Jurmana (1979)

Very few directors could spin an engrossing tale like Hrishikesh Mukherjee. Especially with incidents  that on hindsight appear inconsequential. Like in Jurmana (1979), a juvenile challenge between two friends changes the course of lives for so many near them. It reveals character flaws, misunderstandings and ultimately you have to wait up and see what happens in the end. This is the mark of a great story teller, which Mukherjee undoubtedly was.

He also created the most unique characters for Amitabh Bachchan. I feel Bachchan got to toy with a veritable array of personas only in Mukherjee's films. Even in Jurmana, the actor gets to portray a challenging role. He puts his heart and soul into Inder and makes him easy to hate first and eventually fit for pardon. Grey to the hilt, Inder turns out way too interesting to neglect.
Inder Saxena (Amitabh Bachchan) is a rich businessman, disillusioned with women courtesy a cruel

act by the woman who he was once supposed to marry. Treating women like commodities, when Inder first notices Rama (Rakhee) in the quiet lanes of Pratapgarh, he only wants to bed her. Despite being warned by his childhood buddy Prashant (Vinod Mehra) that she is made of sterner stuff, he tries every trick up his sleeve to melt her heart. What Inder does not realise is that the girl actually falls in love with him never suspecting his lecherously odious intention.

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Bemisal (1982)

I was trekking to Gurgaon the other day from Noida, where I live. For the uninitiated, let me tell you,

that's like crossing two states!
The distance is a crawl, and a sapping one at that. Daily commuters from Noida to Gurgaon will relate to the grief I go through during such occasion arises. But, thank heavens for FM radio, which makes the journey a wee bit pleasant.
The moment I got into the car Lata Mangeshkar's Aeri pawan dhunde kise tera mann transformed me into a reverie. It's such a beautiful song. After enjoying the rendition, I quickly googled the song, traced the film and after reading the gist was piqued to watch it. All I can say is that I did not live to regret the decision.

Hrishikesh Mukherjee's Bemisal (1982) is an engaging drama of human relations bordering on greed and benevolence. But what I loved most was the character sketched for Amitabh Bachchan. While from afar he appears an affable, happy-go-lucky doctor, his personality is far more intriguing and charismatic than the others in the film. And it is laced with a deep sense of magnanimity influenced by the benevolence he was gifted with when times were far from favourable. His regard for those who helped him out never diminishes and his sense of duty is unparalleled. The crests and troughs of his journey is worth graphing. Dr Sudhir Roy's actions make the film so believable. Despite the tardy subplot of Ruby Dutt.
Dr Sudhir Roy, a child specialist, and Dr Prashant Chaturvedi (Vinod Mehra), a gynecologist, have been brought up by an advocate. Sudhir never ignores the fact that the rich advocate saved him from a deplorable life by adopting him and giving him a steady upbringing and education. For that he remains forever indebted. Hence, when it comes to abdicating the woman who he is attracted to for the sake of his foster brother, he doesn't waste a moment before making the sacrifice. Even though he can gauge that Kavita (Rakhee) might be more keen to marry him, he owns up his murky past to dissuade her. But more importantly he implores her to marry Prashant because that would make him happy.

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Hidden identities (Bade Dil Wala)

I'm often forced to watch a film because I'm smitten by some of its songs. The tracks play on in my mind and Kahin na jaa, a lovely track composed by RD Burman and rendered fabulously by Lata Mangeshkar and Kishore Kumar is a prime instance of this. The melodious track shows a stylishly clad Tina Munim (with a French chignon) beckoning to a dapper Rishi Kapoor on not to leave her and go. They are at a party and soon the good-looking pair serenade to the song that is so infectious. In the background are Sarika clad in a stunning saree and a suspicious Amjad Khan keeping track of what's happening. If that was not enough, Pran, replete in a well cut suit, looks on happily. He is old but looks so handsome. I thought these are enough reasons for seeing Bade Dil Wala, a Bhappi Soni film.

