Surprisingly thrilling (Mahal)

I would call this Shankar Mukherjee film a serious washout if not for the gripping last hour. Mahal, like its earlier cousin, turns out to quite a thrilling venture thanks to the taut storyline and the unconventional execution. What appears to be a run-of-the-mill trying-to-be-clever noir mystery, actually unravels as a innovative entertainer. I admit that Dev Anand is past his prime and tries his mannerisms a bit too much, Asha Parekh hardly gets a meaty role, and the character actors are too scattered in their job, but overall I found the film picking up pace towards the end. And trust me, if it would not have been worth it, I wouldn't have been writing this post. For, I wouldn't have spent time completing the film.

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Strong ties (Dosti)

Seldom have I seen a film that stands strong just because of the engaging series of events. It does not have a stellar cast, it has no romance as its core element, it has no dashing hero, no pretty heroine and no slimy rogue. But still, it just keeps you hooked. The melodrama and some unnecessary plot elements notwithstanding, as well as some irrational behaviour. Dosti, Satyen Bose's tearjerker about two thick friends, is a film that defines all of the above...

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Saga of sacrifice (Anuradha)

Anuradha is much ahead of its times. At least in its stark representation of the wrongs doled out to a woman who innocently believed in the enormity of love. The director had the gall to show that not everything is achieved when you marry for love. There is certainly much to life for a wife than silently suffering under the shadow of an idealistic husband. In that Hrishikesh Mukherjee is bang on target. His 1960 President's Gold medal winner deals with such oft-forgotten issues in a subtle yet strong manner.

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