Wednesday, August 31, 2011
I started this blog as a treatise on old Hindi cinema that is relatively unknown and seldom talked about in my friend circle. Here I am, back after watching a movie that the country is talking about (as I type this the movie is breaking all opening records left right and centre for a Hindi film from North to South to East to West), but I am still tempted to do a write-up on it.
Due to this vocation that I have picked up in the past 2-3 months, many people have started viewing me as a film reviewer. I certainly don’t think that I am there yet (I certainly don’t want to go there). I try to write what I feel about a movie, as a part of the audience, as a viewer and not as a student of film-making or an expert on making the right film. To me a film is just a medium of conversation, a story on celluloid that talks directly to the audience, and involves them like nothing else. It has the power to change your mood within seconds- and that’s the most wonderful thing about movies according to me…
Well Bodyguard is a movie helmed by a man who has learnt to get audience’s pulse right more often or not. I am talking about Salman Khan here (and not the film’s director Siddique-though it may be true for him too). He backs a simple tale, wraps it around with all the luster and gloss that works for him, and still manages to deliver an engaging and beautiful love story, the best one I have seen in a while.
It starts of predictably; both the movie and the theatre experience (Chandan Cinema Juhu, a thousand and something strong mass crowd waiting for their hero to begin his show- incidentally Rajat Rawail, who plays an important part in the movie, was present at the screening along with some other film people I didn’t recognize- they were thrilled to see the response Bhai was getting and when I walked up to him and wished him he seemed radiant and waiting for the show to begin). The movie started off with the title song, replete with Salmanisque dance steps (no one else can carry stuff like that off) and an extremely over the top action scene (which made me squirm in my seat I must admit). It then settled down into its narrative and there began the simplistic humor and some incredulous moments at Symbiosis university, where Kareena is a student and Lovely Singh (Salman Khan of course) has been sent as her bodyguard to protect her from her father’s enemies who are after her life. The plot is simple- the love story between a girl and her protector- but the story isn’t- just as the beautiful song of the film highlights- “Teri Meri Prem Kahani Hai Mushkil- Do Lafzon Mein Ye Bayan Na Ho Paaye”.
The movie actually takes off pre-interval, and does not lose its steam till the very end. The first half of the movie sets-up things rather well, but it is the second half that makes this film a must watch for everyone who loves Hindi films. Yes, this is the quintessential Hindi movie, complete with emotions and superb action towards the culmination of the story. (The pre-climax action sequence is the best one I have seen in a long time). The character of Lovely Singh, although being a tribute to the hero’s tough exterior, is actually a far cry from Salman has attempted in recent times. He is my favorite actor, so I won’t say much for his performance. But I can certainly say that Kareena Kapoor comes up with her best performance since Jab We Met, and her beautiful portrayal of Divya actually surprised me quite a bit (for I am not exactly a fan).
The songs of the film area another highlight- While the title track and ‘Desi Beats’ are there to keep the crowds happy, ‘I Love You’ and ‘Teri Meri’ are the ones that are truly part of the narrative, and create an impact. In fact the haunting tune of ‘Teri Meri’ is used more than once as background score in the second half, and it adds to the emotional under trappings of storyline.
I am tempted to write a lot more, but I will just end it by saying ‘Thank You’ to Salman Khan, for choosing and believing in such a subject, and executing it on such a lavish scale. ‘Isko Nahin Dekha toh Phir Kya Dekha’
PS: Here is the song, that actually sums up the film quite beautifully (heck I have never used the same word this many times in anything I have written before). I think this one will become a favorite song with many after watching the film (Music by Himesh Reshammiya)
Saturday, August 27, 2011
To a fan of suspense and mystery movies, there is nothing more satisfying than viewing a taut and fast-paced thriller. ‘Ittefaq’, one of the early movies directed by the much celebrated Yash Chopra (and rightly so), is one such movie that is gripping enough to keep to you thouroughly engaged with its suspenseful plot and unconventional sequence of events. Produced under the BR Chopra banner, which was famous for its mystery movies, Ittefaq can be rated as one of the best thrillers to have been made in Indian cinema. It is an unusual Hindi movie with no songs and a run-time of just over 100 minutes.