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A tidy little gem (Abhimaan)

Let's not even deliberate on the resemblances that Hrishikesh Mukherjee's 1973 classic Abhimaan shares with the life of real-life couple Amitabh and Jaya Bachchan. For, some might say the movie is almost similar to how Amitabh tries to uproot Jaya in terms of popularity, some might declare that all that is bunkum. So, let's just avoid the oft-discussed.
Instead, let's immediately delve into the beauty of this marvellous emotional drama where love, ego and understanding forms the crux. Abhimaan is not just a film, it an experience that needs to be felt. When the good times roll, we need to regale in the mirth. When the storm of ego and pride clouds the halcyon state of affairs in Subir and Uma's life, we need to take a leaf out of it and realise what goes wrong and how it needs to be avoided. While the two lovers suffer, we pray that everything turns out just fine and that music ultimately irons out all the differences that has crept in voluntarily as well as involuntarily.

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Brides for sale (Bazaar)

Bazaar is a much celebrated film, they say. And why not? It's got a stellar cast, a fabulously hard-hitting script, a setting that reminds one of the Hyderabad that is on the cusp of old times and modernity and seven hauntingly beautiful songs. Sagar Sarhadi's social commentary on the sad plight of girls from poor families in Hyderabad who get entwined in the commercial storm of lust and circumstances truly is the making of a brilliant film. But then, Sarhadi I believe is no Shyam Benegal. What is so marvellous about Mandi is its sharp tongue-lashing treatment of the sordid subject. 1982's Bazaar is honest, but in its many labyrinths there is a slight maze that is difficult to gauge. The film starts of with several questions. Though gradually the knots are loosened, it is too late to hold on to the interest. Perhaps, I'm the only one not absolutely impressed with the film. But then, I have reasons galore.

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Flawed at heart (Andaz)

For the last few weeks both my husband and I have been talking about Mehboob Khan's Andaz. Watching the 1949 film was top priority for us and we just wanted some peace so that we both could relax and enjoy it. We've heard a lot about it, only praises, and were sure that we love the Raj Kapoor and Dilip Kumar chemistry. Nargis would be the perfect spice in there. My better-half and I are immensely fond of the young Kapoor, his roguish charm and of late, my man has realised that Dilip Kumar is The Dilip Kumar not for nothing. On his birthday he almost implored his friends to gift him the DVD of the film and he came home with a beaming smile saying, "This Sunday, then!" I was ecstatic, too. Why not? Raj Kapoor, I love. Dilip Kumar, I adore. And Nargis, though I don't think much of her looks, she is definitely one of the best actresses we've had in ages.

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Despite all the goodness (Sharmilee)

I've been struggling to find time to put up a new post. Well, that's just half the truth, if I may be allowed to say so. Actually, I've been neck deep in work, but that does not mean I've not been watching films. But over 15 days I've mostly watched those films which I've already written about. My husband is revealing his new-found love for the classics and both of us have been enjoying them for the past few days. So, that does not leave me with much to write about. I just sit there with him regaling in the old films I'm so fond of, while he discovers why these classics are actually worth celebrating.
Secondly, the never-watched films that I've managed to see, didn't quite make an impression on me. Some were tepid, some were bad. So, I've been in knots as to what to write about for my next post. Now I've decided to delve on Sharmilee, Samir Ganguly's 1971 romance that I loved only in parts. The film is so good till the intermission. But after that, it degenerates into a nonsensical potboiler replete with inane twists, fights and crude drama. And I bet a more subtle approach would have done so well here. At least made me sing praises for it right here, right now...

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The correct dose of drama (Khandan)

Too much fun, I tell you. No wonder I'm never absolutely disappointed by A Bhimsingh's films. Revolving around family relationships in a big joint set-up, mostly set in villages where traditions and customs are heeded, a simplistic plot containing melodrama and awesome performances by a superlative cast. That's the crux yet again of Khandan, one of the biggest grossers of 1965, I'm told. What's not to like here? Sunil Dutt paired with the lovely and rustic Nutan, Om Prakash is sarcastically funny against Lalita Pawar's caustic stupidity, Manmohan Krishna and Sulochana are the quintessential good people, Sudesh Kumar the eternal goat, Mumtaz, the pretty damsel and best of all, Pran, the forever evil villain. And here, with a comic twist! On a roll!!

