Listening to: Kati Patang (1970)

Seeing my ironing pile increase to an Everest-like magnificence, I decided to get down to some movie-watching. What’s the connection you ask? Well, I can’t iron without entertainment! I checked my list of to-see films and chose Kati Patang.  Though I know the music intimately, I have never seen this film before.

A young-woman, Madhu (Asha Parekh), runs away to her beloved on the day of her arranged marriage to a man unseen (which era is this?!!). Her beloved does not deserve the title, for he is a cad, only after her money. She is shocked (but why? this is Prem Chopra, what can she expect?) only to find her uncle and guardian is dead. She leaves then (no funeral?), running to nowhere, when she meets a widowed friend travelling with her small child to meet her in-laws for the first time. The train crashes and her friend dies, demanding a death-bed promise that Madhu pretend to be her (but why?) and go to her in-laws with her baby. The taxi she catches turns out to have a dastardly driver and she is rescued by Kamal (Rajesh Khanna) who happens to be the groom she has run away from!

Do the coincidences befuddle your brain as much as they do mine?

Kamal and Madhu fall in love, but she is a pretending to be a widow and re-marriage is not easily accepted in society. Kailash the Cad (Prem Chopra) is alerted by his girl-friend Shabnam (Bindu) and comes to blackmail Madhu. She tries to resist but it is not easy. In the meanwhile, Madhu writes to Kamal confessing her story but the letter falls in the hands of her father-in-law Dinanath (Nasir Hussain). He is angry at first but then he accepts her and even talks to Kamal’s father, arranging Madhu’s marriage with Kamal.

Tragedy strikes when Kailash the Cad poisons Dinanath the FIL and Madhu is taken into custody by the police. Will her innocence be proven? Do Kamal and Madhu have a future together? Well, you’ll have to watch the film to find out!

I do hate it when script-writers pretend to give a social message but are in fact manipulating the audience. Is this film meant to encourage widow re-marriage in traditional families? But then Madhu is not really a widow, is she? Blast, I am not supposed to see through their ruse, am I? There were other instances of audience manipulation which I found distasteful but I admit, I am just being picky. This is Bollywood, its par for the course.

Rajesh Khanna proves why he was such a success. He has this certain intensity….hmmm, I am a woman after all, you must forgive me if I fall for a man’s charm now and then!  Asha is not my favourite but she does a reasonable job. Prem Chopra is as slimy as a badly cooked okra and Bindu is Ooooomph incorporated, especially in her next-to-nothing costume for her dance sequence. I imagine she caused a sensation in those more innocent times!  Overall, the film is watchable especially given the lovely songs.

The music by R.D.Burman is the highlight of this film and Anand Bakshi has done a superb job of the lyrics.

• Yeh Jo Mohabbat Hai – Kishore Kumar. Charming. Truly. Is there anyone who can emote so beautifully with their voice like Kishore? Is there anyone who can emote to Kishore’s voice like Rajesh? A masterclass in Bollywood singing-lip synching.
• Pyar Diwana Hota Hai – Kishore Kumar. Its impressive how Kishore never over-does things, however capable he is. This is a simple melody and he has sung it simply without any flourishes. I like the simplicity of the lyrics too – सुनो किसी शायर ने यह कहा बहुत खूब, मना करे दुनिया लेकिन मेरे महबूब (Some poet has wisely said, the world may deny it, but my beloved is still my beloved). Well said! 
• Mera Naam Hai Shabnam – Asha Bhonsle. Hmmm. Not much to my taste but Bindu looks sensational!
• Jis Gali Mein – Mukesh. I love this song! I know there are many Mukesh detractors out there, but when he does a superb job, what’s there to say but वाह वाह ? Anand Bakshi has outdone himself with the romance of his lyrics.

  जिस चमन में तेरे पग में कांटे छुबे
  उस चमन से हमें फूल चुनना नहीं
  (In the garden where your feet are hurt by thorns,
  I don’t wish to pick flowers from that garden)
  Ah, I melt!

• Yeh Shaam Mastani – Kishore Kumar. A cheerful number with Kishore showing his yodelling skills. And his masterful rendition of  ऐसा लगे जैसे की तू हसके ज़हर कोई पिये जाय !  Oh!