The movie starts off in dramatic fashion, and takes no time in coming straight to the point. Painter Dilip Roy’s (Rajesh Khanna in a complex role) wife is found dead in their apartment and he is accused of the crime. His wife’s sister Renu (Bindu) gives testimony against him and despite his many protests and claims of being innocent, Dilip Roy is convicted of murdering his wife. During the course of the judicial proceedings, his wild and unpredictable behavior leads the court to label him as mentally unstable and thereafter he is sent to a mental asylum. One rainy night, Dilip spots an opportunity to escape from the asylum and chances it. With Police on his trail, he enters the first house he spots feasible to break into. He finds the lady of the house, Rekha (Nanda), all alone and forcefully takes refuge there. What transpires in next few hours is what Ittefaq is all about.
With limited characters and the entire drama unfolding almost in one house, the movie has its focus pretty clear and it is one rare movie from its times which has no subplots, no distractions whatsoever. The drama between Dilip and Rekha is the highpoint of the enterprise, with the last thirty minutes being edge of the seat stuff. The only time the movie slacks a bit is around the half-way mark, when it looks like a slight romantic angle in developing between the main leads, but such fears are unfounded as is revealed in the latter half of the film. The twist and the subsequent culmination to the film are fantastically shot and wonderfully performed.
Another element that adds tremendous value to this movie is its background score and its sound design. Each and every sound, disturbing the silence of the night, has some meaning attached to it and plays some or the other role in building up the mystery. The lighting and production values are top notch, and the editing is razor sharp. The characters of the supporting cast are well defined and are performed ably by well known actors from that generation. But as far as the performances go, Rajesh Khanna takes the cake. He is saddled with a very difficult role and is present in almost each and every scene of the movie. In one of the early roles of his career, he performs remarkable, especially during the latter portions of the movie. Nanda, in a very unconventional role does very well and delivers one of her best performance. Iftekhar (the man who can be seen as a Police inspector in almost every movie from that time), plays a CID inspector here and gives an impressive act.
Parting Note: Ittefaq is one of the better suspense movies made in Indian cinema. Fans of this genre will find it highly satisfying, and so will the fans of Rajesh Khanna, for they will get to see one of the best performances of his career.
Wednesday, August 17, 2011
On the maestro Gulzar’s 75th birthday, this is my humble attempt to recall one of my favorite films of his, one that I have watched many a times over the years and still find as endearing and as fresh as the first time I saw it- ‘Parichay’.
One of his early films, Parichay starred Jeetendra, Jaya Bhaduri, Pran, and Sanjeev Kumar (in an important cameo appearance). It is a simple story of an unemployed youngster, Ravi (Jeetendra in his first of the three movies with Gulzar), who takes up the job of coaching and reforming the five grandchildren of a wealthy businessman, Rai Saheb (essayed by Pran), in his uncle’s (AK Hangal) village. The grandchildren include Rama (Jaya Bhaduri), who is the eldest and is thus the leader of the pack. The five children are disrespectful and obstinate, and don’t share good vibes with their grandfather, owing to the strained relationship he shared with his son and their late father (Sanjeev Kumar). In an effort to reform them, Rai Saheb employed a series of tutors prior to Ravi, but all of them had been forced to leave by the five children’s reluctance to study and their penchant for naughty antics.
When Ravi takes up the job, the five of them try to do with him what they had done with their previous tutors and make him a subject of their tricks and pranks. But what leaves them utterly surprised is the calm manner in which Ravi brushes aside these pranks and does not even complain about the same to Rai Saheb and their strict aunt. What furthers their astonishment is that Ravi even refuses to use the stick to reprimand them, much to the displeasure of their aunt. Soon the kids take to his honesty, simplicity and affable nature, and start responding to his methods and his words. He becomes a very important part of their lives, and even Ravi develops a growing fondness for them, especially for Rama. How their relationship pans out is what the film is about.
The one thing that is noticeable about all Gulzar movies is that they all have very simple titles, which however always have some deep meaning attached and some strong connect with the story and the mood of the film. He calls this story Parichay, and rightly so for it is essentially about how the kids get introduced to their grandfather, with whom they don’t share a warm relationship, and vice versa. It is also a story of Ravi’s self discovery and his journey towards developing a purpose in life.
