This website is dedicated to Desi Music (Desi being someone of South Asian descent - from India, Pakistan or Bangladesh) that you can listen to in the Jukebox below. Special thanks to my parents - for passing on their love of Desi music to me and my brother. For more on how this blog came to be - please check the first 'Intro' entry. *If music be the food of love, play on.-Shakespeare*
The recipient of the Filmfare Award for Best Picture of 1982 marked the first time that Bollywood fans got to see two living legends together for the first time. Amitabh Bachchan was said to have wanted to work with Dilip Kumar for many years but kept waiting for the right script. The team of Salim-Javed were commissioned to write one with instructions to give both stars equal roles and were rewarded with the Filmfare Award for Best Screenplay for their efforts. The story revolves around the relationship between the two stars (playing a policeman/father and his son) and the fateful decision made by Dilip Kumar's character early on in the movie. When confronted by gangsters who are holding his son ransom, the wafaadar cop refuses to negotiate with their demands, forever scarring his only child delicate psyche and thrusting him into a life of crime. This leads to an inevitable climax between the two much like what happened to a family separated by crime in 'Deewaar' (also written by Salim-Javed). Made by the same writing/directing team who brought us 'Sholay', this movie is a gritty and solid drama that is made even more complete with all the star power behind it.
The star power doesn't just extend to the two stars which brings us to the character of Roma Devi, played by Smita Patil. A star of parallel cinema who was also an activist for the advancement of women and children in India, Smita Patil transitioned seamlessly into mainstream Bollywood and brought grace and dignity into any role she played. She died due to complications from childbirth at the age of 31 and her passing (like Madhubala before her) left behind an incredible void that was filled in time with the likes of Shabana Azmi, Nandita Das and Tabu. Her role as Amitabh's love interest could have been easily overlooked amongst the two leads but she remains one of the most memorable things about the movie. So who came out ahead in the old guard versus the new between Dilipsaab and Amitji? The Filmfare Award went to Dilip Kumar even though Amitabh was nominated in three out of the available five nominations (the other two movies he was nominated for were 'Bemisaal' and 'Namak Halal'). As a fan of both, it came out to a draw for me as they both have such different styles and showcased them brilliantly for this movie.
'Shakti' broke new ground not only for the pairing of the two aforementioned stars in their first and only movie. It also did so for having only three songs in the entire film during a time when big Bollywood movies mandated at least six to fill up the soundtrack. Today's selection is Humne Sanam Koby Lata, a beautiful number that is just enchanting in both it's music and delivery. R.D. Burman provided the music and usually reserved his best work for wife Asha Bhonsle but Lata just takes this song (about writing a letter to her lover) and makes it something special. Indeed, she insisted on singing it during a tribute concert to R.D. shortly after he passed away. Much like the movie 'Heat' in which Al Pacino & Robert Deniro shared the screen for only a few key scenes, 'Shakti' does the same with Amitabh & Dilip Kumar and the end result for both movies is the same - an instant classic that holds up years down the line.
Just tell me a good story Mr. Moviemaker, it's really not too much to ask. While you're at it go ahead and challenge me by making that story just a little different than the other ones out there, teach me something I didn't know before and make me feel an emotion - any emotion. You don't need to blow up a bunch of stuff (although sometimes it does make the story more fun) or spend a billion dollars making your point - just spend some time telling me a good story and that will make all the difference. The tale of Jamaal (Dev Patel) aka the Slumdog and how he just might become a Millionaire is a good example of how to by make a very special Bollywood movie by someone who has no experience in how to do so - but who does know how to tell one heck of a story. Danny Boyle has directed two of the most original and exhilarating movies of the past few years with 'Trainspotting' and '28 Days'. And if you can make movies about drug abuse and zombies (respectively) a movie experience, by all means then, go ahead and try your hand at a movie about - street children, orphans, religous riots, lost (and found) love, crooked cops & even crookeder criminals and last but not least - game shows.
If you don't know how in the world anyone could have possibly made a movie about all this and have it ALL MAKE SENSE then watch this little independent movie that is the current darling of the awards circuit. Winning the Golden Globe for best drama, best director, best screenplay and (drum roll please) - best original score for the maestro A.R. Rahman - who became the first Indian to win the prestigous prize. The awards will most likely continue to pile up as it has been nominated for 11 awards at the BAFTA's - the British equivalent of the Academy Awards - and is all but a shoo in for the Oscars themselves. Danny Boyle did his homework and watched a slew of Bollywood gangster movies to get a feel for the genre. Indeed, he called out 'Deewaar' (1975),one of my all time favorite movies, as being 'absolutely key to Indian cinema'.
With all the accolades being heaped on this movie the only thing I was worried about was the possible backlash about how India is portrayed in the movie like this rant from the Big B himself. Considering he is so prominently figured in one of the movie's key scenes I am somewhat taken aback by his reaction to it. Bombay is one of the greatest cities in the world and this movie portrays it in one of the most honest ways I have ever seen it done so. We get enough of celluloid eye candy from the glorious musicals that Bollywood pumps out year after year - a movie or two that shows us the seedy underbelly of the city is refreshing (if somewhat unsettling) as well. A friend of mine called me after watching an advance screening and asked me 'What would you do for an autograph of Amitabh Bachchan?' and then told me I had to go see this movie. Indeed, when I saw what our protagonist Jamaal is willing to do for the autograph I instantly knew that the makers of this movie 'got it' when it came to Desi culture.
