this 1963 film is how a woman hold court throughout. A feisty heroine helps her husband come into his own through the light of erudition. She does all the good deeds despite the thorns strewn in the way. She does not dither, does not take the easy path and yes, she is rewarded in the end. T Prakash Rao's Bahurani, is a sweet family drama about love, devotion, family bonding, relationships and forgiveness. And what's a win-win situation here is that all the melodrama is restrained. It never flies over the roof!

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Deepak who? (Aabroo)

Seriously, was CL Rawal joking or something? He tags Deepak Kumar, the hero of his Aabroo, as the star discovery of that year. Deepak Kumar who? Never heard of him, never seen him in any film. And after watching this 1968 drama, I know why filmmakers never took a chance by casting him. He is excruciatingly bad as a performer. He has a wispy voice, a comical look on his face, his voice modulations are pathetic and every time he utters romantic nothings, I crack up! Actually come to think of it, he is almost like Mr Bean trying to do some serious Hindi film. Or rather Rowan Atkinson trying to sing, dance, act and cry in a true-Bollywood style. And yes, he is appallingly bad in all aspects!!

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Weak procrastinator (Amar)

Mehboob Khan's bold drama Amar happens to have a yo-yo effect on me. There are moments when I am swept away by the tight narrative, and there are times when I brush aside the nonsensical goings-on on the screen. There are times when I love Dilip Kumar for having the gall to undertake this grey part, then there are those situations when I feel like whacking him for tediously lengthening the film with his procrastination. There are sighs that I let out for the unharnessed rustic charm of Nimmi and there is the utter exasperation when instead of breathing fire she whimpers and simpers into love for her violator. But there is one person who takes my breath away... Madhubala, for being so heartbreakingly beautiful, so smart, so compassionate and then in the end doing what she aught to be doing. In relinquishing her rights and love, she emerges as the strongest character of this 1954 super dramatic film, that is hailed as being ahead of its times for no tiny reason.

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For her eyes only (Sunayana)

Hiren Nag's Sunayana could very well have been a different film if the end would not have gone the tried and tested path. Partial as I may sound, but somehow I feel that Inderjeet deserved Sunayana as much as Raju. For, didn't he look after her unconditionally when she had nowhere to go to? Didn't he keep mum about his feelings for her knowing full well that she would feel pressurised if he were to own up that he felt for her? Didn't he want to find her a suitable groom, never once presenting himself as a suitor? And most importantly, he never took undue advantage of her helpless condition.

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The truth of life (Asli Naqli)

There is seldom anything wrong with the films made by Hrishikesh Mukherjee. Even when he was yet to dabble with wholesome comedy, he was making films that were sweet, simple and sensitive. His characters were immensely likable, his narrative was crease-free and his stories were absolutely enthralling. It is hard not to enjoy films such as Anupama. And, the same can be said about the beautiful film called Asli Naqli, a joyful enterprise about life and love...

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Of kings and kingdoms (Kohinoor)

I love films like Kohinoor. You don't have to think much. You just go with the flow of the story. Good people, with odds clogging their life, have to battle against the bad ones. But there's no scope for fret. For, the end is always happy. The good guy wins, beating the bad guy to pulp. He gets to sit on the throne accompanied by the beautiful princess. Lighthearted and jaunty, Kohinoor is a perfect example of the archetypal royal saga. Replete with songs, swordfights, schemings and dances, this 1960 adventure flick from S.U. Sunny is one enthralling joyride...

Rana Devinder Pratap Singh is the crown prince of Kailashnagar. As expected there is the conniving dewan who wants his son to usurp the throne by bumping off the prince.

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