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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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Shocked to silence (Gazal)

Everything was running just about fine. A charming romance set in old-world Agra nourished by the beauty of Taj Mahal, sublime songs that connect to your heart directly, able actors who know what exactly to do on screen and a very likeable plot. But suddenly out of nowhere, a stray incident that Ved Madan considers imperative to take his story forward completely throws everything out of control. Especially when the event appears forced and uncalled for. Till then Gazal was doing fine. And the songs were seriously soothing the senses.

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True lies (Jhoothi)

Rekha's on a rampage in Hrishikesh Mukherjee's Jhoothi.  Not that in her other films she is any bit dull or drab, but in this comic caper, she is just so boisterously marvellous that you cannot help but glue your sight, smell and every other sense on her. Playing the tomboy Kalpana, she dons the role of a pathological liar. But the difference between her and a wicked weasel is that she lies for a purpose--always a good one. Her lies helps long lost friends meet, helps her sister evade an unwanted alliance and charts an escape route for herself from a sticky situation. Most importantly, this habit of hers helps an innocent from being sentenced to death.

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The delicious dreamgirl (Seeta aur Geeta)

This is perhaps one of the few films which has been rehashed prolifically. Identical twins getting separated at birth. One grows up being tortured brutally by evil guardians, the other is rambunctious owing to an indulgent upbringing. The mal-handled one is shy, apprehensive and thinks twice even before breathing. A freak accident makes them change places and mayhem ensues due to mistaken identities. The extrovert teaches the evil ones a lesson or two, the shy one gets her due love at last. There's fun and loads of laughter before the kingpin of the villains find out the truth and quickly there is more action towards the denouement before everything becomes crystal clear and all go home happy. A film like this can only be awesomely entertaining, with great performances, frothy comedy and sweet romance. Not to forget the great songs. Yes, in totality, films like Seeta aur Geeta are absolute winners.

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A likeable love triangle (Patthar ke Sanam)

There was a time when I thought that Waheeda Rehman was hardly a looker. Pardon me, but this was before I had seen some of her greatest black and white classics. And yes, I swallow back my words with utmost humility. For Waheeda Rehman is absolutely enigmatic and alluring in her old films. The camera loved her and the monochromes highlight the depth she had in her eyes and cast a attractive sheen on her sharp contours. Today if anyone asks me to talk about Waheeda Rehman's beauty and talent, I'll probably spend much more time waxing eloquent about her participation in the black and white films rather than in the coloured ones.

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Battling the odds (Dastak)

Why is it that whenever I discover an obscure film, it turns out to be a tidy little gem? This time, too, after many such experiences previously, I hit upon a rare film that has blissfully passed into oblivion despite its different storyline and cast. Dastak, written and directed by Rajinder Singh Bedi, is a film that should be lauded for its innovative treatment, strong storyline and brilliant acting. It is a film that showcases the way human mind works in tandem with the circumstances in daily life and how desolation, frustration and desperation can drive people to the most extreme of reactions. This film has two superb songs composed by Madanmohan and pits the brilliant Sanjeev Kumar against a battery of actors representing the cruel and caustic world.

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Sound suspense (Anamika)

I think I've managed to zero in on my favourite Jaya Bhaduri film. Easily, it's Anamika, the 1973 mystery romance directed by Raghunath Jhalani. There is something very charging about the Jaya Bhaduri here. She is different and immensely enjoyable. Not that in her other films she is not. But here, she is spontaneous, sprightly and extremely jaunty. Her character undergoes several changes in dimension and she slips from one mood to another with utmost ease. There are times when she is funny, clever, endearing, teasing, sad and angry. And this range is hardly ever visible in any of her other films. She wears some great clothes, rather experiments with her looks and makes a sweet romantic pair with Sanjeev Kumar. In Anamika, Jaya Bhaduri shines. But most importantly, it's the script that sails along so properly with the histrionics of its protagonist and the other characters. Yes, Jaya is great in and as Anamika...

