Kabhi Kabhie (1976)

I'm mentally prepared to be trolled, derided and umm... maybe ostracized even. But I need to say what I need to say. Kabhi Kabhie is Yash Chopra's most overrated film ever. Period. 

Brickbats... bring it on...

The other morning I got into an interesting conversation with a

neighbour. After the sundry exchanges about child tantrums, daily chores and the usual agonies of life in Modi's India, I quickly asked her whether she loves romances of the Yash Chopra kind. She started with a gushing take on Dilwale Dulhania Le Jayenge and how it was her go-to film even a few years back. On correcting that the film was actually not Yash but his son's Aditya's directorial debut and perhaps his only watchable film, she revealed that it might not be as appealing today as it was earlier. Why? Because, as she put it, "Times were different then. We were different. I cannot relate to it anymore." This was my chance, my ticket to launch a tirade against a film over which I wasted three hours the previous night. Now why I did not abandon it midway? You see. I don't give up that easily. I'm a movie freak. 

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A superlative endeavour (Koshish)

Whenever I see a film about complex human emotions and end up being disappointed, I mull over the idea of how Gulzar would have treated the subject. Yes, I'm  partial to the man and his art. For me, he is the sole creator of those films that have the power of extracting the last drop of tears from your eyes. But his brand of movie making is not loud, melodramatic or heart-wrenching. He is a magician with a very subtle flamboyance. He comes, narrates a simple story and goes. And even before you realise it, the story casts such an indelible impression on you that you keep thinking about the beauty, or the surprises, that life has in store for everyone. Like how Gulzar does in Koshish. A saga that could have very well be one tearjerker is not so because of the finesse and restraint that the director exhibits. Hope and survival, the two main qualities in this film, layered with a stunning picture of love and togetherness, could not be better depicted.

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Bitter sweet (Namkeen)

Someone please tell me where can I lay hands on the unabridged version of Gulzar's bittersweet Namkeen. I'll be eternally grateful...
Here is a story that engages you at the very onset. A burly truck driver moves into a hilly town. He is recruited for the construction of a bridge downtown. He is alone and needs accommodation. The owner of the eatery where he has his meals takes him to a run down house in a remote side of the town. He is disgusted with the shoddy arrangements there but cannot help but put up there. Reason, he slowly gets too accustomed with the members of the family who own the place. Thus starts a unique tale of love, sacrifice and human relations...

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Only for Amiran (Umrao Jaan)

The last time I met Meera Ali, and that would be about fours years ago, I kept singing praises about her husband's landmark film. The elegant personality that she is, Meera took my childish prattle rather sportingly and invited me to her house in Mumbai where I could meet Muzaffar Ali. Elated at the offer, I hardly gave enough attention to her new collection of weaves and clothes, which she was showcasing in Kolkata for the first time. Mind you, I was yet to see Umrao Jaan then.

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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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Politically charged (Aandhi)

I'm not comfortable with political mumbo-jumbo. The intricacies of Chandersen and Arti's strategies do not excite me. Neither does the implications of Agarwal's nexus with Lallulal. Hence, I'll steer clear of the political games depicted in Gulzar's Aandhi. 
But, Aandhi is not just a political treatise, though it is said to loosely based on the lives of Indira Gandhi and Tarkeshwari Sinha. It is a significant film, considering that Indian government banned its release in 1975 since Mrs G thought the director had no right making a film that would reveal snatches from her life. It was only in 1977 that the film was set free to be aired on national television, garnering huge critical acclaim and commercial success.

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For all seasons (Mausam)

I've seen Gulzar's Mausam once. But, it left a lasting impression on me. The sensitive and poignant saga on the complexity of human relations is one tale that proves that Sharmila Tagore matured into one superlative performer in the 70s. It reinstates the already famous truth about Sanjeev Kumar's versatility. And, it also strengthens my belief in Gulzar's brand of cinema. Call it poetry in motion or a kaleidoscope of complex human feelings, Gulzar's creations are simply masterpieces, lyrical and emotional.

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Moving on (Ijaazat)

My friend is going through a difficult phase in her five-year relationship. The lady and her lover have decided to call it quits. Thanks to her egotistic father, and of course the man, who couldn't muster up enough courage to walk away with his sweetheart, my dear friend is in the doldrums. We've been counselling her to move on, simply because she deserves a lot better. But, moving on, she says, is easier said than done...
Mahendra in Gulzar's Ijaazat is tormented by a similar predicament. Straddling between his past love and his current responsibility, Mahendra is torn between right and wrong, and is a bit selfish sometimes. In the process, he is neither just to Sudha, his wife, nor is he able to shun his marriage and return to Maya, his sweetheart. On the face, this triangle seem very concrete, but the edges are deceivingly blurred. Such is the complexity of this 1987 drama. Based on Subodh Ghosh's Jotugriha, this is a contorted take on human relationships that Gulzar presents with a poetic flair...

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