Reviews

The movie exudes amazing energy. Vidya Balan 'owns' Shakuntala Devi, with her chutzpah, the anguish, the boldness and the confident-oozing 'Am I correct?' And the director should be commended for making depiction of Maths attractive and understandable to the viewer including the judicious use of visuals

One challenge a biopic offers is the plethora of content. Anu Menon and Nayanika as director/writers nail that by choosing to focus on two aspects - Devi's maths success and the mother-daughter conflict - giving us a glimpse of the human side of the genius. And the non-linear technique they choose - the mother-daughter conflict is in the foreground and the mother's story goes back and forth from the daughter's POV - aids them as well. Amit Sadh and Sanya are a pleasant revelation in their supporting roles.

While the movie is taut at 2 hours-few minutes I would have loved to see Devi's relationship with her husband and her relationship with her benefactor (Javier) sketched out in more detail - both appear somewhat hurried and sketchy. Interestingly 'she doesn't need me' is a common factor in both relationships! As is the epiphany 'my mother is first a woman' common to both Devi and her daughter. It is the subtle subtext that elevates the movie to a higher plane than being just another biopic!

True. DCH released in the new millennium was refreshing change from the melodramatic movies of the 90s - characters are real life-like and their relationships and dialogues identifiable, especially by the younger generation of the time. The array of suave stars and popular songs that are situationally placed, add to this allure. The direction is deft and the script is tightly paced. What's not to like?

While I enjoyed all of the above and the breeziness - as the movie ended I was struck by a sense of disappointment, that for a cult classic hailed as a turning point in urban cinema, something was missing and unabashedly gone unnoticed.

For one, the whole obsession with marriage. The movie centers around the coming of age of 3 friends (played by Aamir, Saif, Akshaye) - fresh out of college. The Aamir and Saif characters have no achievement monies or passions and the only growing up is that in the 1-2 years spanned by the movie they go from chasing all and sundry girls to finding a wife!

Akshaye's understated romance with the older woman, and his sensitiveness, especially when he vouches that not all deep relationships in life can be given a name, form the most refreshing part of the movie. Yet here too, the director falters and badly. While the older woman is perceptive enough to give a deeper meaning to his paintings, the way she handles the situation on discovering his feelings for her is inane and disappointing. Add to this how quickly after her death Akshaye finds a perfect girlfriend and plummeting of this refreshing track into triteness is complete!

The classiness and realism are truly over-hyped!

Old is gold here. Tight script, well-defined plot line, a multi-star cast handpicked to play well-etched characters, understated romances, action well-balanced with situational song-and dance routines. The movie has it all.

Amitabh is the lead protagonist, the seething introvert who is atoning for a past act of cowardice, by constantly striving to be useful to his fellowmen. Shashi is the flamboyant extrovert with the proverbial heart of gold. What unites them is their quest to protect the lives of the 400 mine workers being exploited by the stereotypically evil and capitalist to the core Prem Chopra. Throw a rustic runaway convict Shatru, who believes in picking a fight with Amitabh at the drop of a hat, and the conflicts add up.

Neetu Singh as the village belle, assigned to play the lead in all song and dance sequences, provides the glamour quotient and also the love interest for the rustic Shatru. The romantic undercurrents between the other two lead pairs are more subtle and shown to develop gradually. Parveen and Shashi are the urban sophisticates, whose easy camaraderie as ex college friends turns into a smoldering attraction. (This movie was made more than 40 years back so we don't see them in bed even though they are told to be living together.) Raakhee plays a mellow doctor who succeeds in building a deep relationship that transcends romance, with the introverted Amitabh, the high point being his willingness to share with her his deep secret of shame.

Kaala Patthar stands out for its polish within the mainstream framework. The climax is well shot though fairly predictable. The fight scenes are well executed and realistic. Even the minor characters show common sense instead of blindly giving into herd instinct - with some folks 'choosing' to follow the protagonists' plan and some others picking the opposite side, in the pre-climax scene. Neither Amitabh nor Rakhee is made to sing any song, adding gravitas to their intended characters. Parikshit Sahni is used for this purpose instead, as he breaks into songs that aptly micro their feelings and the progression of their relationship. A fine film ahead of its time.

Jeetendra, Rekha and Moushumi for the familiar triangle in this familiar tale of bigamy from 1980. Jeetendra-Rekha are in love. They take each other for dead in a dam burst. Jeetendra marries Moushumi. Rekha remains unmarried. They meet four years later. Jeetendra immediately enters into a physical relationship with her without telling her the truth. She even gives birth to a baby boy. All hell breaks loose only after that.