The soundtrack boasts many great tracks that represent the first collaboration between A.R. Rahman and the Sri Lankan born singer M.I.A. They were both mutual fans of the other when the director of the movie introduced the two and challenged them to provide a soundtrack that was as frenetic as the city itself. The result is a product that helps move the story along at a breakneck pace but slows down the action when needed. Today's selection is Ringa Ringa which is played when Jamaal and his brother Salim go looking for Latika (Freida Pinto) in the city's notorious red light district. If the song reminds you of Choli Ki Peeche it's because it was sung by the same two singers as that classic Bollywood tune, Alka Yagnik & Ila Arun.
*Evdience that 'Slumdog Millionaire' has already achieved success in the US that is usually reserved for Hollywood productions - the yellow scarf that Freida Pinto is wearing in the movie has been on the 'must have' lists in many a gossip rag. Adding to the mystery of the movie, the wardrobe designer says it was a one of a kind piece that would "bookend the journey--to tie her childhood yellow dress to her final look".
"On a dark and stormy night" is how Madhumati begins and director Bimal Roy sets a dreamy yet uneasy mood so well that the audience follows with a feeling of nervous excitement through the rest of the movie. Indeed the movie holds up well nearly half a century later because of the concerted efforts of it's makers, stars as well as it's unforgettable soundtrack. Madhumati was well rewarded for it's efforts with nine Filmfare Awards, commercial success and was a darling of critics as well. It was Roy's second win in the short life of the Filmfares as he had also won best director in the inaugural Filmfare Awards in 1953. Technically speaking it is not as polished as the films of today for obvious reasons but watching legends such as Dilip Kumar & Vyjayantimala on the screen together are worth the time invested viewing on their own. Add to that the breathtaking scenery (even in black & white), the original story with a Sixth Sense like twist at the end and the pitch perfect soundtrack and this movie becomes a must watch for Bollywood fans both new and old alike.
The jewel of this movie however is the soundtrack. Salil Choudhury triumphs as the music composer in what is considered his finest and most commercially successful movie. He grew up in the tea growing state of Assam and spent many a day in his youth trekking with his forest ranger father. Madhumati is said to have been an ode to that time in his life and the songs match the story of the forest maiden and her Prince Charming rather well. In fact the entire movie's mood and ambiance is framed brilliantly by it's editor (Hrishikesh Mukherjee) who not only won a Filmfare Award for his efforts but also became a celebrated director in his own right.
Lata counts Aaja Re Pardesi as among her ten best recordings ever and earned her first statuette with her rendition of the song . "I love all the songs of Madhumati but this one was special and I still remember how happy everyone was on the day it was recorded. Lyricist Shailendra gave me flowers and then Bimal Roy himself came forward to congratulate me! The song was beautiful and it was such a big hit too." The three songs for today include the aforementioned Aaja Re Pardesi, Bichua and my personal favorite - Zulmi Sang Ankh Ladi. Below are the videos of the songs and following them are screencaps from the movie with commentary.
Aaja Re Pardesi
Bichua
Zulmi Sang Ankh Ladi
On a dark & stormy night Devendra (Dilip Kumar), an engineer, is traveling with a friend on a lonely highway to pick up his wife and child from the railway station. A landslide blocks their path and the two take shelter in an old mansion nearby. Devendra finds the house uncannily familiar and in the large front room he finds an old portrait which he recognizes. His friend and the old caretaker join him, and Devendra, amidst flashes of memory from another life, sits down to tell his story while the storm rages outside. Like his Hollywood counterpart Cary Grant, Dilipsaab was class personified and was devastatingly handsome to boot.
Comedian Johnny Walker (who took upon the name of the scotch favored by the British Raj during their time in India) provides the comic relief as the assistant to Devendra. Most roles he undertook required that he be intoxicated at least some of the time, I don't recall him ever being sober through a whole movie.
I love the way the audience is introduced to Madhumati (Vyjantimala) - as Anand (Dilip Kumar's character in the flashback) is looking for the woman behind the enchanting voice he keeps hearing during his time in the forest. The mountain mist parts to show her to us and him for the very first time. This film rocketed her to the top tier of Bollywood's stars and earned her the Filmfare Award for best actress not only for her acting but for her formidable dance skills as well.
We come to find out that the young forest maiden lives alone in a log cabin with her Paul Bunyan-like father and he is an imposing figure indeed. Anand not only proves his mettle by sneaking into her house to meet her during the evenings but also wins over dear old dad who has a centuries old feud with Anand's employer.
