Bodyguard (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)

Deewar (1975)

As I promise in the blog description, every now and then I will revisit popular classics for, as I mention, it is hard to stay away from fast food for long. And what better mouth-watering and sumptuous meal than Deewar.

Yash Chopra’s Deewar is the quintessential Hindi movie for me. It would be futile trying to put in under a genre, for it’s a genre in itself. Many films hence have tried to repeat the formula (or what is perceived to be a formula), but hardly any other movie can claim coming close to level of intensity that was evident in each and every scene of this iconic movie written by Salim-Javed (Bas naam hee kaafi hai). I write this piece as a humble ode to this memorable offering from the 1970s, and this in no ways is a review.

One thing that is striking about most potboilers from the 1970s and early 80s is that they nearly always started by showing the childhood of the protagonists. For it was the childhood that shaped the way the protagonists would turn out to become after the time leap. It is the same in Deewar, but the initial sequences here have arguably more significance than in any other movie. It starts off with dilemma faced by the union leader when he has to decide between the good of his union and the lives of his children and wife. Compelled by circumstances, he makes a terrible choice and bows down to the demands of his bosses- thus in the process letting down the hopes of hundreds of co-workers. He is humiliated and unable to face the wrath of his community, he runs away leaving his children and wife (played by Nirupa Roy) to take care of themselves.

For me there are a few things that define the phenomena Deewar is, and the first follows soon after-

MERA BAAP CHOR HAI- Few street hooligans forcibly tattoo the words ‘Mera Baap Chor Hai’ on young Vijay’s arm (elder of the two brothers). This is one of the many master-strokes by the Salim-Javed. These words on his arm have a tremendous impact on young Vijay’s mind and these words play a crucial role in shaping his psyche and behavior as he grows up and even later on when he goes on to become what he becomes.

THE BRIDGE- after Nirupa Roy and her two children move to the city to escape the hostility of their community, she takes up menial jobs to earn bread of her two children. She toils hard and sacrifices her own health to enable her children to live as comfortably as they possibly could. They spend their nights under 

bridge which becomes a sort of home for them.

MAIN PHENKE HUE PAISE NAHIN UTHATA- Young Vijay takes up to boot polish to earn some money so that he can help his mother educate Ravi. His refusal to accept the coin unceremoniously thrown towards him by a customer defines the angry young man persona that he would later go on to adopt (played by Amitabh Bachchan).

As the two kids grow up, they choose radically different paths in life. While younger Ravi (played by Shashi Kapoor) studies hard and becomes a graduate, Vijay keeps at doing menial jobs and lands up as a worker in a factory. What follows next is one of the most powerful scenes in Hindi cinema when Vijay refuses to pay the weekly tax to the local goons after witnessing the death of a young co-worker doing the same.

Things take a dramatic turn when Vijay takes to crime and starts doing illegal activities. On the other hand, Ravi takes up the job of a Police officer after been unable to find a job anywhere else (with the help of his girlfriend played by Neetu Singh).

Meanwhile Shashi Kapoor and Neetu Singh find time to sing one of my favorite duets from that era- Keh Doon Tumhein-

Once the conflict is established the screenplay remains taut and engrossing throughout. The clash of ideologies between the two brothers creates a wall (‘Deewar’) between the two brothers and leads to drama that has awed and enthralled hindi movie lovers since these past many years.

BHAI TUM SIGN KARTE HO YA NAHIN- The drama reaches a high point when Ravi confronts Vijay and demands that he accept his mistakes and give up the life of crime. The mother is shown to be a witness of this confrontation and this elevates the tension of the scene- a memorable exchange between two characters having diametrically contrasting viewpoints in life.

MERE PAAS MAA HAIN- I think if we have to make a list of Hindi movie dialogues that have been repeated the most in some form or the other- then this one would be the undisputed winner. Again a confrontation sequence between the two brothers that takes place under the very bridge where they started their lives in the city- this is one something else altogether. 

AAJ KHUSH TOH BAHUT HOGE TUM- Now this is one relationship that is as powerful and critical to the whole movie as any other (if not more). The relationship Vijay, the naysayer, the disbeliever- shares with God. In a memorable sequence Vijay enters a temple for the first time in his life (since they moves to the city at least)- his objective- to save his mother’s life.

THE END- Now this one was expected and there was no other way to culminate the film. Vijay had to die. He died, but the character still lives- Arguably the best performance of Amitabh Bachchan, arguably the best script by Salim-Javed- and most certainly the best movie by Yash Chopra. Legendary stuff.

Katha (1983)

First post in the series- and will start with 'Katha'- for that's what movies are- stories on celluloid...

This 1983 Naseeruddin Shah- Deepti Naval- Farookh Sheikh starrer is a take on the popular children’s tale- ‘The Hare and the Tortoise’. It is a light-hearted comedy with a simple narrative that shows the daily hustles and bustles of a Mumbai ‘chawl’, and how the life of the simple-helpful-naïve-idealistic Rajaram (Naseeruddin Shah as the Tortoise) changes when the confident-clever-manipulative-complacent Bashu (Farookh Shiekh as the Hare) re-enters his life. The sequence of events brings out a stark contrast between the two characters and how they approach each and every situation and life in general. Very subtly the film also paints a comparative picture between the ‘high society’ and the ‘chawl class people’. The unity that binds the ‘chawl’ people and the way they enjoy simple joys of life is shown in a very adept manner. Although this is an ensemble cast film, there are almost no sub-plots or distractions and the movie sticks to its core idea. The end is beautifully done and is really thought provoking. The old story has it that the tortoise always wins. But in today’s times, as a character rightly sums up- ‘yeh jeet bhi koi jeet hui?’

A very little known classic by Sai Paranjpaye movie- this certainly deserves a watch. No big budget- no foreign locales- no big stars- no popular songs- no thrills and action- just a simple engaging story that will make you smile a lot. Farookh Shiekh plays the brat really well and Naseer excels as the simpleton. In a way this a role reversal of sorts as Farookh Sheikh was known to play simple sad characters and Naseer would be thought of as more suitable for what his anti-thesis in the movie is.