Breaking free (Anupama)

Hrishikesh Mukherjee's Anupama has a choking effect on me. But, I enjoy that. I shed happy tears and bask in the warmth of the lovable characters. I clap when Uma breaks the shackles of her guilt and emerges a stronger and emancipated individual. I smile when Mohan redeems himself by liberating his wronged daughter. My heart brims with joy when I witness the goodness in Anita, in Moses, in Ashok and his mother, in Arun and in Gauri. Anupama, made in 1966, strengthens my faith in good wholesome cinema that looks simple but has hidden in its layers a multitude of emotions. Most importantly, it establishes my belief in Mukherjee's films. Subtle, simple yet so strong...
Mohan marries Aruna late in life. Understandably, he is head-over-heels in love with this lovely woman.

Read more »

Touch syndrome (Sujata)

Bimal Roy's Sujata is a celebration of purity and innocence. This 1959 film focuses on the evils of casteism, but the approach is subtle and straightforward. A single family forms the microcosm of a caste-ridden society, blinded by superstition. The comment is pointed, without much pontification. Full of breathtaking imagery, this is one enduring classic.

Read more »

Delightful democracy (Parakh)

Kanhaiyalal, a well-known character artist in the Hindi films during the 50s and 60s, was kind of typecast. He always played cunning old men striving to fatten their own coffers. In Bimal Roy's Parakh, the delightful actor is at his petty best as the village priest. He camouflages his selfishness and greed with religiosity. He uses God for his own benefit. Everytime he sneaks up behind a tree to sleuth about two lovers, eavesdrops into a private conversation, plots with the village moneylender or fools God-fearing villagers, you clap and wait for his next serve. I'm not even going into the way he mouths "Narayana, narayana". Simply rollicking!!

Read more »