• Na Koi Umang Hai – Lata Mangeshkar. Lata’s voice is flawless and the interludes lovely. The lyrics are excellent, if a bit depressing. Judge for yourself :
  आकाश से गिरी मैं इक बार कट के ऐसे
  दुनिया ने फिर न पूछो लूटा है मुझको कैसे
  ना किसी का साथ है ना किसी का संग है
  मेरी ज़िन्दगी है क्या इक कटी पतंग है
  (I have been cut (like a kite) and fallen from the skies
  don’t ask how the world has treated me hence
  I have no one by my side, I have no one to be with
  My life is but like a kite with its string cut)
  Beautifully written and sung.

• Aaj Na Chodenge – Kishore Kumar, Lata Mangeskhar. A popular enough Holi song, sung with enthusiasm by Kishore. See how different his voice sounds compared to Yeh Sham Mastani – he brings a roughness, an earthiness into his singing. Clever. And R.D has created an equally clever mix between the exuberance of Kishore’s singing and the sadness of Lata’s verses.

My choice for today is Mukesh’s song. This in no way denies my worship of Kishore’s voice!

Listening to: Mera Gaon Mera Desh (1971)

I was eager to watch this film for some time now. It had been described to me as a ‘great film’ by more than one person and it starred two handsome gentlemen I admired much as a young woman. The few songs I remembered from my childhood triggered a nice response too.

The two handsome men did not disappoint; I am in awe of their looks and presence. And the acting is not too bad either! The songs I remembered were pleasing enough though not outstanding. However, perhaps thanks to over-expectation, I was mildly disappointed in the film as a whole.

This is a theme which has been done more number of times than I can count. A village cowed by evil-doers, one or a few handful of men protecting and leading the village to self-sufficiency. Wasn’t the Seven Samurai just fantastic?  For Bollywood fans, this film is particularly interesting because it was a precursor to the super-hit Sholay. In fact, I was shocked to see how much Salim-Javed have ‘lifted’ from the screenplay by G.R.Kamath.

MGMD	Sholay
The instigator of defence, Jayant with one hand missing	The instigator of defence, Sanjeev with two  hands missing
One petty crook, Dharmendra, roped in to defend the village	Two petty crooks, Dharmendra & Amitabh, roped in to defend the village
Dacoit leader played by Vinod Khanna is called Jabbar Singh	Dacoit leader played by Amjad Khan is called Gabbar singh
Dharm falls for feisty village belle Asha	Dharm falls for feisty village belle Hema
Jabbar stands his people in a row, questioning them, while loading one bullet in his gun.	Gabbar does this and more in the memorable ‘Kitne Aadmi The’ scene.

Ajit (Dharm) is a petty crook invited by Major Jaswant Singh (Jayant) to help him farm and at the same time make a new life for himself. He doesn’t mention the dacoits who keep the village under their thumb. Ajit settles down after a few slips and enjoys a nice romance with village belle Anju (Asha). The dacoits under their leader Thakur Jabbar Singh (Vinod Khanna) make their presence felt. In this village where everyone is cowed and fearful, only Ajit is willing to stand up to them. Munnibhai (Laxmi Chhaya) is the dancing girl who is a spy for the dacoits but she falls for Ajit and becomes a double-agent. With the odds stacked so heavily against him, will Ajit manage to rid the village of their terror?

Dharmendra has done a decent job of his role; in any case, I was too charmed to be unbiased! Vinod Khanna is excellent, menacing with his red rimmed eyes which always stare elsewhere with manic intensity. What a handsome man he is to be sure!! Asha Parekh’s role doesn’t have much meat and she is not in good looks; her costumes are very very unflattering. I wish they had chosen another female lead. Laxmi Chhaya is competent and has two lovely song-and-dance sequences to impress us with. Supporting actors such as Jayant and Asit Sen are dependably good.

So why was I disappointed? It always comes down to bad screenplay. I cannot deal with with melodrama (a drunk Dharm sleeping it off in the lap of a mad Ma, a dying Jayant asking to be called Papa), depiction of the police as nincompoops, Dharm beating up Laxmi Chhaya, Asha walking into a dacoit-infested forest on her own (is she mad?!!) – the screenplay just annoys. And the moralistic lectures at the end grate.

There is some decent enough music by Laxmikant-Pyarelal with pedestrian lyrics by Anand Bakshi (spelt mysteriously as Baxi in the titles).

