Not really Shammi-esque (Ujala)

I guess Shammi Kapoor was just not cut out for these roles. Dark, depressing and gloomy. In Naresh Saigal's 1959 drama, Ujala, my favourite Kapoor plays a poor young man suffering from the drudgery of life, yet trying to eke out an honest living and due to some unfortunate co-incidences has his self-confidence battered and bruised. He tries to prove himself time and again, with the help of an aged reformist and his sweetheart but the road to perdition is strewn with thorns. He does redeem himself of all the aspersions cast against his character but the journey towards redemption is too tedious and full of depression. Naah! Shammi Kapoor is definitely not cut out for such a gloomy role!

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For some time pass (Man ki Aankhen)

I wouldn't recommend this film highly. But yes, if you are in a serious mood for some family drama, especially some induced by the caustic mother-in-law, then this is THE film for you. For, all sparkling fireworks, both good and bad, is reserved for Lalita Pawar. And like always, she never fails to deliver here. When she is the doting mother, she is every bit as loving to her sons. But when she bears her fangs towards the daughter-in-law she is not particularly fond of, then God save the young bride. Lailita Pawar is splendidly sarcastic, ejects poison at the drop of a hat and never minces words to declare that she truly hates this girl. And in her histrionics there is that level of perfection that makes her such a revelation to watch. Lalita Pawar is the attraction in this otherwise tepid film. And this, despite the film starring the handsome Dharmendra and the talented Waheeda Rehman.

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Fun departure (Dil Hi To Hai)

Those of you who are accustomed to being bogged down by the conventional role play of Raj Kapoor should watch this romantic comedy. Yes, Raj Kapoor is the hero in Dil Hi To Hai and he does some delightful comedy with panache. Strange isn't it? Even I was a bit skeptical about seeing Raj Kapoor get into the shoes of what would otherwise be the perfect part for maybe his brother, Shammi Kapoor, but the actor pulls off this personality with elan. For me therefore, it reinstates the fact that Raj Kapoor should not be underestimated. He sometimes displays shades that might just flummox and surprise!!

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Courageous courtesan (Sadhna)

The blatant divide between pure and impure is smudged immaculately as Geeta Dutt croons Tora manwa kyun ghabraye rey in the lips of Leela Chitnis. Through the song we are actually made to ponder on whether Champabai is seriously an impure woman who needs to be judged by society and its norms? Or is she just like any one of them who has a right to offer her prayers to the Almighty, touch the idol and seek her heart's prayers? Is the world made by mortals equipped enough to decide on whether she deserves a second chance?

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Black sheep (Aap ki Parchhaiyan)

Running a family calls for a wee bit of diplomacy, they say. And, how true that is. For, when a man gets married, his equation with his parents and siblings undergoes a sea change. He now has a partner, who he is responsible for. The onus is on him to initiate her into the ways of his house, make her comfortable and help her become one with the family. This girl has left her beloved parents and her home and has expectations from her new relatives. She is a bit apprehensive about the new abode and is trying her best to ease into this home. She is looking upto her husband for love and understanding and her in laws for care and support.

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Strong ties (Dosti)

Seldom have I seen a film that stands strong just because of the engaging series of events. It does not have a stellar cast, it has no romance as its core element, it has no dashing hero, no pretty heroine and no slimy rogue. But still, it just keeps you hooked. The melodrama and some unnecessary plot elements notwithstanding, as well as some irrational behaviour. Dosti, Satyen Bose's tearjerker about two thick friends, is a film that defines all of the above...

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United they stand (Naya Daur)

Man vs Machine tipped Horses vs Wheels. Thereafter, Love vs Friendship took center stage, before I realised that Naya Daur, B R Chopra's magnum opus, is a film that cannot be buttonholed into any two categories. It is a film that celebrates the beauty of classical Indian cinema, while harping on the issues of industrialisation in post-independant India and overall, salutes dignity of labour. It brings together some of the best in filmdom. This 1957 drama has the ingredients for becoming a blockbuster in any day and age.

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Drama galore (Zindagi)

The best thing about Ramanand Sagar's Zindagi is Vyajyanthimala. Not only is she ravishing and dances like a dream, she actually makes you sit up and take note of her histrionic skills. She is utterly believable as the sensible Beena who reasons with her mother that acting as a profession needn't be slighted at. When she is loathe to barter her love for the sake of easy money, you really feel like lauding her wholeheartedly. She is brave, honest, hardworking and extremely lovable.

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Introducing an anti-hero (Kala Bazar)

Can we call Dev Anand one of the first anti-heroes in the history of Hindi cinema? For, there are roughly three major films where he handles his grey tones with panache. I'm talking of Guide (1965), Asli Naqli (1962) and Kala Bazar (1960). In all these films Anand's character starts off negatively. But after a certain cathartic moment, he emerges from the flames that help to purify him. In Asli Naqli, his metamorphosis happens when he sees that true love actually resides in poor homes because that emotion needn't be validated by money. In Guide, a personal trauma shakes him up and he atones for his sin by helping villagers. And, in Kala Bazar, the change comes through because of his love for a beautiful girl.

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Terrific tramp (Awara)

The first thing that strikes me when Awara opens is how shockingly handsome Prithviraj Kapoor is. Pushing 45, this heavily built man almost reminds me of a Greek God. Playing the obstinate Justice Raghunath, Prithviraj shows why the Kapoors could mesmerise the audience with panache. Every expression is spot on, his booming baritone modulates impeccably, his eyes belie happiness, pain, sorrow and scare with utmost ease and his personality is too overwhelming to avoid. Thank heavens he passed on those brilliant genes to his sons...

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