Packing a punch (Shikar)

I'm a happy soul today. I've just watched a film that brought under one roof two good-looking men, three fetching ladies, a thrilling murder plot, plenty of feet-tapping songs, awesome action, rib-tickling comedy, superb dialogues and... Well, if you ask me, the list is endless! Yes, Shikar, directed by Atma Ram is one scintillating entertainer. It grips you from the word go, and rivets you to your seat till the very end. A solid romance does not slacken the pace of the mystery, the hero is as dashing as the heroine is glamourous. Just about everything in this 1968 film is perfect. So much so, that a friend of mine have been discussing the clothes and probable marriage of the investigating officer and one of the suspects in great detail. Yes, the effects of Shikar have been profound!

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Satisfaction guaranteed! (Aaye Din Bahaar Ke)

I'm always game to watch a film for umpteen times provided it guarantees wholesome entertainment. There might be flaws and redundant inclusions, but after it ends it should leave me happy and satisfied. Sadly, not many films of today deliver such fun. So, I keep going back to the films of yore to extract my daily quota of entertainment. I might know every scene by heart, every dialogue might just rotate in my mind and everything looks all too familiar. But nothing stops me from re-watching them. J Om Prakash's romantic drama Aaye Din Bahar Ke is one of them. Only heaven knows how many times I've watched this Dharmendra-Asha Parekh lovely, but does that mean I'll stop? No way...

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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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If not for Shammi (Janwar)

The irrepressible Shammi Kapoor can be credited for often carrying an entire film on his lone shoulders. Signing this rebel star would mean that with his charm and antics he would see to it that a somewhat likeable film would attain sweet success. Janwar, Bhappi Soni's romance, is a film that falls into this category. If you were to ask me what this 1965 film has apart from Shammi's class histrionics, loads of fun cooked up by him, great songs picturised on the superstar and a nice romantic plot where Shammi rules the roost, I'd say hardly anything else. Even in the scenes where Prithviraj Kapoor hogs the limelight, he is praising Shammi Kapoor, who happens to be his younger son in the film!! That's the magic of our sweet prince, he just takes all the credit away with his characteristic flamboyance.

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I will always love you... RIP Shammi Kapoor

Why should we mourn the demise of Shamsher Raj Kapoor, or very lovingly our Shammi Kapoor? Is he really dead? Gone? Never to be seen, heard or felt again? Is it true that his thundering 'yahoo' will cease to reverberate? NO.

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Two in one (Sajan)

So this is where Basu Chatterjee got the idea of Pasand Apni Apni from. Even as I watched Mohan Segal's Sajan, I could not help but notice the glaring similarities with Chatterjee's romantic comedy. Everything looked alike. The plot, characters and the developments. Only, while Segal did not give much scope to the character of the theatre company owner, Chatterjee made him a full-fledged comic personality on his film. He took Utpal Dutt for the role and cashed in on his talent. But otherwise Mithun Chakraborty's role is absolutely similar to Manoj Kumar's and Rati Agnihotri borrows from Asha Parekh's character. At least in the first half.

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Crafty Kanhaiya (Bharosa)

This films stands solely on its story. It's engaging, freewheeling and full of attractive moments. Even though a bit melodramatic, like all K Shankar classics, Bharosa is very believable and in parts funny. And yes, it has Kanhaiyalal, the Parsi actor who made every role his second skin. Here, as the scheming foster father, Kanhaiyalal is a revelation. He enthralls, extracts irritation and giggles at the same time. An apt instance of a brilliant character actor!!

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But for Shammi and Sadhana (Budtameez)

Trust the invincible Shammi Kapoor to make even the very usual film exciting. Though the plot of Manmohan Desai's romantic comedy Budtameez has been oft-repeated, it becomes a jolly good ride for this flamboyant Kapoor's antics. And bolstered by Sadhana's natural charm, it is quite a watch. Only if Shankar Jaikishan's music had more juice and the director had obliterated the buffoon Devdas (Kamal Mehra)...