Ugranarayan (Pran) is the zamindaar (landowner) who is Anand's boss and in addition to having a very intense name is also a ruthless and arrogant man. Anand refuses to bow down to him and has a showdown with him that unfolds in the film's climax. Is is it me or does Pran look an awful like actor Jon Lovitz? And why do zamindaars in Bollywood always have to be so evil?
Jon Lovitz
The foreshadowing in the bichua (scorpion) song that takes the movie into it's second act. As stated earlier, the director's deft hand gives the movie an eerie mood right from the beginning scene and never really lets the audience feel comfortable with what is happening on screen even during the romantic scenes. We know that something terrible is coming but the way the plot finds it's way to a satisfying end makes it all well worth it - even 50 years later.
One of the all time best soundtracks to come out of the vaunted Yash Raj Films production house, Lamhe was also one of the biggest box office flops in Bollywood as well. Whether you enjoyed the story of Viren (Anil Kapoor) who falls in love with Pallavi (Sridevi) while on a trip to Rajasthan or found it quite strange like our friends over at The Post Punk Cinema Club most will agree that the songs from the movie are now considered classics. Although it was a commercial disappointment in India, 'Lamhe' became the first movie to make more money in the overseas market rather than at home and is considered a landmark in that regard. It showed distributors in India that there was a huge demand for Bollywood movies with NRI's in the UK and US. Critically speaking it was the most decorated film of the year and swept the Filmfare Awards winning best film, best story, best dialogue, best comedian and best actress.
The film was primarily filmed in Rajasthan which is one of my favorite parts of India and quite the tourist mecca for desis and non-desis alike. Indeed, the scenery and music of that region provide much of the unique flavor of the movie and provided many people not raised in India (myself included) our first glimpse into the enchanting state that translates into 'Land of the Kings'. The movie also introduced me to the dusky and haunting voice of Ila Arun who hails from Rajasthan and whose voice provides a striking contrast to that of Lata in both songs for today. While Lata and her progeny ruled Bollywood for good reason, singers like Ila Arun (and for you old schoolers the late great Noorjehan) are what gives Bollywood it's unique tapestry. The songs for today are sung by Lata & Ila Arun - the videos are below and are necessary viewing not just for the glimpse into Rajasthan but also because they showcase Sridevi at her prime. Incidentally, Yash Chopra cites this film and 'Silsila' as his personal favorites - they were both commercial duds but have actually increased in popularity over the years and are now remembered quite fondly. Morni Bagaan Maan (with subtitles)
First things first, 'Suhaag' is madness, sheer madness. In fact there is so much insanity crammed into this movie that one review on it just wouldn't be enough. Today's review is another joint project between me and Beth from Beth Loves Bollywood & I encourage you to visit her site for lots of great insight as well as a plethora of dazzling screen shots. Manmohan Desai arguably directed three of the greatest masala films of the 70's ('Amar Akbar Anthony' and 'Naseeb' being the other two) and with this one quite possibly broke the glorious mold that made them up. This film squarely falls into what my friends & I refer to as Bollyweed movies meaning that either the filmmakers were smoking something during production or that you needed to be smoking something while watching. Bollyweed movies have several requirements to be considered as such so let's take a few minutes to review what those would be...
~ stars, stars and more stars. In fact you need a minimum of 2 heroes and thus a minimum of 2 heroines & goondas with plenty of henchman. Just watching your favorite actor or actors act their way through these delicious messes of movies is worth the price of admission.
~ a generous dash of masala but beware, Bollyweed movies are not just your standard masala fare. Yes, you do get the drama, comedy, fight scenes and tragedy - just on a whole other level.
~ a plot line that borders on ridiculous yet manages to remain coherent by being connected with the most implausible coincidences.
~ fantastic seventies fashion, lots of color in every scene and insane camera angles galore. In fact the visual overload in these movies actually can make the movie enjoyable to someone even if there aren't any subtitles.
~ last but not least it's the tunes. The songs in any Bollyweed movie are the glue that holds them together and the reason the movies are remembered with such affection even after all these years. Yes, you could say that about most Bollywood movies but the music composers of the seventies were experimenting with so many styles borrowed from the West while remaining true to Hindustani filmi music and thus created an altogether new sound.
Which bring us to 'Suhaag', a movie that not only meets all the above requirements but exceeds them to a delicious new level. I won't even try to do a blow by blow of the plot but instead will go through some of my favorite parts in chronological order - trust me, not knowing the plot may actually enhance the fun factor of this movie. We recently saw this with a bunch of our Desi friends and while we did have to fast forward all the non Amitabh/Shashi parts due to time constraints, we did have an amazing time and yes, everyone knew all the tunes and sang along to all of them :)
The opening few scenes are just dizzying and as my friend Gurmanjit said - more happens in the first twenty minutes of this movie than happens in the entirety of most other ones. Suffice it to say that 2 twin brothers (fraternal) get separated and one of them ends up with a very bad man. In this scene what appears to be a crippled zombie is trying to get the stolen baby...
Nirupa Roy's character (aka the eternal mother in virtually every Hindi movie ever made) goes to the mandir with her one remaining child and her sari is grabbed by the missing one. Oh the humanity! The sheer number of coincidences in this movie is just staggering.
