Mere Humsafar (1970)- four rapes and a romance!

Well, "four rapes" is an exaggeration. There is only one rape. The other three are attempts by essentially "good" men who, once their attempted rapes are foiled, turn into their would-be rape-victim’s best friends and protectors!! Why did I persist in watching such a bizarre film? Well, partly because the story was engaging to begin with, partly because I love Sharmila Tagore and was intrigued to see her almost-pairing with Balraj Sahni, and partly because, having started, I wanted to see where it was going! The film is the strangest mix of awful and engaging, with the awful far outweighing the engaging.

Kaarnama (1979) Part IV – MAA and THE END

Before intermission, the vilaayti twin Shyam (Shashi Kapoor) was romancing Dhanno (Tanuja) and the desi twin Gopal (also Shashi Kapoor) had just left a drunk Kamini (Sharmila Tagore), to go to Kashmir to figure out why everybody was mysteriously interested in his maternal relative. I must warn you that this is a very looong post (with spoilers), since I’ve had compress the entire second half of the film in one post. For lack of space, I’ve had to concentrate on the main plot and neglect such delights as Helen trying to seduce Mr. Mehra (Shammi Kapoor), Dwarka (Pran, now Dilawar in Pakistani Intelligence) being smuggled into India, Shalu (Bindu) and her hubby Dheeraj (Ranjeet) sharing a cute romantic interlude in the police station where they’re both police officers, etc.

Kaarnama (1979) part III – the mystery edition

With the vilaayti twin on his way to his watan (country), you’d think that the found part of the lost-n-found formula is almost about to be accomplished. Well, you’d be wrong. Do not underestimate MDbhai’s genius… We leave Shyam on the plane, drinking heavily, with the mysterious lady X (Sharmila Tagore) keeping a sharp lookout a few rows behind.

We fly into India, ahead of the dimpled-duo, to meet the other twin Gopal. As I told you, MD caused him to grow up into a small-time theatre actor. Well, just as we go to find him, he’s landed his first starring role, and rehearsals are in full swing. We come upon him, in his shiny military uniform, playing Napolean Bonaparte, at Waterloo. And we realise why he isnt a big star yet, nor likely to be – he fluffs his lines something terrible.

Napolean (roaring): Wellington kameene, sherni ka doodh pasand karta hai to saamne aa (Wellington rascal, if you like tigress’s milk, come here!)

Wellington, not finding the right cue (which should have been agar maa ka doodh piya hai to… if you’ve drunk your mother’s milk), forgets his lines: Err… I prefer cow’s milk.

Kaarnama (1979) part II – SHASHI!!!

So the twins were torn asunder in the before-the-credits part of the film. Bunty strayed into vilaayti (foreign) lands, while the twin’s father – Dwarka – strayed into Pakistan. The residual family in India – Parvati and Bittu - relocate to a new town. Parvati begins to work as a domestic help when a dizzy spell at work informs her employer of her pregnancy!

Parvati’s pleasure in the latest nishaani (momento) of her now-dead hubby is a bit mixed. She is happy but worries about making ends meet. Her kindly employers – Durga (Nadira) and Inspector Dev (Ifthekar) promise to take over the child, since they are childless, themselves. So, one fine day, Parvati and Durga go off to Kashmir, leaving Bittu behind with the other half of his to-be-sibling’s to-be-parents. Soon, Mom and Durga return with Durga’s baby daughter Shalu.