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Forced tragedy (Do Badan)

I have a question. Does Vikas perish beside the deathbed of Asha in the last scene of Raj Khosla's Do Badan? If so, what's the rationale behind it? For, he is suffering from no ailment as Asha is, has just got back his vision after a successful eye-operation and looks absolutely fit and fine? Given those, is the sight of seeing his ex-lover breathing her last, enough to take his life away? Ambiguous as it is, the climax of the otherwise engaging Do Badan is hurried and too sudden...

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Fending for answers (Gharana)

I need some questions answered. Why do all films from the Gemini stable start off with a punch and then degenerate into some regressive drama? Why are the women in their films projected as husband-worshippers? Why do they trust so easily? Why do they forgive even more easily? And yes, why does Rajendra Kumar carry a police constable's stick throughout his screen time in SS Vasan's Gharana?

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Three in one (Pyar ka Mausam)

Club Nasir Husain's Tumsa Nahin Dekha, Dil Deke Dekho and Jab Pyar Kisise Hota Hain, and you get Pyar ka Mausam. But the astute Husain doesn't cheat you in any way by simply rehashing from his 1957, 1959 and 1961 hits. He throws in more drama, twists, colour and characters to make his 1969 romance thoroughly enjoyable. The segments from the earlier films are stitched so deftly that unless you watch closely, chances are you will miss them. For, the plot flows like a brook, peppered with plenty of action, romance, song and dance. With Nasir Husain at the helm, one thing is certain...thorough cinematic entertainment.

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Jaded stars (Main Tulsi Tere Aangan Ki)

Consider Main Tulsi Tere Aangan Ki over with the death of Asha Parekh. Figuratively I mean. For, even though the film ends after a mind numbing session of bad songs, loud performances and unexciting fisticuffs, there is hardly any more meat in the drama save the strong histrionics by Nutan. I think it is amazing that this Raj Khosla (melo)drama won a Filmfare best film award in 1978. How on earth?

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Asian fiesta (Love in Tokyo)

When you have Asha Parekh in a film, no matter how far-fetched the plot is and how irksome the melodrama, just sit tight. For, this spunky actress guarantees fun. Disguised as a young Sardar, she entertains to the hilt and when the charade is over, she enthralls as Ashok's pretty sweetheart. Dancing like a deer and a crackshot with emotions she makes Pramod Chakraborty's Love in Tokyo a delight. Not to mention her sparkling chemistry with the dashing Joy Mukherjee...

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Wish granted (Nayika Sangbad)

Before going to Mumbai, I prayed to God that I see at least one cinema star getting out of her swanky car, or walking into a posh mall, or maybe, if the sun shone really bright (with Mumbai's monsoons, that's close to impossible), Shahid Kapur taking a stroll on Bandstand (though he lives in Andheri)!! And, if Lord Almighty was indeed happy he would grant me a glimpse of Shammi Kapoor!!

News is, nothing of that sort happened. I saw no Shammi Kapoor, no SRK (though I saw his and Salman's bungalow) and no Shahid (I quite like him, you see). But, yes I witnessed Salman's guards taking his two oversized dogs for their daily walk on Bandstand! Lucky me!! If not the star himself, I was quite excited to see his canine family extensions!!

That's how I am. Imagining crazy things related to cinema. What if some day I get to meet Shammi Kapoor, or say Asha Parekh?

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Couple no. 55 (Mr & Mrs 55)

I have problems with Guru Dutt as a romantic lead. Though thoroughly taken by his brooding avatar (read: his angst-ridden persona in Pyaasa and as a simpleton in Sahib Bibi aur Ghulam), his lighter roles, I feel, paled in comparison. A month back, I watched Suhagan, a film where Dutt plays a middle-class professor marrying his student. Attracted to it by the song, Tu mere saamne hain, I sat through the film with much pain. Dutt's awkward expressions as the loverboy wooing his sweetheart spoiled the fun. Bharosa, another social drama featuring Dutt, was enjoyable only for Asha Parekh’s effortless portrayal of an ebullient village belle.
But, Mr & Mrs 55, my friend kept saying, was different.