Jeetendra tells no truth to either woman. Yet when the cat is out of the bag his sanctimonious nobles requests Moushumi to make the decision of all three lives. Really?

The movie is written from some age old patriarchal perspective. Both women edifying Jeetendra instead of holding him accountable even for a mini for his treachery does not seem acceptable! Yet the soppy movie was a huge hit when released! Rekha in the role of the could be courtesan is gorgeous as ever. Moushumi has more of a supporting role in comparison. And ages for part of the movie. Jeetendra hams his way through. Couple of LP songs were hits in the 80s.

Within the framework of the cliched love triangle Barsaat tries to stand out by etching out distinct emotional trajectories for the two heroines. All else is routine kitsch. Bobby is portrayed as the weak-willed hero who wants to have his cake and eat it too. Bipasha pulls wool over his eyes when she is attracted to him, and uses her pull to get him a top position at her grand dad's BMW factory. Bobby's lack of self respect rather than his greed is what stands out as he agrees to walk down the aisle with her! Bipasha stays true to her character and 'nobly' renounces him on discovering his subliminal indecision to divorce Priyanka!

Priyanka has the more author backed role of the three despite making an entry almost an hour into the movie. Unwilling to divorce Bobby, she gives it all she has, to retain him. Yet she grants him his divorce when he confesses he has no love for her. The last scene where Bobby blames her for not recognizing he loves her back despite what he told her is ridiculous and only solidifies his weak character! I thought there was a plot point that was either dropped or not utilized - Bipasha has lost both her parents and been brought up by her grand dad (Shakti Kapoor!); Priyanka has also lost both her parents and been brought up by her grand mom (Farida Jalal!) I half expected them to be long lost sisters and Shakti-Farida o be an estranged couple! But the director did not seem to think so!

Bobby somnambulates through his routine Jeetendra-ish role and relies on his natural good looks to work the charm. Bips gets and on the nerves when she is tired of showing off her fab body ion itsy bitsy clothes to prove her 'westernized' role. Priyanka show the beginnings of her blossoming career as the quintessential hindi film heroine she would become during the next few years with Don, Fashion and Dostana. The supporting cast is wasted. The visuals are pleasing. Nadeem Shravan's music sounds familiar like they reused their 90s tunes.

Hat tip to Hrishikesh Mukherjee and Gulzar for pulling off a meaningful film based on friendship and betrayal, against the backdrop of capitalism vs. trade unionism, sans overt romancing and singing that was the hallmark of the early 70's, all with some top commercial stars of the era! Flawless in execution, tracing the emotional arc of the two protagonists, Vicky and Somu.

Amitabh as Vicky is intense and possessive. Rajesh as Somu/ Chander is exuberant and people-friendly. The emotional bond between them transcends mellow understanding of each others needs, it covers the gamut. It would be insultingly incestuous to call this bond 'brotherly'. If this movie were made in contemporary times high voltage passion bordering on obsession would be central to the Vicky-Somu relationship!

Vicky has faced the biggest humiliation of his life to date from the union leader Hangal. He flies from Bombay to Delhi and waits in Chander's bedroom to unburden. And Chander, stricken to see Vicky in tears, decides to 'infiltrate' the trade union and dethrone the leader. Later, one night, covered in an old blanket, Vicky pays Somu a visit in his basti. His fleeting reactions on seeing Somu flirt with the neighbor's girl (Rekha) should be seen to understand the depth of his feelings. The most poignant yet understated scene comes towards the end of the movie, where Vicky is grateful to his friend (Simi) for her ability to understand the transformation in Somu while he himself is unable to grapple with it!

If all of the above is not obsessive love, what is? When movies of those times shied away from showing kissing/ bedroom scenes even between a man-woman how could they have shown one between two men? Plus a man-man relationship had full societal sanction as long as any sexual attraction was shrouded in 'total denial'. While we know not if this was the director's intention there is more than mere sub-text in this movie, to suggest deep love transcending teh platonic between the two characters. And I say this in a noble way not judgmental, not fantasizing.

In contrast, Vicky's feelings for Simi are unshakably platonic, even though she harbors a romantic interest. Somu's flirting with Rekha does not culminate in any more intimacy either. It was the height of irony to watch the two scenes where both Amitabh and Rekha (who reportedly engaged in a real life romantic relationship a few years later!) grief strickenly watch their common object of love (Rajesh) who is in pain!

Asrani, Hangal, Manmohan, Raza Murad and Om Shivpuri lend strong support, making their characters credible. RD Burman's music has 3 chartbusters sung by Kishore and picturized on Rajesh Khanna. The mujra song however is utterly forgettable. The sequence was unnecessary as well, and probably added on for commercial reasons only. One of the reasons why I did not give the movie a 10 star rating.

