Love lost and won (Harano Sur)

Would I be lying to myself if I said that Harano Sur is one of the best 'memory-loss' films to be ever made? I

don't think so. At least, it is definitely my one of my favourite films of that genre. Not because a delicate love story is woven around the incident of memory loss, but the manner in which the happenings following the retrieval of memory bring together the man and his wife is immensely commendable. There are heartbreaks, anticipations, misunderstandings and tension galore, but what triumphs in the end is true love. And that's what really makes the journey of the separated lovers so special.

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Forgiveness comes naturally (Bahurani)

This is a typical family masala entertainer that sails smoothly because of its easy story and good performances. Yes, the melodrama, the conniving, the songs, the twists, the dances are all in place. But what stands out in this 1963 film is how a woman hold court throughout. A feisty heroine helps her husband come into his own through the light of erudition. She does all the good deeds despite the thorns strewn in the way. She does not dither, does not take the easy path and yes, she is rewarded in the end. T Prakash Rao's Bahurani, is a sweet family drama about love, devotion, family bonding, relationships and forgiveness. And what's a win-win situation here is that all the melodrama is restrained. It never flies over the roof!

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Romance and entertainment (Lukochoori)

This is prime time entertainment. Twin brothers who are very much aware of each others' existence, sisters who fall in love with each of them, parents who are loving and indulgent yet stern, comedy that is absolutely situational, songs that hark back to the time when Bengali music ruled the roost and performances that are so easy on the senses. Set in Bombay of yore, Lukochoori is one film that pits a comic Kishore Kumar against a restrained one, each one having enough screen time and opportunity to show off his colour and ability, thereby confirming the fact that if and when Kumar wanted he could deliver a fine performance.

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When ego tampers with love (Indrani)

I would say that Indrani is a good romance that is seriously ahead of its times. It shows a young girl fighting for her love against her conservative parents, her staunch and mean in-laws and against some inane taboos that rid society those times. She is also the one who voices her feelings first, leading her lover to recognise the feelings deep down in his heart. She is the one who proposes marriage first, a thought that was considered outrageous for women earlier. And yes, she is the breadwinner of the family for a good period of time. At least till the man of the house pulls up his socks and has resolve enough to do something worthwhile in life. In that, Indrani is a total departure from the films that projected the obvious.

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Six sweet hours (Solva Saal)

I'm extremely fond of Dev Anand in this avatar. In Raj Khosla's Solva Saal he is a naughty, smart, charming and gorgeous man who devastates with his smile, which thankfully comes across quite often. The best part is that he is witty, fast and makes light of almost every situation. So, you get to see his fascinating smile all the more. He flirts with elan, is in command of every situation and romances so cutely. In 1958 he was yet to become heavily dependant on his signature mannerisms. So, what we get is a free, casual and rollicking character in Prannath Kashyap. Yes, even the name has an element of fun in it.

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The perfect Parineeta

Here's reason why sometimes it's sacrilege to remake a classic that has stood the test of time. When I saw Ajoy Kar's Parineeta, I realised how hollow and OTT the Pradeep Sarkar film is. How inappropriate is the depiction of the characters in the new-age romance and how absolutely simple yet stunning the 1969 film is. Kar is as faithful to the Sarat Chandra classic, as Lalita is to her book version and Shekhar to his literary avatar. In short, the old Bengali film is flawless, marvellous and a must-watch for those who crave for golden oldies...

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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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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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Football frenzy (Dhanni Meye)

What happened??? Where was Germany's beautiful game??? Where did their famed counter-attack disappear??? They were completely outrun, outnumbered and outplayed by Spain!! I'm shell shocked, I'm upset. And, I'm angry at Paul, the psychic octopus! He had predicted that Spain would defeat the mighty Germans in the semi-final. Why God why???

Under the weather and nursing great pain, I chose to watch Dhanni Meye, Arabindo Mukherjee's funny tale on football. Right choice, I thought. This game is indeed the flavour of the season. And right, it was. For, after the film I'm feeling better. Much much better.

Packed with hilarious incidents this 1971 Bengali film (yes, I'm writing on one for the first time!) is a frothy romantic comedy with football as its crux.

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Breaking free (Anupama)

Hrishikesh Mukherjee's Anupama has a choking effect on me. But, I enjoy that. I shed happy tears and bask in the warmth of the lovable characters. I clap when Uma breaks the shackles of her guilt and emerges a stronger and emancipated individual. I smile when Mohan redeems himself by liberating his wronged daughter. My heart brims with joy when I witness the goodness in Anita, in Moses, in Ashok and his mother, in Arun and in Gauri. Anupama, made in 1966, strengthens my faith in good wholesome cinema that looks simple but has hidden in its layers a multitude of emotions. Most importantly, it establishes my belief in Mukherjee's films. Subtle, simple yet so strong...
Mohan marries Aruna late in life. Understandably, he is head-over-heels in love with this lovely woman.

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Dull dupe (Bluff Master)

1963 seemed to be a lull year for the flamboyant Shammi Kapoor. Why else would we have films like Pyar Kiya to Darna Kya, Jabse Tumhe Dekha Hain, Shahid Bhagat Singh and Bluff Master? The first three I'm yet to watch. But, if they are as entertaining as Bluff Master, I'm better off without seeing them!!!
Manmohan Desai's tale about a clever (but not hardworking enough) young man loses steam somewhere in the middle of the script. True, Shammi Kapoor looks good, has a way with words and carries a confident personality on his broad shoulders, but after some time his actions look forced and lack conviction. Just like the way his character is devoid of development in B R Panthulu's Dil Tera Diwana. This upsets me.

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Mesmerising Meena (Sahib Bibi aur Ghulam)

I'm upset. In a documentary, aired yesterday, featuring onscreen beauties of the past few decades, a mention of Meena Kumari was conspicuous by its absence. In the 50s, Kumari was a sought-after actor. Her beauty was legendary, her performances superlative. Dexterously handling a variety of roles, Kumari proved that she was definitely bankable. And, those docu-makers turned a blind eye to such an enigmatic personality! What were they thinking? Or not thinking, to be precise...
Miffed sufficiently, I rummaged through my collection to fish out a Meena Kumari classic. Sahib Bibi aur Ghulam surfaced. An attempt to explore the mysticism and passion that Kumari portrayed in this 1962 Abrar Alvi classic, a perfect balm! Though we could launch an endless debate on the immaculate portrayal of the decadence of feudalism in Bengal in the late 19th century, my mind focussed on the enigma called Chhoti Bahu, Meena Kumari's best peformance ever.

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