• Sona Lai Ja Re – Lata Mangeshkar. A pleasant enough melody, but nothing extraordinary.
• Aya Aya – Lata Mangeshkar. Boring. Laxmi Chhaya dances well enough on screen.
• Kuch Kehta Hai Ye Sawan – Lata Mangeshkar, Mohammad Rafi. I remember this song well from my childhood; it still sounds as pleasing as it did then. Lyrics are so-so but Rafi and Lata sound very good.
• Hai Sharmaoon – Lata Mangeshkar. Laxmi Chhaya gets to dance to this nice song made more memorable by the on-screen drama. The melody has a hint of sadness which I like. 
• Maar Diya Jai – Lata Mangeshkar. Why not Asha? I think she would have put even more verve into this song. Still, I remember and like it.

To listen to the whole album, click here.

My selection today is Hai Sharmaoon, for Laxmi Chhaya’s dance and upper-lip adornment by the handsome male leads. Check out Vinod’s luxurious greying mouche and a more sedate one sported by Dharm!

Listening to: Amar Akbar Anthony (1977)

Clichés? No worries! The film provides Bollywood’s version of secular harmony, coincidences after coincidences with impossible odds,  tight shirts in myriad colours,  obviously staged fights in which opponents have time to make conversation, decorative ladies, disguises galore, miraculous cures  and an evil villain who even has a good twin! How could anyone not like it?

The storyline itself is a huge Bollywood cliché. A family is separated by evil machinations, poverty and bad luck. Three brothers are brought up following three religions. The evil man continues in his evil ways and even the good father seems to have become part evil – but then he is Pran, so what do you expect? There are three pretty ladies who look decoratively helpless on demand. But it all resolves itself after many unbelievable plot ploys with more holes than Swiss cheese! The pace of the film is brisk and there is never a dull moment.

Rishi and Neetu make a handsome young couple and they play their parts with ease. Vinod and Shabana make a rather mismatched couple. Vinod is good as a police officer but Shabana…I prefer her in her serious roles.  Amitabh has great comic timing and for his fans, there is even a dialogue with God! Parveen I am not a fan off but she looks quite beautiful and they make a good pair. Jeevan and Pran have undemanding and clichéd roles. Amitabh has the most screen time amongst the leads and he does a good job.

Watch this film with suspended judgement and a healthy sense of humour and you’ll have great fun!

The music by Laxmikant-Pyarelal has some numbers which made the charts at the time of release. It doesn’t really stand the test of time but provides good nostalgia value. Lyrics by Anand Bakshi are adequate.

• Khoon Khoon Hota Hai – Mohammad Rafi. Pedestrian.
• Pardah Hai Pardah – Mohammad Rafi. This very well-known  Qawwali deserves its success. Rishi and Neetu glow with youth and Rafi is very good even though he is past his best phase.
•  My Name is Anthony – Kishore Kumar. This fun song became very famous with Kishore’s voice suiting Amitabh’s comic timing and long-limbed prancing. A song to make you smile.
• Hum Ko Tum Se – Kishore Kumar, Lata Mangeshkar, Mohammad, Mukesh. A melodious song which is still very enjoyable. I like that it has three of the great male voices of that era singing the same song.
• Taiyabali Pyar Ka Dushman – Mohammad Rafi. Don’t remember this song and won’t in the future.
• Shirdi Wale Sai Baba – Mohammad Rafi. A song which used to be run often in the radio, it seems ordinary now. I am normally much attracted to Qawwalis but not this one.
• Amar Akbar Anthony – Kishore Kumar, Mahendra Kapoor, Shailendra Singh. Familiarity made me listen to the song with pleasure rather than it’s musicality.

To listen to the whole album, click here.

In honour of three great male singers of Bollywood, and to see all the leads on screen, here is Hum Ko Tum Se.

Listening to: Mehbooba (1976)

Raga Shivaranjani has taken root in my mind since my classical music post a couple of days back.  Remembering a haunting song (pun intended!) set to this raga, I sat down to see Mehbooba. Of course, knowing that its Shakti Samanta film, I felt confident that it would have a certain class.

Mehbooba belongs to the Bollywood genre which I call Lost-Love-From-A-Previous-Life. This genre boasts some interesting films like Milan, Mahal and Karz. As always in films such as this, there is an abandoned palace, a photograph or painting to trigger memory and a haunting tune plaintively sung by a spooky woman trailed by the hero looking enchanted (I would have been terrified and run in the opposite direction!). And of course, people look exactly the same in all their lives so as to make recognition easy!!

So here is Rajesh who comes to a haunted and haunting mansion on a stormy night. Subsequent events lead him to remember his tragic love story from the previous life where he is a court singer and Hema Malini the court dancer. They fall in love but there is a childhood marriage which must be honoured and it all leads to the death of the lovers. In his current life, he comes across his lost love and has to work hard (ie. sing the haunting melody very often) to make her remember. There is a current life villain in Prem Chopra but after the most unconvincing of climaxes and fight scenes, all ends well.