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Playing hard to get (Ziddi)

I used to be in two minds on whether I liked Joy Mukherjee. Well, sometimes his grin really irked me. He spoiled Mujhey dekh kar in Ek Musafir Ek Hasina with his clownish expressions. He copied Shammi Kapoor, my favourite. And, didn't do it well either! His didn't dance, he jumped! But, but, but...
Yesterday, I saw Ziddi, Pramod Chakraborty's 1964 romance. And, I liked him. For, despite his silly grin, he came about as a dashing young man who knows how to tame his obstinate lover. His baritone was smooth and his shoulders broad. He hair, swept up, looked stylish and he carried his natty clothes damn well. He cuts Asha Parekh to size and makes her relent to his overtures. That is a job that this man does well!!!

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When love beckons (Jab Pyar Kisise Hota Hain)

Some films take time to grow on you. Nasir Husain's Jab Pyar Kisise Hota Hain is one of them. The first time I watched it, I thought the script is erroneous, the chemistry between the lovers tepid and the songs just about tolerable. I had thought that I would never watch this 1961 romance again.
But, I'm happy to admit, I was wrong. The other day, I tried it again. And voila, this time the film looked different. I loved the songs (except the first two forgettable numbers), Dev Anand was naughtily charming and Parekh was very pretty. I neglected the plot loopholes and enjoyed myself. Films and their layers, never fail to surprise me!!

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Wrong pair (Mere Sanam)

Bengalis have a thing for Bengalis. But, my love for films is not parochial. If that had been the case, I'd be swooning over the likes of Biswajit and Joy Mukherjee. Instead, I find myself drawn to the flamboyance of the very Punjabi Shammi Kapoor, and Dev Anand. One, a robust romantic and the other a naughty charmer.
True, Mukherjee and Biswajit were two of the top draws in their times, but they fail to floor me. In fact, I feel these screen idols were plain lucky. They got to act in wholesome family dramas, made by talented directors, embellished with fantabulous music (many memorable Rafi songs) and got to romance pretty ladies.
One such film is Amar Kumar's Mere Sanam. This 1965 technicolor entertainer stars Biswajit and Asha Parekh, with some great support from Pran, Achla Sachdev, Laxmi Chhaya, Nazir Hussain and Mumtaz. Though the plot is slightly borrowed from

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Three-tiered thriller (Teesri Manzil)

If entertainment could be measured in degrees, I'd call Teesri Manzil, the source of third degree enjoyment!! Considering that this Vijay Anand trendsetter is my favourite (incidentally it was also my father's favourite, and, father and daughter spent numerous hours bonding over this thriller), I should have penned my thoughts on it much earlier. But, truely, I have been mustering up the courage to sum my feelings on this 1966 superhit. For, I really want to reign in the gush and sound objective. But, since I've already seen the film 27 times, that might be a tad difficult. I'll try nonetheless...

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A hearty tale of love (Dil Deke Dekho)

Shammi Kapoor's called Roop in Nasir Husain's Dil Deke Dekho. An apt name. With that kind of a face, nothing else would do justice. He is a charmer, who slips into multiple roles with utmost dexterity. He is tall, strapping and cool, a loverboy who is hard to stay away from. He is a dutiful son, an passionate lover and a quickwitted comedian. So, Roop, the one with a beautiful face, effortlessly makes your heart skip a beat. He makes you laugh with his Professor Saamri gags, tickles your funny bone as Mirza Changezi and makes mush out of you as the smooth Roop or Raja. In the very words of Prof. Saamri, "Oh, tera kya kehna" or maybe, "Yeh aankhen nahin do teer hain"...

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