Stay with me here - the 'good' twin is trying to raise money to buy his mother medicine and has been challenged to a very evil game of quarters to get it. He passes out from the ridiculous amount of straight whiskey he consumes and is brought home by - yes you guessed it - his 'bad' twin brother.
After getting the 'good' brother home safely, the 'bad' one is given a book as a reward for his good deed. Unbeknownst to the involved parties they are all related to eachother! My friend Nehal described this as the smallest and most ironic village in all of India.
Fast forward a few dozen years and this is where the movie gets really good. Amitabh with a killer outfit does the old 'beat em with a sandal trick because they can never tell a Size 6 from a Size 9' and does this throughout the movie with whistles and cheers each time he does so.
And nothing, I mean nothing will prepare you for the fantastic fight scene between Amitabh and Shashi that is depicted below. Not only are the two brothers but Shashi enters the movie wearing an all black leather outfit complete with a cane AND a cape. The great cowboy western score in the background elevates this meeting of our two heroes to something that modern movies can never hope to replicate.
Enter Rekha who looks radiant in every scene she appears in and playing a prostitute yet one more time. The song that follows the below exchange between the two is as memorable as the one they did together in 'Muqaddar Ka Sikander' but with far less pathos.
We all agreed that night that if we were to ever go to Bombay together to party - it would be at this club where Shashi dons the most excellent undercover outfit EVER to bust Ranjeet's illegal opium den. Mind you, the movie is not even a third over yet the audience has already gotten more than their money's worth.
Great tune/great scene/introduction of Parveen Babi (anointed Parveen Barbie by Beth for her dazzling good looks and perfect figure) but I ask you to notice the background in the below scene. They are clearly not in Bombay but these are mere details when you are dealing with a movie of this caliber. Continuity? We don't need no stinking continuity!
Through a series of even MORE coincidences we find out that Rekha and Parveen are actually sisters but Parveen doesn't know Rekha is Amitabh's girlfriend. Of course given the fact that Amitabh and Shashi don't know that they are brothers kind of cancels everything out but at least another great bhangra song follows the scene below.
This song may be the first time that garba raas (a style of dance unique to Gujarat) was picturized in a Bollywood movie. Oh yeah, the scene below is one in which Amitabh is to kill Shashi but instead accidentally blinds him. Really.
To make amends for his botched assassination attempt (it was actually a set up to catch another bad guy and he didn't mean to... oh never mind) Amitabh is asked to join the police force in Shashi's place but to do so he must stop drinking. He asks Rekha's help in doing so and what follows is not just ANOTHER amazing tune but the first (and last) appearance of mini-Amitabh in a Bollywood film.
After Amitabh jumps on the wagon of sobriety he teaches the now blind Shashi how to drive a motorcycle (yes really, you really gotta suspend a heck of alot of reality in this movie - a whole heck of alot) and to shoot a pistol (use the force Shashi!). After which they proceed to bust Amitabh's old drinking/gambling dens but not before Amitabh shows just why he is just one of the coolest cats around and does a little dance with the go go girls while the place is being raided.
That does it for the screenshots and I didn't even get to the ones where the two brothers hang on to a helicopter for what seems an eternity in order to catch the bad guys or the ones which show how Shashi gets his vision back. Get 'Suhaag', call over some friends, open some bottles of wine and have some of the most fun you can legally have with this gem of a movie.
Originally I was very resistant to the soundtrack of this movie as regular readers to this blog know that I am very partial to having Kishore Kumar songs be a regular part of my Bollywood experience. Kishore was THE voice of Amitabh during this time period so it's still puzzling to me to this day as to why Rafi was chosen to sing. Over the years I have warmed up to the tunes and now count them among my all time faves. The songs for today are Athara Baras Ki by Mohd Rafi and Lata (the one where we are introduced to Rekha) & Teri Rab Ne by Mohd Rafi, Shailendra Singh & Lata (the bhangra song). But I would be remiss if I didn't put my other favorites up as well so click below for the song where we are introduced to Parveen Babi and also the song where 'mini-Amitabh' makes his first and only appearance.
Long before a single frame of this movie flickered on the screen, there was no doubt I would absolutely adore this classic from Bollywood's b/w era. A period piece dating from the Mughal era coupled with the music and songs of Naushad were enough to know that this movie would be something special and indeed it was. Starring Bharat Bhushan (who often got the nod as the lead only after the script was turned down by the Big Three of Raj Kapoor, Dilip Kumar & Dev Anand) and Meena Kumari, 'Baiju Bawra' was a landmark film in the era of post-partition India. The story is a grand one and based on the true legend of Baiju, the son of a musician during the reign of King Akbar. Set in a time when emperors and their courts carried great weight across the land, Baiju challenges the king's singer Tansen (often considered the greatest musician insofar as Indian classical music is concerned) to avenge a promise he made to his dying father. Along the way he meets and then falls in love with a lovely village girl played by THE tragedy queen of her day, Meena Kumari.
