Swami (1977)

As teenagers, we were brought up on a steady dose of classic Bengali literature. While Rabindranath

Tagore was a constant, my mother insisted we tick off a reading list comprising Sarat Chandra Chatterjee, Bibhutibhushan Banerjee and Manik Bandopadhyay. During the interim between my graduation and masters, I voraciously read titles by all these literary greats. While each one bore a fascinating style, I found Sarat Chandra's works very easy to relate to. And understand. He was an everyman's writer portraying the plight of women in the society of the then Bengal. Interesting stories that you we heard about from our grandmas found place in his works as well. Woman were a pivotal point in his stories and often the plot revolved around the female protagonist. The ideals, conflicts and emotional quotient was so easy to relate to.

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Anchored on lies (Manzil)

Give me one good reason why I should sympathise with Ajay Chandra when the going gets tough for him. In

my opinion, he is a big liar, an opportunist, a shirker and a glib-talker. So, even when at last he does get down to work and puts in some effort to save his business from downing shutters, I can hardly say that I feel satisfied with the happy end to his love story. For, a relationship that is founded on lies and false identities will need much more than one sweeping effort to withstand the tests of time. And, how come Aruna and her father does not realise that.

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The want of privacy (Piya ka Ghar)

I'd gone to Mumbai (how I still love calling the maximum city Bombay; it sounds romantic) in 2009 with my husband. After a day of sightseeing, we both took time off to meet our respective friends. While he sat down for his beer and gossip with his school friends, I went about town with a friend-cum-colleague. We went from one part of the city to another, and I suitably gaped at Jalsa, Mannat, Salman Khan's house (his dogs were being taken for a walk at bandstand!), Kareena Kapoor's house and Shahid Kapoor's house. While we licked our ice-golas and chatted with merry candour, Aditi (that's my friend) told me that she has been very busy trying to let out her family's 1BHK flat. And guess what they were charging as rent? Rs 40,000 for 750 square feet! The moment she quoted the numbers, many things crossed my mind (apart from almost choking at that point!).
I said to myself, "So there goes the dream of darling hubby of ever living in this city. How can I give up a comfortable life in the Capital for a matchbox existence in the city he loves so much? Yes, I love films alright, but it's absolutely okay to watch them on television. I don't have to live with the stars in this city! Rs 40,000 for 750 sq ft!!! Are they kidding me?"

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And she learns to love (Dillagi)

Love can seriously do wonders. It has the capacity of changing worlds in a moment. One brush with the sentiment and you can start feeling woozy all of a sudden. A person with no romance in his soul can actually turn out to be quite a lover when he has his first exchange with the wondrous feeling. And a woman who is famous for being the strict and dry spinster can actually start enjoying her encounter with love. So many facets this feeling has. And it's such a joy to know that there is love in this world. In every nook, every cranny...

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His or his (Rajnigandha)

Never was a girl's dilemma in love depicted so subtly. In Basu Chatterjee's Rajnigandha, Deepa is torn between her two loves time and again and has to make up her mind on who to settle down with. She keeps comparing the two men in her life, their personalities and character and ultimately uses the nth minute to decide that first love does not necessarily have to be true love.

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Marriage caper (Chameli ki Shaadi)

This is a small film set in a small town. It dwells on nondescript people and their tiny aspirations. But the fun derived from watching these people while they go about their affairs is gigantic in proportion. This is a simple love story with extraordinary twists and turns. This is a tale that will make you laugh and learn. So, enjoy the joyride called Chameli ki Shaadi.
Basu Chatterjee's films are always entertaining. And, this 1986 romantic comedy is no different. Without prevaricating, let's get to the story (but no spoilers, I guarantee).

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Just a few words (Baton Baton Mein)

What is it with men and marriage? Why are they so scared of tying the knot? They are so ecstatic romancing the pretty damsel, but when it comes to settling down with her, they would love to be far far away... Well, in most cases that is...

Tony Braganza faces the same dilemma. And, to make matters worse, he is being prodded by Rosie Perreira, an overtly anxious widow, who wants to see her daughter happily settled in life. He loves Nancy Perreira all right, but having the overbearing motormouth Rosie, as a mother-in-law, is daunting for sure. So, Tony keeps procrastinating...

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It's a wonderful life (Khatta Meetha)

Priyadarshan is making a film called Khatta Meetha. Wonder whether it will be able to recreate the fun and warmth of the original Khatta Meetha, Basu Chatterjee's comedy about a bunch of Parsis living in Mumbai.
Well, not really a comedy. This 1978 classic is a slice of life. Peppered with a melange of emotions, this family drama is a complete joyride. You laugh with the characters, sing with them, dance with them and cry with them. Such is the strength of this sweet saga...
At the outset we are introduced to three Parsi families.

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Simply sweet (Chitchor)

If Sooraj Barjatya were to heed his grandfather's principles, Main Prem ki Diwani Hoon would not have happened. And, we would have been saved from the onslaught of poor performances, bad characterisation and shoddy execution. For, this remake of Chitchor, Basu Chatterjee's adorable romance, lacks simplicity, an ingredient that made the 1976 classic so memorable. Tarachand Barjayta, with a penchant for setting his non-convulated social dramas in small towns and villages, made sure that his films stole your heart. And, Chitchor did that...
Reflecting the innocence of commoners living in small towns (as well as their trials, tribulations, joys and sorrows), Chatterjee centred this triangular love story on simple people's dreams, aspirations and hopes.

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