I confess to being slightly bored by the predictability of the story. The actors I don’t blame; they did their bits well enough except for Yogeeta Bali who is quite wooden. Asrani’s role reminded me of a similar role in Abhiman. Its a good enough time-pass film.

The music by R.D.Burman has some memorable moments. The background score has some lovely lilting melodies as well. The lyricist, Anand Bakshi has woven some good lines.

• Mehbooba – Kishore Kumar. I listened without attention to the title song as I got distracted by a bad guitar-playing act by Rajesh. He is supposed to be a musician here, surely he should have made a better attempt? Kishore has sung this well enough but there are no surprises.
• Mere Naina – Lata Mangeshkar. People are always divided between which version they like, Lata’s or Kishore’s. See below for a comparison.
• Gori Teri Painjaniyan– Manna Dey. When it comes to classically based songs, its difficult to touch Manna Dey. He has sung this with his usual verve and energy. Hema has danced well. At some instances, the lyrics leave much to be desired – घर से निकलती है तू गिर के संभलती है तू  Is that supposed to be poetry?? Still, a very nice song indeed.
• Aapke Shahar Mein – Lata Mangeshkar. Mujra song. Loved the turquoise-black ghagra set that Hema was wearing, other than that nothing interested me.
• Chalo ri – Lata Mangeshkar. A nice ethnic dhun but it does remind me of a myriad other songs. Nothing unsual.
• Mere Naina – Kishore Kumar. A memorable performance and definitely the better version of the song. See below for analysis.
• Parabat Ke Peeche – Lata Mangeshkar, Kishore Kumar. The only duet of the movie, I remember it being played on the radio quite often so I reckon it was quite popular. I like the refrain very much indeed, very unusual and it is also beautifully sung.

Why do I like Kishore’s version better? Lata’s version starts better, with a lovely little alaap which is repeated mid-song as well. This establishes the more ‘ghostly’ effect for the female version. The musical interludes are also prettier, with lovely sounds of the ghungroo.  Still, I prefer Kishore’s version. There are some long notes in the song (eg. the word deewane in ae dil deewane)  which in Lata’s version is uninteresting while Kishore’s voice has a natural vibration which makes even the flat notes lovely. The composer has used Mishra Shivaranjani, with the extra note G3 (Carnatic system) while Shivaranjani uses only G2. In the first verse, in the line Dard Bhara Yeh Geet Kahan Se in Hoton Pe Aye-Door, the G2-G3 slide comes on Aye-Door. This only presence of G3, that too only in the upper octave, lends the most important haunting quality (sad G2-happy G3) to this song. And is therefore very important. Lata’s voice unfortunately sounds quite sharp in this slide while Kishore simply shines. For lyrics click here.

To listen to the whole album, click here.

My pick for the day is of course Kishore’s version of Mera Naina.

and Gori Teri Painjaniyan to enjoy Hema’s dancing.

Listening to: Ishq Par Zor Nahin (1970)

A few weeks back, with the good intention of ‘attacking’ my mountain of unironed clothes, I dragged the ironing board in front of the telly and channel-surfed to find something to watch while I attempted my Herculean task. I landed on this film; had it not been just when a beautiful song was on, I might not have stayed. I didn’t know how much of the movie I had missed but I stayed anyway.

There is no other word for it – the movie was EXECRABLE! So idiotic that I watched in fascination, wondering what twisted mind made it! The story seems have to be made up as they went along.  Did Hindi films always show girls getting slapped by the ‘heros’ for the slightest things? And still the girls spreading flowers where his feet have passed and laying their heads there? Please!!! Did they actually think that ‘sacrificing’ one’s love and pushing her into another relationship is moral? Did films treat suicide as an honourable out? Did the audience find it funny when women were molested in the name of comedy? Did the hero who didn’t get the girl always have to die in some mish-mash idea of heroism?

In between all this, one has to cope with Dharmendra acting morose and with a false docility that Indian films often give the poor, Biswajit acting manly and macho but oh so badly, Kamini Kaushal pretending to be a Japanese woman and Jagdip an Arab..sorry, all this is not worth talking about. On the whole, just their attitude towards women churned my stomach.  For God’s sake, don’t see this film!