'Baiju Bawra' went on to become a huge commercial as well as critical success. Meena Kumari won the inaugral Filmfare Award for best actress, the first of four statuettes during her illustrious career. Naushad also won the inaugral Filmfare Award for best musical director, his first and only win. His greatest contribution to Bollywood was to bring Indian classical music into the medium of film. Many of his compositions were inspired by Ragas and he used many distinguished classical artists in an industry that up to that point had largely ignored them. To quote Lata Mangeshkar (who sang for him in the film): "The music he composed for Baiju Bawra surprised even me as it was entirely different from what he had done before. Different ragas were used for different situations and the purity of the ragas were maintained to the greatest possible extent."
The songs for today are wonderfully original and visually paint an India in my mind that evokes a romantic vision of my ancestral homeland. Since the plot of the movie revolved around music it was essential that the songs be special and blend both classical as well as the music of the day - Naushad did so with incredible deft and grace. The first one, Door Koi Gaye showcases the talents of two very different singers, Shamshad Begum with her classical nasally delivery as well as Lata who was in the infancy of her career with her trademark high but sweet voice. The sound of 'matlas' (earthen pots used to carry water on the heads of the fair maidens) mixed in with the sound of the sitar and flute that lead into a full fledged orchestra was just something not heard in filmi songs back then or even now. The video provides a great contrast between the (sometimes) overblown production values of today's films and the simple yet elegant ones of yesteryear.
The second one, Tu Ganga Ki Mauj is the song that won Naushad his version of India's Oscar and cemented Mohammed Rafi's status as one of Bollywood's leading playback singers until his death in 1980. Again it's the music that provides the foundation for the Rafi's amazing vocals. This romantic tune's video culminates with a very 'Wizard of Oz' type ending in which all the villagers tell Meena Kumari's character to essentially, follow the yellow brick road to her true love.
In case you've been wondering where good ol' Doc Bollywood has been, well he has taken a brief respite to welcome the newest member of his family - Rajan Vyas :) Been waiting a long time to do this particular post and it's been well worth it. Rajan was born on 10/1/08 and came out at a very healthy 9 lbs 13 ozs. He has already been well indoctrinated into the world of Bollywood as filmi music has been playing non stop since he has come home. Lullabies? Who needs them when you have Indian classical music soothing him to sleep every night. He already does have a predilection to Kishore Kumar (go figure) and the below picture is what happened when we turned the melodies off.
I hope to do my best and 'pay it forward' in regards to passing on my love of Indian music on to him just like my parents did for me. It's been a lot like a Bollywood movie in these first few days - alot of laughter, tears, drama, music and much love all the way through. If you want to keep up with his going ons or see more pictures I invite you to check out Rajan's website. The song for today is 'Chanda Hai Tu' about a parent's love for their new son and is just as meaningful today as it was when it was picturized with Sharmila Tagore back 40 years ago - when the good Doc Bollywood himself was debuted (see pic below).
I discovered today's song Mera Dil Hai Chulbala while perusing tunes over on emusic, a great treasure trove of Indian music both filmi and classical. The voice is unmistakeably recognizable as Asha Bhonsle's and a quick search of the movie showed up exactly one hit on IMDB. This much I know about the movie - it stars Shashi Kapoor & Nanda. No one I know can tell me about it although some of my family said they remember it being a nice little 'time pass'. The ONLY synopsis that I have found (on three different websites) gives the story as Naina loves Sudhir on the sly, and is jealous of Sudhir's love for Neeta. When Sudhir does not reciprocate her love, she decides to create all kinds of misunderstandings for the two. Light-hearted romance with two popular numbers that still play on the radio and are also good to watch on TV. A little um, lacking, na?
But then again with fun songs such as the one above (title song sung by Kishore Kumar) and below (duet sung by Rafi & Asha) who cares what the movie was about? Shashi is doing his naach gaana thing like only Shashi can while gorgeous shots of India grace the background scenery - it's got everything a 70's Bollywood flick needs that I can see. So if anyone has seen this movie or even knows anything about it please share because I am now a bit curious about it. Until then enjoy the tunes and share in the impromptu Shashibration :)
As I write this entry on the third anniversary of Hurricane Katrina (before entering self-imposed exile outside the boundaries of the fair city of New Orleans) I realize that it doesn't make much sense to write about this movie on a Bollywood blog. But in an odd way maybe it does. Most Indian people that choose to live in this very unique American city do indeed feel oddly at home. Residing in New Orleans is more like living in India than people realize - omnipresent heat/humidity, flood prone streets, corrupt politicians, mosquitoes that have been adopted as the unofficial state bird and heart breaking poverty. On the flip side many of the things they love about India are here as well - great music, fantastic food, a laid back attitude about life and a certain joie de vivre found nowhere else in these United States. Where else can you look out the window in the afternoon and see a full blown jazz parade break out for no apparent reason? And then look out that window the same evening and see people on horses ride up to the neighborhood bar for a drink? Yes I saw both of those things happen last month and it put a smile on my face as I thought 'only in New Orleans'.