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Drooling over this cabbie (Taxi Driver)

There is something about the Dev Anand of the 50s. He is raw and roguish, yet so very sweet and tempting. He has this distinct sex appeal that is unpolished, hence wild and terribly attractive. He was yet to get that quintessential swagger of the 60s, the sweep of his mane and his jaunty persona. But in his earlier films, he somehow appeared more passionate and involved in those innovative roles. He bravely took on the parts of pickpockets, thieves and smugglers and he pulled them off with a kind of unconscious flamboyance that made it so heartwarming. His body language was more natural and he did not feel gawky at wearing his heart on his sleeves. Films such as Baarish and Taxi Driver project him is a unique grey light. He was not scared to don the mantle of the shirker and the cynical and his clean approach towards these roles made him such a joy to watch. He displayed no inhibitions and mingled freely with the narrative to make his characters charming as well as flawless.

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Dashing dacoit (Mujhe Jeene Do)

One segment from Mujhe Jeene Do will remain with me forever. Sunil Dutt staring at the pristine visage of Waheeda Rehman as she sleeps peacefully. Just moments before she had scarred him on the face with her nails and had disobeyed his firm orders to dance and sing for him. She insulted him for his lowly trade and sweared that she would never entertain someone who killed and plundered. Then as Dutt's piercing eyes bore down on her weeping face, she stunned him with loud slaps. A reaction so strong was enough to startle the cruel dacoit Thakur Jarnail Singh. He not only was shaken up by the gall of this girl, he also felt instant attraction for this woman who dared to hold her own against him. Something no one ever had done. Probably that's why he pours over her face. Pondering over his feelings for her (after all she is very attractive) as well as trying to gauge the kind of person she is. For, no normal person would dare to challenge a dacoit of his fame and calibre.

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Weak procrastinator (Amar)

Mehboob Khan's bold drama Amar happens to have a yo-yo effect on me. There are moments when I am swept away by the tight narrative, and there are times when I brush aside the nonsensical goings-on on the screen. There are times when I love Dilip Kumar for having the gall to undertake this grey part, then there are those situations when I feel like whacking him for tediously lengthening the film with his procrastination. There are sighs that I let out for the unharnessed rustic charm of Nimmi and there is the utter exasperation when instead of breathing fire she whimpers and simpers into love for her violator. But there is one person who takes my breath away... Madhubala, for being so heartbreakingly beautiful, so smart, so compassionate and then in the end doing what she aught to be doing. In relinquishing her rights and love, she emerges as the strongest character of this 1954 super dramatic film, that is hailed as being ahead of its times for no tiny reason.

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More of Jubilee Kumar (Hamrahi)

My tryst with Rajendra Kumar continues...

This time I encountered Kumar playing a philanderer turned good husband. Did he do it well? I didn't get to reason that out because I kept feeling let down by the director's decision to cast Jamuna in the role of the leading lady. A good actress she is, but certainly not gorgeous in the looks department. And definitely not the person for whom Shekhar might be forced to rid himself of his frivolous ways, his penchant for girls and for plunging into total depression when she tells him how unfortunate she is that she had to marry this rich and spoilt individual. Throughout the film, I kept missing Sadhana, who would have added so much meat to the role of this defiant girl. And maybe then Hamrahi would have been so much more pleasing. Great cast, good story but the fun fizzles out in many parts...

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Super Shyama (Do Behnen)

I've figured that this has been mostly a Rajendra Kumar month for me in terms of blog posts. But I am loving it. Simply because I've managed to watch some very good films (and some tepid ones). I now agree that this actor did make a mark in the audience's mind through his own mettle and talent. He was a good actor (even if he was not the best looking among them) and did manage to star in some very likeable films. This post of course will talk about a film starring Rajendra Kumar, but will this time celebrate his co-star in the movie--- Shyama.  

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