On the positive side, my ironing got done as I transferred my wrath against the film makers to my arm!! Unfortunately the pile has grown again…

Do listen to the music by S.D.Burman set to the lyrics by Anand Bakshi. There are a couple of lovely  tracks here.

• Mehbooba Teri Tasveer – Mohammad Rafi. A dreamy, slow song, it is very well sung by Rafi.
• Yeh Dil Diwana Hai – Lata Mangeshkar & Mohammad Rafi. The music is truly inspired. A slow pace, a beautiful melody and Rafi and Lata’s voice gentling you in all the places you didn’t know existed in your soul. Anand Bakshi has some nice lyrics here – बेचैन रहता है चुपके से कहता है मुझको धड़कने दो शोला भड़कने दो and also यादों में खो जाऊं जल्दी से सो जाऊं क्योंकी सांवरिया को सपनों में आना है ..lovely!!
• Sach Kehti Yeh Duniya – Lata Mangeshkar. The title song could have been better.
• O Mere Bairangi Bhanwara – Lata Mangeshkar. An unsual tune, with an other-world touch, I really liked it. Lata Mangeshkar at her best.
• Mitwa Mere Saathi – Lata Mangeshkar. Shown in the movie as a bhajan, it is totally forgettable.
• Tum Mujhse Door Chale Jana Na – Lata Mangeshkar. Lata’s sad solo has a haunting melody. A well loved song.
• Pyaar Bhari Ek Baat Chali – Asha Bhonsle. Poor Asha got the quite the worst song in the album. Not for re-listening.

Here is my top selection from this album.

Listening to: Sholay (1975)

The first time I saw this film in 1985, it was already ten years old, a legend even then. What at impact it had! Sometimes, very rarely, different facets of a movie come together and magic happens because the movie becomes greater than the sum of its parts. Sholay is one such film.

Today I watched it 26 years after I saw it last.  It still had tremendous  impact. People who know my dislike of bloodshed would wonder at my statement about a film which has so much violence. Yes, I cringed in places and hid my eyes in quite a few others but in spite of that I say emphatically – if you haven’t watched it, do.

A Wild-West story Indian-style, it seems to be inspired by films such as the Magnificent Seven, except the odds are even worse, there are only two to defend the village. Yet the movie is 100% Bollywood Masala – there is a great mix of action, violence, tragedy, emotion, drama, comedy, love. Its a buddy movie, an action movie, a romance and a drama. And it has nice music too!

There are funny little cameo roles by Asrani, Jagdip and Keshto Mukherjee but its Dharm, Hema and Amitabh who provide the best comedy. Dharm is a natural, his performance in the water-tank suicide attempt scene had me in giggles. Amitabh is no less when he goes to speak on Dharm’s behalf to Hema’s aunt. Even though I am not a big Hema fan, I think she’s great here; she has a definite flair for comedy. Jaya’s performance is understated but excellent. I did not much like Sanjeev’s take of the avenging Thakur. His teeth-clenching to show anger in every other scene quite tired me. I would have a preferred a colder, more controlled performance. The supporting cast have done a commendable job.

Dharmendra and Amitabh carry the film with their contrasting styles. But I give the award to the superbly evil Amjad; he is just unbelievably good.  His eyes, his dialogue delivery, his smile – everything is as evil as can be!

There are, of course, holes in the script. Why don’t they organise better defences? Why spend so much time drinking and romancing instead of keeping lookouts? Why would Hema plan to meet Dharm  in so lonely a place when they know they are surrounded by villains? Is it still important to capture the enemy alive when one’s life is in danger? Why do they attack the enemy with so little smarts and so much emotion? And isn’t the idea of a handless Sanjeev beating up Amjad quite ridiculous? And really, does it have to be SO long? There are many whys but we shall ignore them because its still a good film.

R.D.Burman weaves his magic wand for the music with good lyrics by Anand Bakshi.

• Yeh Dosti – Kishore Kumar, Manna Dey. This is THE buddy song of that era. Is the sidecar a metaphor for friendship?
• Holi Ke Din – Kishore Kumar, Lata Mangeshkar. There are better Holi songs but its not too bad.
• Mehbooba – R.D. The song is so famous that it is difficult to make an unbiased judgement. Helens gyrations and RDs gruff voice made an impression the first time I saw it, and it still remains startlingly good. I don’t have the qualification to critique RD of all people, but sometimes the voice seemed to be getting ahead of the beat..it disturbed me, so no dil.
• Koi Haseena – Kishore Kumar. This always make me smile; the song suits Dharm so very well! The picturisation is very amusing too.
• Haan Jab Tak Hai Jan – Lata Mangeshkar.  Hema’s big dance number is very good, Lata does a good job.