The performances by the leads are fantastic, but the real highlights of the movie are the really cute acts by the two youngest kids, and the stellar performance by Pran as the misunderstood Grandfather who is really out of ideas about how to make up with his distanced grandchildren. Even Asrani pitches in with an honest act- he was really one of the most versatile and efficient character artist of his times. The music of the movie acts as a character in itself, such is its beauty and such is its relevance to the narrative. RD Burman came up with some memorable music for Gulzar’s words, and the result were three splendid songs- the evergreen ‘Musafir hoon yaaron’, the haunting melody ‘Beeti na Bitayi raina’, and the charmingly playful ‘saare ke saare’.
As in all his other films, Gulzar chooses a simple tale with a heart and adds his masterly strokes in the form of witty dialogues, splendid music and moving drama. The craft of caressing a simple plot into an evocative and engaging feature is something that Gulzar practiced with trademark precision and uncanny ease over the years. It is hard to find any other Indian director with such a rich and full body of work, and adding his contributions to the world of poetry and music, he becomes truly unmatched and unparalleled.
Hoping that the magician lives on and on… his films and songs surely will…
Sunday, August 14, 2011
On India's 64th Independence Day, recalling an old classic biopic on Bhagat Singh, in an humble effort to give tribute to one of the greatest revolutionaries to have taken birth on our soil.
23rd March, 1931- Never before had a scheduled execution been advanced by a day- never before had an execution taken place at dusk- 23rd March, 1931- the mightiest empire in the world had to twist the rules written by itself- Such was the power and threat of Bhagat Singh and his friends, that the empire could not afford their survival for another single day- even when they were safely behind bars.
‘Shaheed’, a 1965 Manoj Kumar film directed by S Ram Sharma, is a story of martyrdom- it is the story of the greatest set of revolutionaries to have taken birth on the Indian soil. One of the few biopic features made in our cinema, it is certainly one of the finest too- if not the finest. It narrates the life and times of Bhagat Singh, a name that resonates every now and then in each and every home of our country- and understandably so. At the start of the new millennium, our film-makers decided to relive his story on celluloid and thus we were confronted with as many as four features on the same man, and the same story. Although Raj Kumar Santoshi’s effort was indeed a fine one, it certainly had a great reference point in the form of this movie that is an extremely rich feature despite being made in an era characterized by minimalistic use of technology and lack of resources and high budgets. This movie has a soul as bright and as warm as the great soul it talks about.
Unlike its remake (I would be addressing Raj Kumar Santoshi’s ‘The Legend of Bhagat Singh’ as its remake for it was the movie that came closest to replicating its spirit and intentions); Shaheed focuses more on the times spent by Bhagat Singh and his mates behind bars. It also keeps its scope pretty much restricted to these characters and does not include the other noted personalities of that time in its narrative. Thus it refrains from showing the interactions and exchanges between the Viceroy and the congressmen, and also does not lay much focus on showing the external dynamics of the situation. In effect, the greatest strength of this movie is that it does not pitch the ideology of Bhagat Singh and his mates against the one MK Gandhi had and abstains from making this contrast-which could have been used to escalate the spirit of revolution and sacrifice (a tool used to a good effect in its remake).
The story has been collated from authentic sources like Bhagat Singh’s mother herself and Batukeshwar Dutt, who was an important part of Bhagat Singh’s party and in fact accompanied Bhagat Singh while they exploded a bomb in the Central Legislative Assembly as a mark of protest against the introduction of the Public Safety Bill and the Trade Dispute Bill (which were touted to make the lives of the common men more miserable). He was also involved in a historic hunger strike by Bhagat Singh and his mates against the dreadful treatment given to the inmates in Indian jails. This hunger strike gets prominent focus in the movie, and is portrayed in a much more restrained and less horrific manner than in its remake. Here a character played by Pran (that of a dacoit inmate along with Bhagat Singh and his group) has been used very well to depict the scale of the sacrifice and level of courage shown by the men for the betterment of their race and their country.
Despite tackling a vast subject matter, the movie has its focus pretty clear and sharp editing helps the cause.The sets and shooting locations are pretty authentic- the only grouse is that the lighting is poor at some places. The soul of this movie, however, lies in its performances and its music. Manoj Kumar lives the character of Bhagat Singh and comes up with a truly memorable act that I believe remains unmatched (even in the modern day remakes). Prem Chopra plays Sukhdev, and though he lacks the finesse displayed by his more important colleague, he still manages to do a good job backed by the subject matter and the other supporting cast. The character of Bhagat Singh’s mother (played by Kamini Kaushal) is a very well etched one and has been performed remarkably by the lady (one of the best on screen mother acts). Other notable performances are by the jail staff and the Jailor (Madan Puri). Pran’s cameo too is very impactful and one wonders why this character was done away with in the remake. Chandrasekhar Azad, as a character, is not given much prominence in the film.