Whether you are planning to visit or have been here enough times to call it home away from home I encourage you to watch 'A love song for Bobby Long'. It's a love letter to the New Orleans of old and was released a year before Hurricane Katrina made landfall. The movie captures the mood and attitude of the city perfectly and will make you miss the city - even if you have never been here before. The broken but lovable characters gather in the evening on couches and recliners in the garden who sip drinks as the sun sets behind are the reason this movie works so well. And like so many of us they are made whole and heal only through their relationships with each other. For it's the people who live here that make this city so special and who, as a local Pulitzer Prize winning writer put it, are continually 'dancing at the center of the universe'. It implies to me the disappearance of all outside influences, distractions and disturbances -- and lends credence to the notion that where you are and what you are doing is the most important thing at that time, in that moment, in the world. So say a little prayer for New Orleans and let's hope this city makes it - again. For we all need this kooky and quaint (but never boring) place alot more than we realize. The song for today is Lorraine's Song by Theresa Anderson.
As we make plans today to evacuate from the path of Gustavo I am reminded that there was a time before Katrina that no one ever left town due to a hurricane. In fact everyone - and I mean EVERYONE - participated in something that is very unique to this city that when you think about it is quite mad. The Hurricane Party. For the uninitiated, a hurricane is the name of a powerful drink that is native to New Orleans and to my knowledge the only one named after a powerful force of nature. Anyway, we would all get together and have drinks/music/camaraderie at whoever's house had the best porch and just dare the storm to take away our good time. When the lights would inevitably go out, we would light candles and keep the music and drinks going till the thing passed. After Katrina, hurricane parties became a sweet yet haunting reminder of days gone by. On the first Jazzfest after Katrina a local band, The Meters, decided to open their set with one of their signature hits named appropriately enough, 'Hurricane Party'. As soon as the opening chords were played all the power to the stage blew out - for the first time in Jazzfest history. When the power was restored a few minutes later the band decided to go with another tune and 'Hurricane Party' has not been played at Jazzfest since then. Above photo taken by our friend Eric Olson.
Greetings on this 61st Independence Day of India and a tribute to one of her most endearing freedom fighters - Shaheed Bhagat Singh. The movie starring Ajay Devgan was a critical success but a commercial failure that is definitely worth a viewing. It won the critics choice at the Filmfare Awards and Devgan nabbed the prestigious National Award for his portrayal of the legendary freedom fighter. 'The Legend of Bhagat Singh' is one of those rare movies that manages to simultaneously entertain as well as inform and does so with a minimal amount of rewriting history in doing so. I really enjoyed this movie as the attention to detail is amazing and being a huge fan of period pieces, it was especially a treat for me. The majority of the movie takes place in Lahore, Punjab (now in Pakistan) which is fondly remembered throughout the movie in both name and image. It was a sobering reminder that although independence was a joyous event it also resulted in the partition of India, the aftermath of which is still felt to this day.
The true story of Bhagat Singh is even more amazing than the one on celluloid - not an easy feat in the glamorous make believe world of Bollywood. He was 13 when he began to follow the teachings of Mahatma Gandhi and began to take part in protest marches as well as the burning of British schoolbooks. However he grew disillusioned with Gandhi's non-violent movement and became involved with a group who was linked with bombings of government buildings and the murders of some prominent pro-British politicians. His legendary fast for 63 days while in Lahore Central Jail for inhumane treatment of Indian political prisoners endeared him to the public and drew the praise of both Gandhi and Mohammed Jinnah (the founder of Pakistan). He was finally sentenced to death for his role in the bombing of the legislative assembly and his execution was set for March 24, 1931. However due to the overwhelming public opposition to the ruling, an emergency decision was made to hang him one day earlier to avoid a public spectacle. The bodies of Bhagat Singh and two other freedom fighters were cremated unceremoniously before his relatives (who were not allowed to visit him in jail) could perform the last rites. By all accounts he was fearless even on the day of his death and kissed the noose before the rope dropped - Shaheed Bhagat Singh was just 23.
The soundtrack's music was composed by A.R. Rahman and the songs as well as the background score have the signature Rahman stamp to them. He does temper his trademark sound to match the era of the movie and the result is a nice if not memorable mix of songs. However there is one that stood out for me long after the movie ended and I am not sure if it was because it was such an amazing song or whether it's picturisation made it so memorable. It is the grand and sweeping Mujhe Rang De Basanti by Sonu Nigam and Manmohan Waris that plays while the three men are led to the gallows. It literally means 'color me saffron' with saffron (yellow) symbolizing joy, happiness, intellect and ultimately - sacrifice.
Today's review of 'Ajooba' is a curious choice for a post over here at Doc Bollywood. When a viewing of it was suggested my initial impulse was to say no and sit in the corner just rocking back & forth from the bad memories. But wait I said to myself, just because there are moments in history that one dislikes, that is no reason to gloss over them like they never happened. 'Ajooba' is one such moment and too much time has passed since my initial viewing to submit a proper review of it. Instead I will attempt to provide an idea of the historical significance of this movie as it relates to the beginning of the end of the Amitabh era - an event that profoundly changed this Bollywood fan for years to come...