Both Amitabh and Rajesh have 'lead' roles. Since Rajesh was a bigger star at the time, Amitabh was billed a supporting actor. While both give flawless performances, Amitabh does make the bigger impact of the two. His brooding role tinged with sorrow, the lower expectations attached to him at the time, that he was present in both the first and last frames of the movie, may all have contributed to this impact.

Daag is an utterly watchable film within the boundaries of a romantic commercial film of the 1970s. Thanks to a tight script, deft direction, and a fast narrative pace. The three principal characters, all flawed in their own ways, and ending up under the same roof with their intermingling conflicts, a are impeccably enacted by artists of caliber - the charismatic Khanna, a glamorous Sharmila and a gorgeous Raakhee. Add to this, beautiful locales, chart-busting melodies, bitter-sweet romantic moments, drama-filled courtroom scenes, popular supporting actors in intense cameos - no wonder Daag was a blistering blockbuster of its times!

The Rajesh-Sharmila pair continues to work the magic that started with Aradhana and carried through with Amar Prem and Safar, perhaps for the last time. Raakhee almost overshines the two combined, in a shorter role with no songs and no romantic scenes with Khanna despite being the third angle. She gets three-four impactful scenes and the strongest character arc - a woman of conviction willing to stand up for the truth, who uses her position to protect first Sharmila, then Rajesh. She rightly got the Filmfare award for the best supporting actress that year.

Sharmila's exaggeratedly glamorous avatar in the initial part contrasts with her white-clad simplicity in the later part and is evenly balanced by Raakhee 's elegant Chiffon-Chandni persona. Child stars Raju & Pinky, Madan Puri, Iftikhar, Prem Chopra, Achla Sachdev, Padma Khanna in a single song and Manmohan in a single scene - everyone proves a scene stealer. A young Kader Khan can be spotted in a courtroom scene, this was one of his earliest films.

If I have to pick on something - I would point out that some of the logic is somewhat warped. The elapsed time just does not add up. And the questionably cinematic ending - bigamy by any other name was a crime in 1973!

Aaina scripted by Honey Irani while dealing with the cliched triangular framework of those times, stands apart because of Honey Irani's well-defined characters.

Amrita as the selfish elder sister has the author-backed role that keeps her unabashedly gray throughout the movie without attributing any simplistic or moralistic reason for her bad behaviour. That is the first win for the script.

Jackie Shroff plays the rich businessman who is attracted to Amrita and believes it is 'love at first sight' and is ready to jump into marriage. As he interacts with the other sister, played by Juhi, he starts understanding the real meaning of love and decides to marry her - when Amrita ditches him at the altar. And, he stays true to Juhi after that. This decisiveness is what makes his character refreshing; contrast to those countless movies where the hero dilly-dallies between two heroines/ marriages because he is morally weak; and it is instead attributed to force of circumstances or death-bed promises or similar cliches!

Juhi plays the meek submissive sister cast in the bharatiya-nari image. Her transformation is more appearance-related though she does get her moment of glory when she learns to stand-up to her aggressive sister towards the end of the movie.

The second half drags with few plot points to keep the story moving. Defter editing would have helped. The one jarring plot point is the behavior of Saeed Jaffrey as the girls' father. He disowns Amrita when she returns; she starts to live with Juhi-Jackie and wreaking havoc in their marriage. The plot keeps him out of the equation - he is ostensibly in denial. Considering he was always over protective of Juhi - this tantamounts to 'lazy and convenient' writing!

Thakshak is that rare character-driven movie coming from the era when Hindi cinema was largely plot-driven. Govind Nihalani scores in giving us two fully developed emotional arcs through the characters of Tabu and Ajay D. Bold and spirited, Tabu is a simple middle class girl, who is not afraid to stand up for the truth. She abhors deceit and lies in all forms. Born and brought up within the world of crime, though questioning, Ajay does not have the guts to break away from his domineering father, and his even more daunting friend Sunny (Rahul Bose), who is unapologetically entrenched in evil. As their relationship evolves, so does Ajay. In one scene, Ajay tells his father that Tabu is an individual in her own right and he cannot dictate to her what to do. The scene where Ajay comes clean to Tabu about his criminal background is handled with maturity. Tabu is shown to have the choice to break off the relationship with no emotional blackmailing.

Understated Ajay uses his brooding eyes to make a lasting impact. Tabu is authentic and endearing as the fiercely independent and level headed girl who shows her heart is in the right place when the occasion demands. Rahul Bose enacts the role exactly as any other role of his - serious, anglicized and stiff - he has his limitations as an actor.