There are no words apt enough to describe what the music of this film brings to it. The songs are heartwarming and evergreen and take the narrative forward in a splendid manner. In fact, songs come at the highpoint of all the dramatic bits of the story. The songs are based on the poems by Ram Prasad Bismil, another notable revolutionary of that time who was involved in the Kakori incident (which gets a fleeting mention in this film unlike its remake). “Sarfaroshi Ki Tamanna”, “Aye Watan”, “Mera Rang De Basanti Chola”, “Pagdi Sambhal”- it is hard to recall any other movie having so many memorable gems- and all having tremendous bearing on the film’s unfolding.
Parting Note- The movie is memorable for more reasons than one. It is one of those patriotic movies that won’t let you remain just a passive viewer watching a movie. It will involve you, it will evoke sentiments, but above all it will make you reflect and think about the meaning of sacrifice, love, and freedom.
Bhagat Singh is relevant today, more so than ever before, for his efforts were not only directed at achieving freedom, but also towards betterment of the posterity and most importantly spreading the feeling of love and pride for our nation and our people- which sadly today comes up only during cricket matches or when our media channels decide to take it up during festivals such as today. It is only when we, as individuals, start feeling responsible for our country and start caring for it as much as we care for ourselves, will issues like corruption cease to infest our society. We don't need an Anna Hazare for that- we have enough examples in our history to take inspiration from- or better still setting an example ourselves by being honest, diligent and fair at whatever we do or at the methods we adopt. Jai Hind.
Friday, August 12, 2011
X: I just love that girl; I don’t know how to tell her- it is driving me crazy…
Y: Big deal man; just look into her eyes confidently and tell her how you feel for her…
Sometime later, some other place, some other confidante- the same man but on the other side-
Y: I love that girl man; I have no idea how to say it; I just go weak in the knees when she comes in front of me…
Telling a girl how you feel for her can be the toughest task for most, but it usually appears to be no big deal from a third person perspective. It is after all a pretty small thing- just three small words-‘Chhoti si baat’. When you have to do it for yourself, however, there cannot be a more complex thing in the world. But ideally this should not be the case, and this is the premise that forms the backbone of this Basu Chatterjee offering starring Amol Palekar, Vidya Sinha, Asrani, and Ashok Kumar (in a cracker of a role). There is also a larger context in the movie, which is essentially how two different personalities approach their lives in general and how in this cut-throat world it is very important to be sure of oneself and street-smart to survive and win.
Amol Palekar plays Arun, a shy young man far away from any kind of cunning or manipulative behavior. He loves Prabha (played by the demure Vidya Sinha) but is unable to express his feelings to her. Arun works in a firm at a middle level post, and Prabha works in some another company that has its office near to that of Arun’s firm. Every morning Arun waits for Prabha at the bus-stop, follows her all the way to her office and then makes his way towards his own. In the evenings too he waits for her to come out of her office and follows her right back to her place. This does not go unnoticed at Prabha’s end, and she quite enjoys teasing the nervous and naïve Arun in some way or the other. Things go the same way, until a disruption in the form of Prabha’s friend Nagesh (Asrani is a very lively role) comes into Arun’s life. Nagesh is exactly what Arun isn’t- confident, smart, crooked, manipulative, and always ready with a witty excuse to escape from doing any work. Nagesh, Prabha’s co-worker, starts driving her to work in his scooter, snatching Arun’s joy of meeting Prabha in the bus.
Soon Nagesh makes out Arun’s feelings for Prabha and starts to make things difficult for him in more ways than one. Unable to accept things as they are, Arun decides to take help from a counselor and problem solver of the name Col. Julius (Ashok Kumar in a scorcher of a role), who lived in the outskirts of the city and was famous as someone whose advice was even valued by eminent personalities of that time. Arun stays with Col. Julius for a few days and gets training in love, life, and much more. Armed with various tricks and techniques taught by the Colonel, he returns to the city as a much more self-assured person and ends up wooing Prabha and beating Nagesh at his own game.