For all practical purposes, Amitabh Bachchan was THE biggest star in Bollywood from the early 70's (beginning with 'Zanjeer') right up until the early 80's. I remember going to movies in the theater in India as well as renting them in the US on that antiquated medium VHS and the general rule was that if it was an Amitabh movie - you just rented it, no questions asked. And for a good while the Big B delivered and did so with an amazing run of blockbuster after blockbuster. The runaway hit train careened off the tracks when he got hurt on the set of 'Coolie' - the news of which not only brought India to a halt but was covered on '60 Minutes'. His career lurched forward while he recovered with some movies that were sitting in production for awhile but then came 'Gangaa Jamunaa Saraswathi' and with it the Amitabh Bachchan party finally shut down for good. And although it would start up a few years later with 'Major Saab', it would never quite be the same. The unthinkable happened in the Indian community with 'GJS' - a general feeling that Amitabh was done, that his movies were bekaar and for a true old-school Amitabh fan it was (with apologies to Don McClean) - the day the music died.
'Ajooba' came along during that dark time and although some bad Bollywood movies are so bad that they are actually good, this one I just remember as being bad. I am sure that if I saw it again today it might be different but the memories of seeing my favorite actor reduced to playing a mythical hero donning an aluminum foil Mardi Gras mask were just too painful. Amitabh was rumoured to have done it gratis for his buddy Shashi Kapoor's debut as a director and the movie turned out to be his only directorial venture (thank goodness). The movie was apparently co-directed by a Russian film director and according to IMDB it was released in Russia a full three years prior to it's release in India. Shashi produced the entire thing and his son Kunal as well as the actor Feroz Khan served as executive producers. Alas, even an all star cast consisting of Dimple Kapadia, Rishi Kapoor, Shammi Kapoor and Amrish Puri could not save this movie from being one of the costliest train wrecks in Bollywood history. But maybe I have too much emotional baggage attached to this movie and thus encourage you to check it out for yourself. Our friend Beth from Beth Loves Bollywood did and from the looks of it had a grand old time.
The musical score was provided by the legendary team of Laxmikant-Pyarelal and is one of their final efforts. While none of the songs was a bonafide hit (or even that memorable) they all had their signature sound attached to them. Are Tajub Hai is the one I remember the most for the sole reason that it brings back memories of one of my favorite Amitabh/Rishi Kapoor duets, Chal Mere Bhai from 'Naseeb'. The idea of seeing Shashi's nephew as well as one of his best friends on screen together knowing that Shashi is actually directing them in their scenes (along with the dolphin that I think Amitabh referred to as his mother) just might be enough to warrant a re-watch of this movie...
Banaras is older than history, older than tradition, older even than legend, and is twice as wise as all of them put together. ~Mark Twain
The city of Banaras (or Varanasi) is an ancient city located on the banks of the Ganges River in the state of Uttar Pradesh. Religiously important to Hindus, Jains & Buddhists it is also revered culturally by classical musicians as Ravi Shankar, Hariprasad Chaurasia & Bismillah Khan all call it home. Indeed, none other than the Buddha himself gave his first sermon in a forest at Sarnath (located about 5 miles from Banaras). Varanasi has been called "the city of temples", "the city of lights", "the city of learning" and last but not least it is thought to be the birthplace of Ayurveda. A city this rich culturally would be reason enough to film a movie there but add in the fact that it is stunningly picturesque and there you have it - a perfect backdrop to a movie about, well, itself.
Banaras tells the tale of Shwetambari (Urmila Matondkar), the sole daughter of wealthy Brahmin parents (Raj Babbar & Dimple Kapadia) who falls in love with Soham (Ashmit Patel), a music teacher from a lower caste family. The story is a very different one than your standard Bollywood fare and makes frequent references to Eastern philosophies in the context of a hypocritical society that cannot look past the exterior of a person. The performances are all strong with Urmila giving a rich portrayal of a woman with all the luxuries of modern life but craving that inner peace that we all find so elusive. Why she does not work more in Indian cinema is a mystery to me as she looks just as stunning as she did in her breakout 'Rangeela' plus her acting has just gotten better over time. Raj Babbar & Dimple Kapadia also provide old school Bollywood star power as Urmila's (over) protective parents. I haven't seen Ashmit Patel (Soham) in a movie before or since but he handles his role with the maturity of an accomplished actor. Nasureedin Shah makes a guest appearance as well and his presence in ANY movie just makes it that much better. But my favorite thing about this movie?
More than anything else, the cinematography was simply a labor of love to the city of Banaras and in the first few minutes I was spellbound by what I was seeing. My wife often says that it's impossible to take a bad photograph in India because everything there is such a visual treat - this movie takes that idea to another level. The colors throughout the movie, from the sumptuous outfits to the buildings & temples lining the Ganges were so deep and rich that all I kept thinking while I was watching was - I couldn't wait to go there on my next trip. Of course that happens whenever I watch an Indian movie but such is life. I would go as far to say that you could watch this movie without subtitles and still enjoy it, the visual mural of it all mixed in with the musical score and Bhojpuri (dialect of Hindi) dialogue all work that well together.