The relatively slow pace of the movie is a deterrent given the genre.

Romil and Jugal heartens. It is a simple love story where both protagonists happen to be boys. It focuses on their romance and the social perceptions that come in the way. Not on the process of coming out. Nor the angst. It makes use of Shakespeare's Romeo & Juliet as a functional prop within the narrative as well as the climax.

Jugal is the more aware and sorted of the two. And the more vociferous. Coming out to his parents as soon as the situation demands it though they are neither able to nor willing to understand him. Romil starts off as the Casanova cliche who is in denial. The blossoming romance with Jugal rips off the facade to reveal his insecurities and vulnerabilities.

R & J tackles the syndrome of loving parents disowning their children on the basis of their orientation and succeeds in showcasing its futility and meaninglessness effectively. The last episode is iconic. A drama is enacted to subtly reproach the behavior of the parents - which does drive home the point very strongly without being preachy.

R & J makes a strong statement against the heteronormative principle applied to homosexual relationships - the oft heard cliche about who is the man and who is the woman. When R & J consummate their love for the first time. Again during their shaadi when a question of which of them would have brought the baarat is hurled at them.

My one grouse? Hopefully the 'divorce' news at the end was a hoax! Somehow this went against the grain in this particular instance, for this film - given the suppression/ invisibility/ rejection gayness faces in India. (I normally love open endings but this one time wanted a happy ending)

Hat tip to writer Anu Menon and director Nupur Asthana for conceiving this sensitive tale of same sex love even as the battle against the reintroduction of SEC 377 was raging in India. They succeed in creating a very credible ambience of the fictitious small town where the story is supposed to take place. Their narrative style alternating between an airport encounter where the story is being told and the extended flashbacks where the love story unfurls, is effective in drawing the viewer into the inner turmoils of the lead pair.

The lead performances are top notch. Manraj Singh with his dimpled pointy face makes a perfect Jugal. Rajeev as the macho Romil is the perfect foil. Their chemistry is natural and makes their love story believable.

Thikana is underrated all round. It is one of those rare movies that explores the bhai-behen bond. And the Anil-Smita chemistry is more natural than filmy. The relationship unfolds through the scenes, where each is sensitive to consider the interest of the other and offer unconditional support. And both are flawed. Anil plays a lawyer who does not want to compromise on truth. But rather than do something constructive about it, he drowns his sorrows in the bottle. Smita, the voice of reason in the family, fails to see the other side of a sauve Suresh Oberoi despite a 7-year relationship. Rohini Hattangady as the mother is aggressively strong willed, determined that her way is the only way her children can be happy - a far cry from the rona-dhona mother figures of the time. Amrita Singh looks glamorous. The Mahesh Bhatt take on relationships are done with no judgment - and would fit in seamlessly with modern times. Smita is unapologetic about getting pregnant before marriage. Amrita is matter of fact in requesting Anil to spend a night with her. Performances are natural all round. Smita's sensitive sister act with her quivering voice stands out. The angry yet sensitive Anil is the perfect foil. A shoddy script and the long in the making hassles make the movie look jaded. Potential underutilized.

Swami is as much a story of the protagonist Mini's existential dilemma as it is of her love choices.

The headstrong and individualistic Mini (played by Shabana) ends up marrying a soft spoken and mild mannered man, her 'Swami' (played by Karnad) due to a twist of circumstances and the social mores of the earlier era in which the film is set. However her lack of love for her Swami does not deter Mini from raising her voice against the injustice meted out to him and incurring the wrath of his joint family members. Things get complicated when the ex lover arrives and she decides to flee from her marital life. While her realization on the value of her 'Swami' at this juncture and the predictable decision she makes, is a foregone conclusion, where the movie scores is the deft manner in which Basu Chatterjee narrates it, ably aided by a superb Shabana Azmi who synthesizes visibly Mini's streak for outspokenness with her ability to empathize! Karnad and Vikram in supporting roles are just that - supporting actors! A special mention is warranted for Rajesh Roshan - be it Yesudas's Ka karoon sajni or Kishore's 'Yaadon mein tum' or Lata's 'Pal bhar mein" the music is outstanding! It helps that the songs are situational especially for a movie made in the seventies!

The existential dilemma, the underlying subtext of Mini's saga is what elevates the movie from 'good' to 'great'. While accepting her 'Swami' resolves the marital vs. pre-marital conflict - her quest to have her own identity, a life that is more cerebral than mundane, still remains unfulfilled. The movie starts with her telling us of her foolishness to run away but what comes through is the futility she feels of her own existence which even by the limited choice she has exercised does not fulfill her higher aspirations!