Listening to:Chupke Chupke(1975)

Deviating from my norm of choosing a film for its music, I searched out my DVD of Chupke Chupke looking for a good giggle. What an amusing film it is!  Truly, if you haven’t seen it as yet, do – you’ll soon add it to your list of ‘cheer-me-up’ films.

In essence, it is a story about an elaborate practical joke played on an unsuspecting Om Prakash and the ensuing mayhem. It has a nice pace with never a quiet moment. Well scripted, well directed (Hrishikesh Mukherjee) and well acted, its a welcome change from the jaded and boring fare handed out by Bollywood much too often. The dialogue, in particular, is fun throughout. People who like Hindi would enjoy Botany correctly referred to as वनस्पति शास्त्र, a driver as a वाहनचालक , never as कदापि and a train as लोहापथ गामी अग्निवाहन!

Dharmendra in the leading role is excellent and heart-stoppingly handsome – in fact I doubt whether I find any Bollywood actor as handsome as I find him here.  Amitabh is refreshingly different from his normal angry roles; for me, this is a much better display of his acting talent than many of his more famous films. A scene in the latter half of the film in which he shares his frustrations in convoluted sentences with Dharm & Asrani had me giggling helplessly! The ladies are equally good with a mature Sharmila much more natural in her role than she ever was as a young woman and more beautiful too!   In short, a five-star film! Its available on Youtube on the Shemaroo channel for free, so go for it!

The music by S.D.Burman is melodious and if not up to par with his great compositions, there is enough to enjoy. Anand Bakshi’s lyrics are acceptable.

• Sa Re Ga Ma – Mohammad Rafi, Kishore Kumar. Its lovely to hear both these incredibly talented singers come together! Kishore wins this bout hands down – and no I am not biased!
• Baghon Mein Kaise Yeh Phool – Lata Mangeshkar, Mukesh. It’s truly a lovely song, well sung by both singers but I am not too keen on Mukesh’s voice for Dharmendra.
• Ab Ke Sajan Mere Saawan Mein – Lata Mangeshkar. This has a nice melody, nice lyrics and even situational comedy!
• Chupke Chupke – Lata Mangeshkar. A light, uplifting song sung very nicely by Lata. It doesn’t have as much variation as I would like but then it has a lulling quality instead.

I would have chosen Ab Ke Sajan but I have already used it for a post on Sharmila so here’s my second choice, Baghon Mein :

Listening to : Do Raaste (1969)

I let my husband pick a movie from my nice little stack of unwatched DVDs and he zoomed straight in on this film. No surprise there, he is a fan of both Rajesh Khanna and Mumtaz! This is the second movie of the very successful pair I was seeing within one month and I sat down to watch it with great expectations. They have such good on-screen chemistry, its a pleasure to see! The story based on a novel by Chandrakant Kakodkar had also won an award.

My first comment would be that it should be called a Balraj Sahni film, not a Rajesh Khanna one. Yes, Rajesh is the young fellow who gets the girl but he is not the protagonist by a long shot. The story is oft seen in the hallowed corridors of Bollywood studios – self-sacrificing older members of the family, one ‘good’ and one ‘bad’ younger member of family and the ensuing drama. An example is Baghban, where the oldies are the parents. Here it is an older step-brother. Prem Chopra with his scheming wife Bindu is the bad one, Rajesh Khanna is the good one.

I must say that I have much objection to stories of this kind. Why is it right to risk the well-being of all for the success of one? Here the house is mortgaged to send a boy to London to study. Not that it doesn’t happen in India. It does. My question is, is it as saintly as they make it out to be? If its like an investment – we’ll put in the money and expect good returns at a later date – its not out of familial affection, but a business. In that case, a contract should be drawn out, surely? There is no place for emotion in business yet these stories are all about emotion.

I object to self-sacrifice in principle. To say that one’s own self is not worth the same as everyone else shows some deep psychological defect, not an entry to sainthood!

That said, the movie is not bad for its genre, only poor editing lets it down. Things are all too drawn out. The ending had me drop my jaw in amazement. HOW could they magically solve all problems in the space of 5 mins? Flawed people don’t become angels at the drop of a hat! It was a very weak ending.

All the actors do a good job, Balraj Sahni in particular. Mumtaz’s role is minor really but she does a good job of providing oomph. For those interested, there is a better review here.