The plot is simple, but it is the sequence of events that are delightful to watch. The narrative keeps us involved at each and every turn and manages to evoke sympathy for Arun’s character in the initial few portions, and dislike for the smart and calculative Nagesh who dupes the naïve Arun more than once. In the final few minutes, one may actually find himself rooting for Arun to succeed. The dialogues are smart and the humor is simple but crackling. No one gets slapped, no one farts or makes silly faces, no one uses double entendres, and no one uses cuss words- this movie is a study on all the things that are missing from our comedies these days.
The performances are so natural that you will hardly think that anyone is acting in the movie. All the actors are the characters they play, and there cannot be a bigger achievement for people who indulge in this craft. Amol Palekar stands out in a role of a working class simpleton madly and hopelessly in love who has no clue about how to make that love materialize. Vidya Sinha is amazing as a middle class young woman. She is supremely charming and alluring; especially in scenes when she is hoping that Arun will transcend the barriers of shyness and make a move to initiate conversation between them. Asrani plays a brat with aplomb and Ashok Kumar plays the retired Colonel with such Joie de vivre that it is a treat to watch him at play. The movie also boasts of some melodious songs by Salil Chaudhary including “Na Jaane Kyun, hota hai yeh zindagi ke saath’, and ‘Jaaneman Jaaneman tere do Nayan'.
Basu Chatterjee tried keep a similar light hearted mood in almost all his films, and got is spot on most of the times (Though there were certain misfires like the Dharmendra and Hema Malini starrer Dillagi which could not achieve the cheerfulness and likeability of his other movies like Chitchor, Khatha Meetha, Baaton Baaton Mein, Rajnigandha etc). Let’s hope that someone comes and revives the genre mastered by him and Hrishikesh Mukherjee, in the same way as the Masala genre is being revived by the powerhouses of our movie industry.
Parting Note- Chotti Si Baat is a must watch- and there is no better way to put it. It is one movie that will keep you smiling throughout.
Sunday, August 7, 2011
On friendship day, recalling an on-screen friendship that is closest to how friends are in real life....
Three students renting a flat in a big city- all of them single, lazy, carefree, and most of the times out of cash. Sounds familiar? It is the story that plays out in our cities, especially Delhi and Mumbai, at more places than one. Sai Paranjape’s ‘Chashme Buddoor’ is a delightful take on bachelorhood and friendship. The three guys Siddharth, Omi, and Jai are played by Farooq Sheikh, Rakesh Bedi, and Ravi Baswani repectively. While Omi and Jai are quite exuberant and overtly desperate to have girlfriends, Siddharth is a shy person more interested in books than girls (He is made to wear thick spectacles to drive this point home I guess).
A delightful intrusion in their daily routine comes in the form of a charming young girl (Deepti Naval) that they spot from the window of their flat. Omi and Jai decide to take turns at attempting to woo her. The urgency and the excitement that this mere sighting of a pretty girl in the neighborhood brings to these two is quite relatable to what actually happens even in this time and age. They offer Siddharth an attempt at wooing her, but he declines. Then one by one Omi and Jai visit the girl’s home in the neighborhood. While Jai gets thrown out by the girl’s hefty brother, Omi walks out of her place after being mistaken for a plumber. Subsequently both of them, instead of admitting their failures in front of Siddharth, hatch up false stories of how they managed to woo the girl successfully and how she went on a date with both of them. Then on the pretext of sacrificing the girl for each other, they end the matter and vow to never think about the girl again.
Unknown to both of them, the same girl visits their home on a sales assignment for the ‘Chamko’ brand of detergent powder. Siddharth, being the only one at home, interacts with her and watches the whole sales demonstration, completely dazed by her charm and affability. In a not entirely chance encounter, they meet again. Slowly Siddharth and Neha, or Miss Chamko as he calls her, fall for each other and start meeting quite frequently. Siddharth also manages to get a job and later on, to his utmost surprise, he discovers that his boss is none other than Neha’s father. Things couldn’t be more perfect of Siddharth, but then Omi and Jai get to know about his affair with Neha. Slightly jealous of the fact that their friend had managed to woo a girl they couldn’t- they false a false picture about Neha in the mind of Siddharth.
