Tezaab- The best rip-off ever made in Bollywood
Tezaab completely blew me away when I saw it in the theater back in 1988. This movie presents a unique Hindi movie experience - mainly due to its breakneck pacing, tight editing, Anil Kapoor's raw performance as an ex-patriot and the phenomenon called Madhuri Dixit that got unleashed on the unsuspecting Indian audience. Chandra did a great job in brewing this violent love story with choicest set-pieces lifted straight from Hollywood and Hong Kong movies such as Streets of Fire (main story), The Untouchables (bank robbery scene) and Jackie Chan's Police Story (the destruction of the villain's lair using multiple cars as weapons of choice). Interestingly, in hindsight, it is hard to imagine Tezaab without any of them. Typical Bollywood elements are also in abundance here such as boy meets girl, the sleazy father beats girl, girl fights boy, boy ridicules girl, villain eyeballs girl, boy threatens the social order, and corrupt police whup boy's ass. In other words, the storyline is as old and only as engrossing as a dormant volcano, which, by the way, could explode in any century or minute. As one reviewer mentioned - It is the execution that separates Tezaab from the junk routinely made by Bollywood. Rest of the usual shenanigans are covered under measured doses of misunderstood love triangles, the inevitable hero's sidekick (an outstanding Chunkey Pandey here) and his minions, lilting music, songs, dances, and the ubiquitous ugly comedian - Johnny Lever. It is all there. So what is not to like? Well, there is one thing that sometimes troubles only the Coen Brothers - and that is originality. Not a single scene in this movie is original by any standard, but it worked in those days. And it still works in Bollywood because the majority of its audience are neither connoisseur of international cinema nor avid readers of psychology. Why psychology you ask? Well, in the movie Anil Kapoor's character attempts suicide to prove his love to the leading lady Madhuri Dixit. Now her character is a student of psychology and if the screenwriter had done some research on psychology, he would have found out that a psychology major would be extremely cautious around a person who professes his love by threatening suicide by jumping off a building. Nevertheless, Indian filmmakers routinely apply to their creation- Oops! Did I say creation? I mean inspired creation- the logic of Looney Tunes, and that is why no matter how loony the hero maybe, the heroine always tunes into his call. Notwithstanding the flaws, Tezaab also scores mainly due to its smart editing, as mentioned earlier. The movie jumps back and forth in timelines at various crucial moments in the movie and this, in my opinion, is the most original aspect of this movie. It is put to use very effectively to convince the viewers of Kapoor's character's transformation from a patriot to a criminal and to establish grounds for his volatile love affair with his girlfriend. Most of the characters have violent proclivities- notably Annu Kapoor as a chaiwallah with lofty aspirations and Suresh Oberoi as an incorruptible cop who acts as Anil Kapoor's conscience. The director spends just enough time with these characters to let them justify their brand of violence. They come in and out of the flashbacks at the most crucial moments and truly propel the story to the next set-piece. Despite some obvious drawbacks, Tezaab remains one of the most memorable action flicks from the '80s that even women liked. Watch it, and you just might smell the acid that the director so skillfully distilled for us to enjoy.
Tezaab completely blew me away when I saw it in the theater back in 1988. This movie presents a unique Hindi movie experience - mainly due to its breakneck pacing, tight editing, Anil Kapoor's raw performance as an ex-patriot and the phenomenon called Madhuri Dixit that got unleashed on the unsuspecting Indian audience. Chandra did a great job in brewing this violent love story with choicest set-pieces lifted straight from Hollywood and Hong Kong movies such as Streets of Fire (main story), The Untouchables (bank robbery scene) and Jackie Chan's Police Story (the destruction of the villain's lair using multiple cars as weapons of choice). Interestingly, in hindsight, it is hard to imagine Tezaab without any of them. Typical Bollywood elements are also in abundance here such as boy meets girl, the sleazy father beats girl, girl fights boy, boy ridicules girl, villain eyeballs girl, boy threatens the social order, and corrupt police whup boy's ass. In other words, the storyline is as old and only as engrossing as a dormant volcano, which, by the way, could explode in any century or minute. As one reviewer mentioned - It is the execution that separates Tezaab from the junk routinely made by Bollywood. Rest of the usual shenanigans are covered under measured doses of misunderstood love triangles, the inevitable hero's sidekick (an outstanding Chunkey Pandey here) and his minions, lilting music, songs, dances, and the ubiquitous ugly comedian - Johnny Lever. It is all there. So what is not to like? Well, there is one thing that sometimes troubles only the Coen Brothers - and that is originality. Not a single scene in this movie is original by any standard, but it worked in those days. And it still works in Bollywood because the majority of its audience are neither connoisseur of international cinema nor avid readers of psychology. Why psychology you ask? Well, in the movie Anil Kapoor's character attempts suicide to prove his love to the leading lady Madhuri Dixit. Now her character is a student of psychology and if the screenwriter had done some research on psychology, he would have found out that a psychology major would be extremely cautious around a person who professes his love by threatening suicide by jumping off a building. Nevertheless, Indian filmmakers routinely apply to their creation- Oops! Did I say creation? I mean inspired creation- the logic of Looney Tunes, and that is why no matter how loony the hero maybe, the heroine always tunes into his call. Notwithstanding the flaws, Tezaab also scores mainly due to its smart editing, as mentioned earlier. The movie jumps back and forth in timelines at various crucial moments in the movie and this, in my opinion, is the most original aspect of this movie. It is put to use very effectively to convince the viewers of Kapoor's character's transformation from a patriot to a criminal and to establish grounds for his volatile love affair with his girlfriend. Most of the characters have violent proclivities- notably Annu Kapoor as a chaiwallah with lofty aspirations and Suresh Oberoi as an incorruptible cop who acts as Anil Kapoor's conscience. The director spends just enough time with these characters to let them justify their brand of violence. They come in and out of the flashbacks at the most crucial moments and truly propel the story to the next set-piece. Despite some obvious drawbacks, Tezaab remains one of the most memorable action flicks from the '80s that even women liked. Watch it, and you just might smell the acid that the director so skillfully distilled for us to enjoy.