The music, which is my primary focus, is wonderful. Laxmikant-Pyarelal have given us some lovely solos as well as duets and the lyrics penned by Anand Bakshi are very good indeed.

• Yeh Reshmi Zulfen – Mohammad Rafi. Beautiful song, truly lovely. I am caressed by Rafi’s voice and his pronunciation of some Urdu words feel ooooh so sensuous!  
• Chchup Gaye Tare – Lata Mangeshkar, Mohammad Rafi.  A lovely duet, full of fun and romance. I know it’s Kishore’s voice that works best with Rajesh but this is an example how Rafi’s voice does a great job too! Lata sounds magnificent. Mumu does her jhatka dance very nicely and looks luscious. The lyrics are not bad..
  इक वोह दिन था मिलाती ना थी तू अखियाँ  |
  इक यह दिन है तू जागे सारी सारी रतियाँ  ||
  बन गयी गोरी चकोरी यह क्या बात हो गयी |
  जिस का डर था बेदर्दी वही बात हो गयी ||
  Not exactly earth shattering poetry but cute, no? And when Rajesh does his crinkly smile, I can’t help but smile back at him! 
• Bindiya Chamkegi – Lata Mangeshkar. Mumu makes a great little temptress in this song of seduction. A playful song which Lata manages with elan.
• Do Rang Duniya Ke – Mukesh. So this was the title song of the film! I had never heard it before, and won’t again.
• Khizan Ke Phool – Kishore Kumar. Lovely sad song by Kishore, he sure knows how to pull at one’s heart strings! Listen to his voice at the lower registers, there is this little kharrash which I just adore! The lyrics are well written and suitable for a depressive.. Take this for example (unpoetic bad translation by me, the original sounds lovely) :
  खिज़ां के फूल पे आती बहार नहीं  | मेरे नसीब में ऐ दोस्त तेरा प्यार नहीं ||
  (Spring never comes to autumn flowers, your love is not in my destiny)
  Or this
  किसी को अपने मुक़द्दर पे इख़्तियार नहीं (No one has control over their destiny) or this
  किसी ख़ुशी का मेरे दिल को इंतज़ार नहीं (my heart has no hope for any happiness). Sad. Lovely.
• Apni Apni Biwi – Usha Mangeshkar. Never knew of this song before! A similar theme has been sung by Amitabh Bachchan which is much better known.

Click here to listen to the whole album. I have to choose Chup Gaye Tare for its happy mood – and also because I love rain songs!

 

Listening to: Aap Ki Kasam (1974)

Remembering how good the songs of this film are, I bought a DVD of this film recently and set down to watch it yesterday. Oddly enough I remembered the first part of the film very well but had totally forgotten the later half so it was almost like watching it anew. I am surprised to have forgotten it; its quite a good film.

Rajesh Khanna’s character is not the typical Bollywood hero, all glitter and gloss. He has his good side, but also suffers from irrational jealousy, lack of trust and is unable to recover from setbacks – essentially a weak character. Rajesh Khanna does a commendable job of portraying the descent from happiness to jealousy & anger and then to realisation & despair. Towards the end he hams it up a bit, but as I spent the last 10 mins of the film sobbing into my tissue, I didn’t notice it much!

Mumtaz is also not the typical heroine. She shimmers as a young girl in love, stands up for herself against an irrationally accusing husband and leaves him, breaks down after the eventual divorce and dazedly follows her father’s decisions for her. Her performance is very good and she looks delectable in some scenes.

Rehman & Dina Pathak are her non-typical filmi-parents. On her choosing a man not from their own well-to-do background, they happily support her (it’s rare as a dodo in a Hindi film!) and when she comes back to them, they are supportive in quite another way. Both actors are SO good, I admire them tremendously!

Only Sanjeev Kumar’s character is not that convincing, but he does a remarkable job as always. My only gripe is his not taking even the minimal effort to convincingly portray playing a sitar! Very annoying!

Should you watch it? Oh yes! If all these interesting personalities don’t grab your attention, the 70’s wardrobe surely would !! Stitched-into-tight pant-suits in bright colours at the start and glorious saris later, Mumu looks alluring at all times. As for Rajesh, remember Guru-shirts with belts outside? Safari suits in vivid colours? Its such fun to re-live all these old fashion trends! Available free on Youtube (legally), click here to watch the full movie. There is a good review and synopsis of the story in this site.

The music by R.D.Burman is very good indeed, just as I remembered.