The story is really uncomplicated and light hearted. The director creates an engaging set of characters and gives complete focus to their interplay and interactions instead of introducing unnecessary twists and turns and sub-plots. The actors do a good job and pitch in with truly natural performances. All of them are highly commendable, even the interesting role played by Saeed Jaffery of that of a neighborhood ‘panwallah’ who continuously keeps reminding them of their rising debt on cigarettes, but despite that takes keen interest in their affairs and wishes the best for them.
The one thing I didn’t like about this movie was its climax, which was probably designed as a tongue in cheek take on the way most Bollywood movies were at that time. Another instance the director tried using this tool was when Siddharth and Neha ridicule how film couples singing songs in gardens etc. when a plethora of people can watch them, but subsequently break into a song themselves. This sequence however is quite cute and brings a smile to your face. As a parting note- that can be said for the whole movie too…
PS- As per reports David Dhawan is remaking this film pretty soon- In my opinion he will murder the film by introducing unnecessary gags and songs- and will kill the soul of the film- i.e. its simplicity.
Wednesday, August 3, 2011
I dedicate this post to Mr. Kishore Kumar on his birthday (which I have just learnt about). He made an indelible contribution to this movie through one of his post popular songs (which I will talk about later in the post).
Masala actioners have been the bread and butter for superstar Dharmendra in much the say way as they have been the bread and butter for Hindi movies. Rarely did one get to see him in a simple understated role- but every time it happened, the effect was sheer delight. Hrishikesh Mukherjee’s ‘Chupke Chupke’ and ‘Satyakaam’ immediately come to mind as such instances, the other ones being his early black and white romantic movies- most prominent amongst them ‘Bandini’ and ‘Anupama’ (another Hrishikesh Mukherjee venture). Vijay Anand’s BLACKMAIL is another such movie where he plays a hardcore incurable romantic with much aplomb. The movie, apart from him, also starred Shatrughan Sinha, Raakhee, and Madan Puri in prominent roles.
On the surface this one looks like a regular romantic love triangle, but is actually slightly more complex than that. However it still has an uncomplicated story-line with no sub-plots whatsoever. Kailash (Dharmendra) owns a production unit where his uncle Prof. Khurana (Madan Puri) is working hard at idea that can change the way the world looks at electricity generation. After months of toil and effort, he is successful at generating electricity from solar heat (the idea may seem pretty non-impressive now that we actually have solar power). This invention by him promises to change the entire outlook of the industry towards electrical appliances. Meanwhile Jeevan (Shatrughan Sinha), a friend of Kailash, gets to know of this success seen at his production unit. Soon, he also discovers one more fact about his friend- that he is madly in love with Asha (Raakhee), but is unable to express his feelings to her. Incidentally Asha is not only Jeevan’s fiancé, but also the daughter of a man who owns a production unit rival to Kailash’s firm. Jeevan, thereafter, plots a cunning plan to obtain the secret blueprint of the invention by Prof. Khurana- a plan that can threaten to destroy the lives of both Asha and Kailash.
The story, though simple, is told wonderfully well and is engaging for most parts, except the climax that is quite stretched. What adds to the movie are the performances by the two male leads and the excellent music. For me, this is one of Dharmendra’s top 5 performances. His is the most difficult role for is the one saddled with the toughest scenes. He lends credence to whatever be the situation- be it the initial portions when he is the shy and hopeless romantic, or later when he discovers that his wife had a past, or when he led to believe that his wife was cheating on him after marriage, and still later in the pre-climax when gets to play the ultimate action hero he was when he rescues his wife from the clutches of the goons including Jeevan. Raakhee too does well as a woman caught between her past and her present. Shatrughan Sinha plays an outright villain till the very end really effectively.
The superb production values are eye-catching and the outdoor scenes are mounted beautifully. But all these facts aside, this movie is remembered and cherished by lovers of Hindi cinema predominantly because of the song- ‘Pal Pal Dil Ke Paas’ One of the most memorable romantic number from that era, the song is used more than once in the movie to a breathtaking effect. This song is also one of the finest by Kishore Kumar, arguable the most emotive voice heard on the Indian silver screen. The climax song too is memorable for it is truly one of its kind in Hindi cinema- wherein the hero and the heroine get intimate for the first time while hiding from the goons who are after their lives, in the middle of a forest (and a forest fire subsequently). In the hands of less able hands this would have proved to be too cheesy for screen, but Vijay Anand pulls it off quite aesthetically.
Parting Note- The movie is nice fell good entertainer embellished with great performances and a superb song- which I am signing off with…