Kaarnama (1979) – an interview with Manmohan Desai

Yesterday I told you about this Shashi- treat that I stumbled across, quite recently. The film was launched in 1977, and right from the mahurat, Filmi-eye had a bird's-eye view of the proceedings. The film took a while to complete, since MDbhai's finances came in fits and starts and dictated a rather scattered shooting schedule. But Filmi-eye was tenacious, and always made a point to catch up with what was happening with the film. He was convinced that this film would be the last word in masala-movie-making and stubbornly clung to this belief, inspite of all the trouble the film attracted. I went through all his Kaarnama write-ups for the next few years to compile a story that makes sense with 20/20 hindsight. There was delicious gossip (too scandalous to be repeated here!) and lots of speculation that wasnt actually borne out by subsequent events - I've used the editor's scissors on those bits. To fit it into a week’s worth of blog posts, I’ve had to edit some of Filmi-eye’s delightful prose, too. Hopefully, the unedited story of Kaarnama will make it to print, one of these days (publishers, are you reading?). In the meantime, here is the lite version, in Filmi-eye’s own words.

The glorious 70s: Awards night

Its been a week long marathon of 70s movie goodness, and a festival of fun and funkadelic delight. But whats a festival without an awards night? Considering how much hard work, time, and effort went into the making of a 70s film, it is only right that the people involved be recognised for their good work. So, we end the festival with the Masala Awesome Awards – or MAAs. The festival committee decided to call in an expert jury to judge the entries and pick the awardees. The jury consisted of a panel of distinguished film critics – Bollyviewer, Bollyviewer, Bollyviewer and Bollyviewer. With so much material to choose from, the judges had a hard time deciding between the candidates. You’ll realise just how much talent the 70s encompassed, when I tell you that the list of nominees for some awards ran into hundreds. After long deliberations, the judges finally made their choice. So lets see who gets to take a MAA home, tonight.

The glorious 70: a decade of Hrishikesh Mukherjee

Dil hai chhota sa chhoti si asha (the heart is small, it has a small desire) could have been written for the characters of Hrishida’s movies! They live in a small world, bounded by their domestic concerns. Their lives are lit up by the small joys of everyday living – a raise at work, a smile from a pretty colleague, India defeating Pakistan in a hotly contested cricket match… They have no large bungalows in London, no plushy revolving beds or shiny Mercedes convertibles. And yet, they have fun, there is laughter and joy in their lives, and more importantly, we have fun watching them go about their filmi lives.

If I had to describe the hallmark of all Hrishida’s movies in one sentence, I’d say that they make you happy. When you spend a couple of hours laughing and crying with one of his movies, you leave with a smile on your face and a firm conviction that the world is a lot better place than you imagined it to be! The optimism and the sheer joy of living that all his characters embrace - that is what makes his films so special.

Anand Ashram (1977) - a sweet saga...

When in doubt, always pull out a favorite film. Unless you last watched it in your childhood, you know that you’ll enjoy it. And this film definitely fits the bill. It is overflowing with all my favorite actors – Sharmila Tagore, Moushumi Chatterji, Ashok Kumar, Uttam Kumar, Rakesh Roshan, Utpal Dutt, Asit Sen. The story is convoluted enough to keep me interested and told well enough to hold my attention. AND it features one of my favorite songs – Saara pyar tumhara maine baandh liya hai aanchal mein (I have tied up all your love in my aanchal).

Anupama (1966) – romance Hrishikesh Mukherjee style!

Bollywooddeewana’s awesome Dharam week posts, and Daddy’s Girl’s fabulous 5 Decades of Garam Dharam post on the occasion of Dharmendra’s birthday, reminded me of my favorite lead pair – Dharam and Sharmila (or Dharmila as Daddy’s Girl calls them!). Co-incidentally, the two share the same birthday! What better excuse could I have, for re-watching some of my favorite Dharam-Sharmila films? They are both so gorgeous and have more great films together than any other favorite lead pair of mine. This one tops my list of favorite Dharmila films along with Chupke Chupke - both directed by Hrishikesh Mukherjee. While Chupke Chupke is classic comedy at its best, Anupama (The Incomparable One) is the coming-of-age story of a timid and shy young woman.

