I’ve been exceptionally busy over the past few weeks, and even had to give up the idea of publishing a post last week—simply because I didn’t have the time. But today is the birthday of my favourite Hindi film star, Shammi Kapoor—how could I not post a tribute?
So, even though it’s meant doing some crazy juggling of schedules, here we go. A Shammi Kapoor film that, while it’s not classic Shammi, is at least fairly entertaining. And has the distinction of being the earliest Hindi film I’ve seen which was actually filmed abroad, not just set abroad.
The first time I watched this film was on TV, back in the mid-80s. Luckily enough, our TV was hooked up to a VCR, and a blank tape was in the VCR – so we recorded Professor. I loved the film so much, I rewatched that tape again and again over the next 15 years. By that time, VCDs had come to India and I’d just gotten married. My husband and I bought a VCD player. And guess which was the first VCD I bought?
Now I have the DVD, and I have seen Professor so many times that I know each scene. I remember a lot of the dialogues, and I still love the film as much as I did way back then the first time, as a starry-eyed, Shammi Kapoor-loving 12 year old.
For a lot of people of my generation – or those younger than me, who have seen Shammi Kapoor in his earlier films, this is the film that is probably representative of Shammi Kapoor: the ‘Yahoo! Kapoor’ as a friend of mine says with a sneer. Junglee is one of the major successes of Shammi Kapoor’s heyday. It is also, with Shammi’s wild whooping and crazy antics in songs like Suku suku, an important reason for him getting saddled with that ‘Yahoo! Kapoor’ epithet.
Yesterday morning, when I woke up and logged on to the Internet, the first news headline I saw was that Shammi Kapoor had passed away. I have never been so affected by the passing away of one of the many stars of the past who have died in the recent past… but the news of Shammi Kapoor’s death brought tears to my eyes. I have a lump in my throat even as I type this.
I had not really intended to write this review now. I am in the midst of a blog project in which each post links to the previous and the next posts in some way or the other. But I could not ignore the passing of my favourite actor. I would never forgive myself for that. So, while this post does have a connection to the last (Humayun was a ‘raja-rani’ – ‘king-and-queen’ – film; so is Rajkumar), it is, first and foremost, a tribute to the brightest, most joyous and most entertaining star of the 60s. A sun that will never set.
For anybody who’s been following my idea of ‘linked posts’ – each post connected to the one before, and to the one after – this probably comes as no surprise. And Then There Were None was based on Agatha Christie’s highly popular novel and play; Gumnaam is, in turn, an adaptation of And Then There Were None. Not a completely faithful adaptation, but a vastly entertaining one, as you’ll see if you scroll through the comments on my And Then There Were None post: most of my readers, even if they’ve not seen the Hollywood film, have had something to say about Gumnaam.
This post is dedicated not just to music directors like O P Nayyar and Naushad (who made ‘tonga beats’ an important musical style), but also to friend and blog reader pacifist, who came up with the idea. Writing to me some weeks back, pacifist made a request: that I do a list of horse-drawn vehicle songs.
So: here’s the list, pacifist. Ten of my favourite ghoda-gaadi songs, from pre-70s films that I’ve seen. Other than that, my requisites for the selected songs were:
1. That the person singing (on screen, that is) remains in the ghoda-gaadi through at least 80% of the song (which is why Ae dil hai mushkil doesn’t feature in this list).
2. Horse-drawn vehicles of all types qualify: tongas, Victorias, phaetons, even chariots. Horseback is out.
3. And, no two songs from the same film are allowed.
I had been meaning to see this film for a while now, and Richard’s recent post—on the occasion of Vyjyantimala’s birthday—encouraged me to hurry it up a bit. So I finally got around to pushing the DVD to the top of my rental queue, and saw it. Impressions? Well, somewhat mixed. I think I’d club Kathputli in the same category as Barsaat ki Raat: beautiful on the eyes and the ears, but disappointing in other ways.
My guardian angel in charge of film viewing seems to think I’m in serious need of improvement. Which is probably why I’m finding myself subjected to a series of films centred round the difference between good women and bad women. That Touch of Mink tried to touch on it in a humorous way; Bhabhi was more blunt (are sledge hammers blunt?); and Hariyali aur Raasta, though not quite as in-your-face as Bhabhi, had very much the same message: good women choose honour, family and home over all else.
Love in Tokyo was before my time, but I can well imagine what its trailer should’ve been:
Japanese gardens! Asha Parekh in a kimono! Joy Mukherji in a wet shirt! Mehmood as a geisha! Mehmood as an Arab doctor! Mehmood as a nawab! Mehmood as Asit Sen!
And so on and so forth. It probably would’ve mentioned a few other attractions: Pran as a lecherous villain (so what’s new?), Lalita Pawar as a tyrannical matriarch with a soft heart (ditto), surprise revelations, a gold digger without a conscience, and a comic side plot without a shred of sense in it.
In spite of all that lunacy, though, this is an entertaining film with a certain mad charm about it.
I’m always on the lookout for old, offbeat Hindi films. Something without the hackneyed romances, the clashes between rich/poor, urban/rural, good/evil, the sudden breaking into song and the neat tying up of all loose ends once the regulation three hours are up. Don’t get me wrong; I have nothing against masala films—some of my favourite old films are masala to the spice-sodden core. But somehow a film like Kanoon, Ittefaq, Anokhi Raat, Kabuliwalaor Dekh Kabira Roya, each unusual in its own way, has a certain je ne sais quoi. So does this, Nargis’s last film. There’s something a little hat ke about a film in which the romance is really quite minimal, and the strange light-and-shadow personality of a schizophrenic woman is the main focus of the plot.