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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Wish I had a 'Personal Assistant' like him

There used to be a time in the Bengali movie industry when films didn't much require stars. If the big actors took part, well and good. If not, the directors made up with a fantastic story and a tight cast of able character actors. If you rummage through many old Bengali vintage classic, you will come across a bevy of such masterpieces. Replete with a fabulous storyline, taut editing, lovely music and supported by a planet of super character actors, these films are just as entertaining as maybe a Uttam-Suchitra classic or a Satyajit Ray gem. And the best part is that these films are mostly comedies, balanced by a sweet romantic angle and laudable melody.

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A subtle celebration of love (Chawa Pawa)

When you watch Uttam Kumar romancing Suchitra Sen on the silver screen you suddenly feel a stab in your heart. A piercing pain for something joyous that alas shall never ever be. Such was the beauty of this evergreen pair that reached the pinnacle of success in Bengali moviedom. Such beauty can be only once. And such indelible and deep was the impression of this onscreen couple that no lover of Bengali cinema will be able to give a scope to any duo exuding lesser magnetism or charm.

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Friends in need (Ora Thake Odhare)

There was this niggling urge to title this post "When east meets west". For, that is essentially what Ora Thake Odhare is, from a very superficial level. The 1954 film directed by Sukumar Dasgupta depicts the constant battle between the members of a West Bengali family and a family from East Bengal. Thereby representing the friction between the two communities that has been since eternity. But then, as the minutes elapse, this hilarious movie turns out into a kaleidoscope of emotions that one got to see in the Bengal of yore. How despite all the friction, familes, both from West and East Bengal, were there for each other in times of joy, sorrow and distress. How, no matter how much they fought, they helped each other in every big or small way. And how heartwarming Bengal and its culture used to be. When the film ends, it does leave you with a feel-good emotion, that is not devoid of the tinge of wistfulness for what we have lost from the days of yore...

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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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What the original was not (Prem Patra)

Here is a film that beats its original hands down. I'd never thought I would point fingers at a Uttam Kumar - Suchitra Sen classic. But, Agragami's Sagarika is so killingly boring that any tepid film of that age would be a better option any day. So, when I accidentally discovered that Bimal Roy's underrated classic Prem Patra is but a Hindi remake of Sagarika, I sat down to watch it with trepidation, expecting the usual tedious drama. But lo! This small film engages with its charming cast, lovely songs, easy narrative and an execution that is way, way better... 

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Treading untried territory (Bombai ka Babu)

Come to think of it, there are quite a few films where Dev Anand has portrayed characters undergoing immense mental turmoil. There's Hum Dono, Asli Naqli, Guide and Kala Bazaar. But, in Bombai ka Babu, his character tilts towards the dangerous territory of incest. A full-bodied man, Babu has to suppress his passion for a beautiful woman only because he is duping her family pretending to be their long-lost son. And in doing so, he is supposed to be her brother. With a plot as fascinating as this, Bombai ka Babu is obviously a thrilling experience. You sympathise with this angst-ridden young man as he is forced into the crime world and stay riveted when he helplessly tries to clear his ground before the charming Maya.

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Into the sea of love (Chori Chori)

Raj Kapoor didn't need to move an inch. His face did it all. When those intense eyes narrow themselves and his lips break into a lopsided grin to say, "Ghum ek kamzori hain, aur main apni kamzori dikhana nahin chahta," not just Nargis is delirious with joy. I too, feel blood rushing to my heart. His nonchalant charm has an alarming effect on my nerves. His casual yet smart demeanour plays hockey with my senses. I get more and more embroiled in the showman's charisma. Gulping down one tumbler of water after another, I sit up to get mesmerised once again by this dashing Kapoor as he entertains with one adventure after another in Chori Chori.

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Politically charged (Aandhi)

I'm not comfortable with political mumbo-jumbo. The intricacies of Chandersen and Arti's strategies do not excite me. Neither does the implications of Agarwal's nexus with Lallulal. Hence, I'll steer clear of the political games depicted in Gulzar's Aandhi. 
But, Aandhi is not just a political treatise, though it is said to loosely based on the lives of Indira Gandhi and Tarkeshwari Sinha. It is a significant film, considering that Indian government banned its release in 1975 since Mrs G thought the director had no right making a film that would reveal snatches from her life. It was only in 1977 that the film was set free to be aired on national television, garnering huge critical acclaim and commercial success.

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