Anari (1975)

Last week I saw Ghosts of Girlfriends Past and came away with the firm conviction that when it comes to being whacked over the head with a moral, I prefer my moral to come wrapped up in Hindi, with songs-n-dance, and 60s/70s fashion. Clearly, I needed to go back in time. While in the 70s, I happened to come across this Anari which is NOT the Raj Kapoor one, nor is it the more recent Karishma Kapoor one. Its a little known romantic thriller directed by Asit Sen and stars some of the most beautiful people of the 70s – Shashi Kapoor, Sharmila Tagore, Kabir Bedi and Moushumi Chatterji! Aside: There seem to be too many Anaris in the Kapoor clan! (Anari = inexperienced/silly)

The Prince and the Pauper reloaded - Paap Aur Punya (1974)

I knew somewhere out there, there was a movie where Sharmila Tagore stepped out of her hot-house-delicate filmi persona and did a spunky role. And I FOUND IT! *Big smile* She plays a fiesty Rajasthani maiden who kicks some serious ass – she rescues her hero by singing and dancing, gets into sword fights and even horsewhips the villain. A Big Nahiiiin!!! for the last! Why, you ask? The big bad villain is my beloved Shashi Kapoor, thats why!

The immortal Twain classic – The Prince and the Pauper – has been given a true-blue 70s Bollywood treatment, complete with lost-and-found, good brother-evil brother and loads of hamming (chiefly by OiG’s favorite #1, Shashi)! The title makes the moral of the story clear – *Paap Aur Punya* (Sin and Virtue) – the eternal fight between good and evil. In true epic fashion, the good and evil are personified by look-alike brothers (Shashi in yet another double role. Yay!). I did decide to observe and comment on religious symbolism, the themes running through the movie, etc. In short I was determined not to be side-tracked by my favorite pair’s famous beauty and try to take a more scholarly view. Alas, I was too easily distracted by the masala goodness of the movie.

Fairy Godmother came calling (part I) – my favorite Bolly-beauties

Cinderella’s Fairy Godmother and I became quite good friends while I was researching the Brothers Grimm. So every time Cinderella needs a coach, Fairy Godmother drops into town and comes over to visit yours truly. This time she finally asked me to make a wish – YESSS!!! I thought only of you readers, and asked her to screencap Scaramouche for me so that Stewart Granger in his full swash-buckling glory could be presented to you! But fairy godmother (FGm) told me to be selfish and ask for myself. Since she twisted my arm, I decided to let go and told her that I would really like to be a better person – both physically as well as mentally. As a huge movie lover my choices followed (of course) the models of movie-land. FGm said that she is tired of women wanting to look like Audrey Hepburn, Keira Knightley, et al and could I please choose something different? Of course! I could choose from Bollywood. So here’s my list that is just about ready to be mailed out to FGm.

Neetu Singh’s cuteness:

Please FGm, make me as cute as Neetu Singh so I can rock bell-bottoms and mini-skirts inspite of being a bit plump. She also looked like such a fun person to hang out with - all that bubbly charm… 

My Love (1970) - romance + trauma-fest

Like all movies that are cursed by a bad second half*, this one begins very promisingly. There are snapshots of exotic Kenya including African wildlife and the “wild” tribals (much as I resent the exoticisation of India I can bear it tolerably well when its done to any other part of the world!) – all of which should convince you that you are in exotic Africa!

Yakeen (1969)

A stylish thriller starring Dharmendra, Dharmendra, Sharmila Tagore, a dog, a beautiful red car and loads of thrilling masala!

Dharmendra plays Rajesh, a scientist working on a top secret government research project. The project requires Rajesh's complete involvement to the extent that he isn't able to spend time with his girl friend Rita (Sharmila Tagore). Rita is understandably peeved at the neglect. Rajesh manages to wangle a few days off and woos his girlfriend (should that be re-woos?) to the tune of Yakeen kar lo mujhe mohabbat hai tumse tumse... Rita hears Mohd Rafi's beautiful voice and is properly won over. Rajesh then goes over to Rita's place and formally asks for her hand in marriage from her mother (Kamini Kaushal).