The song for today is Purab Se, a rare bhajan (Hindu devotional hymn) in recent Bollywood movies sung by Shreya Goshel. I fell in love with the song when I first heard it and that was before I saw it picturised in the movie. The video is below and I encourage everyone to take a moment out of their hectic day, find a quiet place and be transported to a faraway place - the mystical city of Banaras.
Bollywood movies from the 70's represent some of the most fun you can have legally. The costumes & songs are over-the-top inspired madness but what makes these movies truly stand out are the plots. Any multi-starrer from that decade usually has an ample dose of plot-twists galore, coincidences that border on insanity and ask you to put logic to rest for those three hours and 'Immaan Dharam' is no exception. This movie is not as well known as some of the other movies released around the same time and was a huge box office disappointment. Thus, I wasn't expecting too much when I popped it in but thought at the very least I get to see three of my favorite actors (Amitabh, Shashi & Sanjeev Kumar). However I realized I was in for a treat when I saw that the script/screenplay were by the immortal team of Salim/Javed. Our friend Beth over at Beth Loves Bollywood also recently saw this movie, check out her thoughts here.
And what a treat it was - with Amitabh donning the rare mustache to play Ahmed Raza & Shashi playing his best friend, Mohan Saxena. The movie starts out like a normal 70's Bollywood potboiler (as if there were such a thing!) but soon veers into some pretty heady territory about faith/immaan, morality and duty/dharam. This movie was such fun visually that I am going to stray from my normal blog post and give you a brief plot synopsis - sans spoilers and avec some great screen shots. The song for today is Hum Jhoot Bolte Hain by Kishore Kumar & Mohammed Rafi.
The movie opens up with our two heroes hanging out outside the courthouse hustling for cases in which they can provide false witness testimony...
Sanjeev Kumar (a fellow Guju) enters the proceedings as Kabir Das, the sole son of a wealthy businessman. Kabir lives by his own moral code that is inspired by the teachings of India's three major religions - Hinduism, Islam & Christianity. His father does not understand his son's rather bizarre belief system as daddy dearest has only one murti in his life - the almighty rupee...
Amrish Puri is then introduced as the ironically named Dharam Dayal - the dad's unscrupulous business partner. Here he bears an uncanny resemblance to Sher Khan from Disney's 'The Jungle Book'...
We now get to meet our heroine Rekha, starring as Durga. She plays a Tamil construction worker who turns out to be Shashi's love interest. Now for the uninformed, Rekha actually is from South India but in real life is quite light skinned. The producers gave her some kind of freaky fake tan that only serves to turn her skin orange. And we still haven't figured out whether it was a plot point (to make her dark just because she is southside) or because she toils tirelessly in the sun all day...
Rekha then cooks an amazing South Indian meal for her sweet Shashi and starts daydreaming about how nice he would look as a typical South Indian beau :)
They end up doing an obligatory Bollywood song & dance number in the rain and afterwards poor Shashi nearly comes down with pneumonia. Amitabh then scolds him about it, um, I think...
Shashi then goes to beat up a goonda that just tried to rape his & Amitabh's blind sister who is not actually related to them (really really long story). But since he is sick with pneumonia he is the one who gets beaten. Amitabh steps in to save his best bud and explains that he wasn't there initially because he had gone to get the doctor for Shashi but now...
Finally we meet Helen (yes Helen!) who is introduced into this already wayyyy complicated story as Jenny Francis. Jenny is a tortured soul whose only wish in life is to provide her young daughter with the father that she never met & hires Amitabh to play the part...
What happens next? Well dear readers, I can't tell you that but rest assured that the lives of all interested parties get very intermingled and our heroes eventually learn that no bad deed goes unpunished. That in the end, one's Dharam & Immaan play a bigger part in your life than you ever imagined and if you follow your heart - then maybe, just maybe, everyone will live happily ever after.
P.S. The PPCC did a great write up on this movie as well and I quote from their blog for two of my favorite scenes which occur after some serious soul searching by our two heroes:
Nonetheless, there are gorgeous moments when, after Sanjeev has properly converted Ahmed and Mohan back to their respective religions of Islam and Hinduism, the two of them have moments wherein they are given the holy book not of their own religion and then they both respect and revere it as their own. We at the PPCC die for these types of scenes. It's just so touching. It's like Om's necklace in Om Shanti Om.
In Amitabh's scene, Ahmed the Muslim is asked by his blind Hindu friend, Shyamlee, to read from the Gita. He pauses before pulling the book from the shelf and then uses a handkerchief to cover his head. "In my religion," he says, "we are taught to cover our heads when touching holy books."
In Shashi's scene, Mohan the Hindu watches his Muslim friend die horribly in the street, baking in the hot sun on the pavement. The friend begs him to take the Qur'an, his only possession, from his home. Mohan does so, pausing to mourn his friend's passing, and then hugging the holy book to his chest as he walks home in the pouring rain.
