A courtesan's tale (Ghungroo)

There are many good things about Ram Sethi's 1983 drama, Ghungroo, as well a few bad. Lets start with the good, because it's not quite recommended to start off with negatives.

The film, a drama set against the backdrop of a royal family, is well-scripted. The editing is quite taut, till the editor looses steam mid-way. The actors do their job quite well. One song seriously stands out for its strength and emotional quotient (I actually thought I saw Malhar's nanny wipe her tears during Tohfa kubul hain sung by Asha Bhonsle). And yes, Ranjeet is slicingly devious without being OTT.

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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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Marketing a movie (Mandi)

There will never be such a brilliant set of actors. The moment they land up together on the screen they ignite the frame with the most scintillating of antics. They complement each other immaculately and spice up every story...
I'm talking of luminaries such as Shabana Azmi, Naseeruddin Shah, Saeed Jaffrey, Smita Patil, Kulbhushan Kharbanda, Annu Kapoor, Amrish Puri and Om Puri. In Shyam Benegal's Mandi, they continue the rule; they are too good to be not true...

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Red hot (Mirch Masala)

Mirch Masala is like garam masala, the condiment that spices up most Indian curries. Aromatic, flavoursome and full of colour. Similarly, Ketan Mehta's 1985 film is more than just a visual splendour. Set in remote Gujarat, it leaves a spicy and tingling sensation long after Sonbai's gaze fades out. Your eyes start burning once the haze of the red chilli powder clears, you want to drink a glass of crystal clear water because the arid landscape has left you parched and then maybe, you shake yourself up from your stupor of admiration for a second round of the film. Yes, that tingling sensation is truly worth many more tries.

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Femme fatales (Arth)

Mahesh Bhatt's films have always been subtly hardhitting. That is, before he started experimenting with Pakistani exports (bombshells who consider little or no clothes and titillating scenes their ticket to Bollywood glory). His earlier films (read Saaransh, Daddy and Arth) deftly balance arthouse and commercial cinema. With well etched characters, convincing plots and soulful music, these films have carved a niche for themselves in the history of meaningful cinema.
Not to forget, his women characters. Bhatt always made them stand out, amidst the veritable talents in his films. Here, we come to the two women artists in Arth, his semi-autobiograhical treatise on infidelity. This 1982 film depicted human emotions like never before. With an extra-marital affair forming the core, Bhatt weaves a fine drama that is as disturbing as gripping.

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