When the system is riddled with flaws (Nikaah)

BR Chopra's Nikaah is a heartfelt treatise on the true state of women in an Islamic society. From the surface everything might appear rosy, but actually there are too many situations when she might not consider herself safe, secure and in a stable circumstance. In fact, even when the Islamic law is so called trying to safeguard her interest, it is actually making her go through even more pain. Treated like a toy by male chauvinism that is so rampant in society, she is at the beck and call of every other mind except hers. Yes, once you watch this 1982 drama, you would actually thank your stars that you are not in Nilofer's shoes...

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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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Crafty Kanhaiya (Bharosa)

This films stands solely on its story. It's engaging, freewheeling and full of attractive moments. Even though a bit melodramatic, like all K Shankar classics, Bharosa is very believable and in parts funny. And yes, it has Kanhaiyalal, the Parsi actor who made every role his second skin. Here, as the scheming foster father, Kanhaiyalal is a revelation. He enthralls, extracts irritation and giggles at the same time. An apt instance of a brilliant character actor!!

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Not an ideal husband (Chaudhvin ka Chand)

And I hear that this M Sadiq triangular love story was such a roaring success that it pulled Guru Dutt out of the slumps after his Kaagaz ke Phool failed to click. For, apart from some snatches there is hardly anything convincing about Chaudhvin ka Chand, set in 1960's Lucknow. Yes, the songs are marvellous and the lead cast is brilliant. But the severely flawed character of Aslam really broke my heart. Or should I say, tried my patience...

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Earth-shatteringly good (Waqt)

I'm experiencing a hangover of fashion. A deluge of it has been sweeping my existence for the past two weeks now. So, while in the mood, I watched a film that not just has a lot of fashion and style in it, but is also a masterpiece that weaves in a lot more. Awesome story, smashing dialogues, handsome males, lovely women, great music, wickedly attractive villains, superb plot, superlative performances, swanky cars, stylish homes and yes, gorgeous clothes...

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Fending for answers (Gharana)

I need some questions answered. Why do all films from the Gemini stable start off with a punch and then degenerate into some regressive drama? Why are the women in their films projected as husband-worshippers? Why do they trust so easily? Why do they forgive even more easily? And yes, why does Rajendra Kumar carry a police constable's stick throughout his screen time in SS Vasan's Gharana?

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Action packed (Ankhen)

Why is Ramanand Sagar's spy thriller called Ankhen? I think it should have been christened Aatish. For, every sequence contains sheer fireworks. Crackling and bursting with excitement and action, this 1968 thriller was not a blockbuster for no reason. Dharmendra as the dashing spy, Mala Sinha as his beautiful agent, Jeevan as the odious enemy chief, Mehmood as the comical aide and spinechilling twists at every turn, Ankhen is a riveting masterpiece. A very desi James Bond-ish adventure this is...

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The original don (China Town)

So you thought Amitabh Bachchan was the original Indian don? Rubbish. Shammi Kapoor started it all. In Shakti Samanta's gangster flick, China Town, Kapoor essayed twin roles of the stylish smuggler Mike, as well as his lookalike, the smart undercover agent, Shekhar. The difference? Unlike the later film starring Bachchan, where the two men were not related to each other, in this 1962 thriller, the two men are shown to be identical twins. A more plausible script, therefore.
Shammi Kapoor, I have always maintained, was a stylish man. His clothes, attitude, hairstyle, mannerisms, everything screamed of panache.

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