Alaap (1977)

For a film that's primarily focussing on the clash of principles between an indignant father and a self-respecting son, Hrishikesh Mukherjee's Alaap takes a winding route in building up the story. It's evenAbhimaan and Jurmana. In this film a good story is somewhere let down by the circuitous execution.

more strange because Mukherjee is at the helm of affairs here. But there is so much redundancy in the beginning before the actual plot unfolds, that you wonder whether this is the same director who knit solid tales like
Advocate Triloki Prasad is a widowed man who prides himself on the position he holds in society. He's rich, venerated and hence, doesn't mince words belittling the interest in music that his younger son, Alok, has. It's a very straight-jacketed thought process. If you have studied in college and earned degree, you give up all artistic pursuits and get down to brass tacks. A knack or a yen for the arts isn't really appreciated in Triloki Prasad's universe. He forces Alok to take serious interest in work, which entails going with Ashok, his elder brother, to the court and pick up the ropes in the industry of law.

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Prefer the remake... a bit more (Kangan vs Uljhan)

When I watched Nanabhai Bhatt's Kangan a few months back, I quite liked it. Though the narrative ran a tad slow, it had the elements of an engrossing mystery. The best part was Nirupa Roy starring as the female lead. She really was a pretty sight and played her part well. I never liked Ashok Kumar as a male lead so here too I was noncommittal. But the main thing was the story. It was a gripping mystery that hooked me to the very end.

The other day, I watched Raghunath Jhalani's Uljhan. And wonder of wonders, it was a remake of the 1959 film. The story was absolutely same but the treatment, I might add, was better. Not that the old one was bad, but the remake had everything in place. The cast was fabulous and the 1975 film ran fast. Which means it's even more engrossing.

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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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Two tales of love (Aradhana)

The question is, which of the two love stories do I like most in Aradhana? Is it Vandana and Arun's beautiful tale truncated by a cruel stroke of fate? Or, is it Suraj and Renu's cute saga that effects only smiles?
After an umpteenth watch of this wonderful Shakti Samanta romantic drama, I have an answer ready. I love both. While Vandana and Arun's tale scores because of the very tragic yet memorable angle to it, Suraj and Renu's pairing succeeds because it is surprisingly spontaneous.

I'm not getting into the emotional and teary aspect of this famous 1969 film. For, what is to be said about Vandana's sacrifice that has not been mentioned before.

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Check mate (Shatranj ke Khilari)

Satyajit Ray's films are like onions. With every viewing, they spring new layers. Every film of his guarantee a new thought, a new feeling, a new imagery, a new parallel, a new subtext, a new meaning, with every watch. Unraveling Ray, hence, becomes such a splendid experience.
In his first Hindi film, Ray toys with a story by Munshi Premchand. Shatranj ke Khilari narrates the tale (Amitabh Bachchan is the narrator) of Awadh's last emperor Wajid Ali Shah at the fag-end of his rule. It depicts how the East India Company confiscates his empire by pulling the strings cunningly. But the 1977 film is not merely a historical chronicle.

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Feminism of yore (Khushboo)

Given Gulzar's sensitive approach, it is but obvious that his handling of a proud woman's emotions would be different. And Khushboo does not disappoint on that count. No matter how sorrowful her life is, Kusum does not sacrifice her dignity and pride to attain happiness. She abstains from grovelling in self-pity and shuns any kind of sympathy from the world. Simply because she feels honoured to address her rights and expects her dear ones to acknowledge that. This is a girl who is strong, dignified and fiesty, yet sober, mature and loving. It is this Kusum who will grab your attention in Khushboo...

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