A tidy little gem (Abhimaan)

Let's not even deliberate on the resemblances that Hrishikesh Mukherjee's 1973 classic Abhimaan shares with the life of real-life couple Amitabh and Jaya Bachchan. For, some might say the movie is almost similar to how Amitabh tries to uproot Jaya in terms of popularity, some might declare that all that is bunkum. So, let's just avoid the oft-discussed.
Instead, let's immediately delve into the beauty of this marvellous emotional drama where love, ego and understanding forms the crux. Abhimaan is not just a film, it an experience that needs to be felt. When the good times roll, we need to regale in the mirth. When the storm of ego and pride clouds the halcyon state of affairs in Subir and Uma's life, we need to take a leaf out of it and realise what goes wrong and how it needs to be avoided. While the two lovers suffer, we pray that everything turns out just fine and that music ultimately irons out all the differences that has crept in voluntarily as well as involuntarily.

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Two misleading letters (Devar)

The cast is as perfect as Hrishikesh Mukherjee's Anupama. The story is believable, the songs are in place, the performances commendable. Then why is it that Mohan Sehgal's Devar left me with a niggling feeling in my heart. The movie starts off so well and as the script is penned, it should have thrown up plenty of firecrackling histrionics. But somewhere down the line, even the talented actors lose steam, or find the going rather tedious. Adapted from Tarashankar Bandopadhyay's short story, Naa, Devar  is a tale that could have been one of the best dramas of 1966. Could have been for sure...

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Mind full of Monty (Karz)

There was a friend in college who always made fun of Rishi Kapoor. She said he was too plump, too pink and too goofy to be a hero. This was the time when he was making a fool of himself in films like Prem Granth. I'm sure there must have been other duds like that. No matter how much I convinced her that Rishi Kapoor was once a seriously good-looking fellow and a very smart one at that, she just brushed my claims away. Till of course one day when she chanced upon Subhash Ghai's Karz. Next day all I could hear from her was how luscious his lips were in the film, how dapper he dressed and how crazily romantic his eyes were. The 28-year-old Rishi Kapoor had scored big time and I kept saying, "Didn't I tell you!"

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Marvellous Meena (Ardhangini)

I like all Meena Kumari films. Well, almost. Even when the script is faulty or loose, I keep my eyes fixed on the charming lady because I know that she will make the moments picturised on her come alive with her deft histrionics. But then, she alone cannot do much if the film is really bad. In those cases I take solace in the fact that she tried and tried. Luckily, Ardhangini is not a film like that...

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Toying with melodrama (Khilona)

There are times when I'm game for a film where I wouldn't have to put in much thought and reasoning. I'd only have to go with the flow of the story, the ups, downs, drama, melodrama, songs, sequences and inanities. These are the times when I am lazy, tired or rather bored. These are times when one can surely watch the film Khilona. Yes, I did too. There's nothing much to say about the film except that Mumtaz looked lovely and Sanjeev Kumar was so different from his other celebral roles. But somehow, I cannot say that I did not like Khilona. There is something very dramatic about this movie that sat well with me!

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Discovered by chance (Man Mauji)

Put a spunky heroine, a comic villain, a goofy hero, a good story and a convincing supporting cast together, and you get Krishan Panju's Man Mauji. That's precisely what I thought of this 1962 AVM production (they always have a nice family setting, hummable songs and packets of entertainment). A relatively obscure film, I stumbled upon it on Youtube through the lovely Lata Mangeshkar number, Main to tum sang nain milake haar gayi sajna, loved the vulnerable prettiness of Sadhana and couldn't keep myself from watching all of it. And, I'm happy.

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Learning the ways of the house (The Householder)

The Householder, in my eye, is a coming-of-age tale. A delicate love story that highlights the trials and tribulations of a newly-married couple, the various hiccups that lead to their understanding of each other, the small misunderstandings, the sweet patch-ups, everything about Prem Sagar and Indu's relationship is reflective of how a couple, unaware of each other's feelings, likes and dislikes, gradually iron out their creases and grow to love each other. I'm not getting into the spiritual aspect of Prem's evolution as a thorough house-runner and the process of Indu's becoming houseproud. It is but obvious that there will be some channel all the time whereby the concerned parties would become enlightened.

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Feminism of yore (Khushboo)

Given Gulzar's sensitive approach, it is but obvious that his handling of a proud woman's emotions would be different. And Khushboo does not disappoint on that count. No matter how sorrowful her life is, Kusum does not sacrifice her dignity and pride to attain happiness. She abstains from grovelling in self-pity and shuns any kind of sympathy from the world. Simply because she feels honoured to address her rights and expects her dear ones to acknowledge that. This is a girl who is strong, dignified and fiesty, yet sober, mature and loving. It is this Kusum who will grab your attention in Khushboo...

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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.

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