• Suno, Kaho – Lata Mangeshkar & Kishore Kumar : Nice perky duet, beautiful scenery, Mumu in a super-tight yellow gharara, what’s not to like?
• Karvate Badalte Rahe – Lata Mangeshkar & Kishore Kumar : Very VERY romantic song with the leads cavorting happily in the snow (thankfully well dressed unlike normal Bollywood leads!). My husband remarked that Mumu seems to have put on weight..but I reminded him that she was always like this, and much admired too! Our eyes have started to expect slimmer ladies.  Rajesh looks handsome & stylish in a cap and Mumu glowing as always. Any female heart would melt if Kishore were to croon तुम चले जाओ नहीं तो कुछ न कुछ हो जायेगा . Lovely song.
• Paas Nahin Aana – Lata Mangeshkar, Kishore Kumar : A playful song, its quite melodious and easy to listen to.
• Jai Jai Shiv Shankar – Lata Mangeshkar & Kishore Kumar : Now this is a seriously fun song, exuberant, joyful and Mumu & Rajesh have acted it out very well. I love Mumu’s orange sari with black applique work, I want it!! As for Lata & Kishore, they have outdone themselves! Unforgettable song.
• Chori Chori Chupke Chupke – Lata Mangeshkar. Lata’s solo is beautifully sung, another lovely song.
• Zindagi Ke Safar Mein – Kishore Kumar. Kishore’s solo is the better one, he is helped by a sombre note to the music which he does so well. The lyrics are very meaningful and well written – पतझड़ में फूल जो मुरझा जाते हैं वो बहारों के आने से खिलते नहीं  Kudos to Anand Bakshi for penning these lines.

I recommend listening to whole album here, there are no duds in it! As I am finding it too hard to select just one song, here are my top selections :

Jai Jai Shiv Shankar which is so very happy..

and Zindagi Ke Safar Mein to showcase the talent of Kishore, RD & Anand Bakshi, a superb combination! (sorry, no embedding)

http://youtu.be/j2K0VGzQ8gY

Enjoy!

Listening to: Loafer (1973)

The memory of this song has haunted me for 38 years now. Every now and then my brain will trawl through its old and ill-used cells and savour the pleasure of Rafi’s voice with the beauty of Dharmendra’s  presence. Yet, I have never seen this film. My memories are fuelled merely by viewings of the song clip on television during the seventies.

So today, when I sat to watch the film, it was rather exciting! Seeing movies from the seventies is rather distracting though. I kept trying to assimilate the interesting wardrobe choices of the leads : Pants with large brown checks! Grey shiny suit with extra large black lapels! Tiny red skirt with tinier hot pants! Black long dress with a weird overcoaty thing! If I am not distracted by wardrobe, its by Dharm’s disarming English accent : sa-late->slate, un-cull->uncle and the like. Must say though that Dharmendra looks heart stoppingly handsome and Mumtaz quite luscious to match!

On the whole its a good time-pass. If one doesn’t look for meaning or anything deep, it’s enjoyable enough.

The music is by Laxmikant-Pyarelal and the lyrics by Anand Bakshi, both worthy of respect.

• Kahan hai woh diwana – Asha Bhonsle. Padma Khanna gyrates well but I don’t see this rather plaintive song for a cabaret number. 
• Motiyon ki lari who main – Asha Bhonsle. This time it is Mumu who gyrates in a short red skirt. I remembered this song well though, so a smile for the sake of nostalgia.
• Aaj Mausam Bada Beiman Hai – Mohammed Rafi. Unbelievably good. Impossibly good. Wonderfully good. I just melt when Rafi croons

  ऐ मेरे यार ऐ हुस्न वाले |
  दिल किया मैंने तेरे हवाले ||
  तेरे मर्जी पे अब बात ठैरी |
  जीने दे चाहे तू मार डाले ||
  तेरे हाथों में अब मेरी जान है ||

  Rafi is the absolute king of this type of singing and can never be replaced, absolutely never!
• Teri Ishq Mein – Lata Mangeshkar. A beautiful song and Lata is in great voice. Mumu looks good too!
• Duniya mein tera hai bada naam – Mahendra Kapoor. Very proficiently sung but not to my taste.
• Koi Shehri Babu – Asha Bhonsle. Mumtaz is in her element with songs like this. A good dancer indeed! The song is lovely too and Asha does justice to it. Nowadays marriage songs are almost always group dances with intricate steps. This feels so different!

You can listen to the whole album here. But for today, my choice is a no-choice.

Enjoy!