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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Love's labour lost (Pyaasa)

What dampens Vijay's optimism?
Hoping against hope that some day the world will regard his creation, this struggling poet toils on. With an empty stomach and the burden of umemployment on his sturdy shoulders, Vijay keeps penning those poems, whose beauty and poignance no one is able to comprehend save the poet himself. But, there is no stopping him. Society, reeking of materialism, keeps crushing his creativity and aspirations beneath its greed and artificiality. Just like the bee, whose buzzing life is stamped out by the passer-by and his banal existence. But, Vijay writes on. For, he believes in himself and his talent. It is this talent, he feels, that will shine forth amidst the dark dreary world of hypocricy and cruelty. It is this thirst that keeps him going...

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Moving on (Ijaazat)

My friend is going through a difficult phase in her five-year relationship. The lady and her lover have decided to call it quits. Thanks to her egotistic father, and of course the man, who couldn't muster up enough courage to walk away with his sweetheart, my dear friend is in the doldrums. We've been counselling her to move on, simply because she deserves a lot better. But, moving on, she says, is easier said than done...
Mahendra in Gulzar's Ijaazat is tormented by a similar predicament. Straddling between his past love and his current responsibility, Mahendra is torn between right and wrong, and is a bit selfish sometimes. In the process, he is neither just to Sudha, his wife, nor is he able to shun his marriage and return to Maya, his sweetheart. On the face, this triangle seem very concrete, but the edges are deceivingly blurred. Such is the complexity of this 1987 drama. Based on Subodh Ghosh's Jotugriha, this is a contorted take on human relationships that Gulzar presents with a poetic flair...

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Promises that are made to be kept (Main Chup Rahungi)

Meena Kumari's versatality knew no bounds. She could drape herself in almost any cinematic garb. Though she's christened as Bollywood's golden era tragedienne, I feel she was equally deft in comedy and romance. In 1962, she proves that, with a range of parts in Aarti, Sahib Bibi aur Ghulam and Main Chup Rahungi. All three roles garnered her a Filmfare nomination, each. She eventually went on to win for Sahib Bibi aur Ghulam. And, rightly so...
I'm yet to see Aarti, a family drama revolving around love and lust. I've watched the sublime Sahib Bibi aur Ghulam and I'm stupified by its make. The film is a masterpiece, if you allow this understatement. It is profoundly ethereal. I need to watch it again very soon. I am mesmerised by Kumari's beauty and performance. Her enigmatic presence is breathtaking and her eyes are intoxicating!!! But, on that, some other day...

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Gauri's tale of grit and gumption (Seema)

I'm absolutely convinced. If you have Nutan on the screen, you don't need anyone else. And, if that Nutan is a 19-year-old teenager, the effect is bound to be doubly fresh and scintillating. In Seema, Amiya Chakraborty's touching tale about an honest and brave girl, Nutan shows that she can perform like it's nobody's business...
I read up a bit about Nutan after seeing Seema. Here's a piece of information: this beauty had won the Miss India crown in 1952. Hardly surprising!!

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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.

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Obviously timeless (Casablanca)

"Here's looking at you kid," says Rick Blaine as he raises a toast to Ilsa, his love. Humphrey Bogart mouths this famous line four times in the two-hour drama and each time his eyes are as earnest as his tone romantic. The intensity of emotions and raw appeal turns me wobbly in the knees. And I feel, where have all these MEN gone?

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Love holds (An Affair to Remember)

Simplicity can be quite profound. That's why An Affair to Remember holds its ground even today. Because it is a magical concoction of simplicity, warmth and love. The 1957 Leo McCarey classic grips us with its tight storyline, sudden twists and mushy sequences. The music, especially the soulful title track composed by Harry Warren, lodges itself in your heart long after the end credits roll. The lead characters, Deborah Kerr and Carey Grant, instill your faith in romance. And the endearing Grandma is the perfect icing on the cake.
Grant's portrayal of Nickie Ferrante is immaculate. He is suave and has a heart of gold (amid his hectic schedule of pursuing beautiful women, he accomodates his regular trips to meet his ageing grandma). This ace almost wins over beautiful Kerr, who he meets while on a cruise.

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What a beginning!!! (Masoom)

There is a scene in Shekhar Kapur's Masoom where Mini tries to lighten the air of tension looming large over dinner. She doesn't know that her parents have had a nasty fight, resulting from her mother's new-found knowledge that her father has cheated on her in the past. Ignorant of the prevailing bitterness between the couple, she breaks into a mischievous, "Tayyab Ali pyar ka dushman hai hai..." before fading off to just a whimper.
This scene, eminently forgettable to many viewers, stay etched in my mind to this day, almost 15 years since I first watched Masoom, Kapur's directorial debut and definitely one of his best treatises on the complexity of human emotions.

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