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SAMTHEBESTEST
Not interested to become a Critic, just want to become a Smart Viewer.
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Khandaan (1942)
An epic family melodrama set against a Muslim backdrop by Bollywood
Khandaan (1942) :
Brief Review -
An epic family melodrama set against a Muslim backdrop by Bollywood. Back in the pre-independence era, the Muslim social genre was quite popular in the north-west of India, and Khandaan is one such film that would have easily attracted the same set of the audience. Set in a Muslim family, the film can also be spelled as Khan-daan considering that all the main characters in the film are Muslims. In a rare contractory scene, we see a Muslim man, Akbar, knocking on the doors of Mr. Ram Shukla. Maybe that was pre-planned to add a Hindu-Muslim unity message. Well, the film doesn't really go deep into later. It was just one scene. Khandaan's story spans across 3 generations, and the first generation comes to save the third generation from committing the same mistake, while the second generation sits silent, seeing the downgrade of his past and future generations. That's one of the major highlights of the film if you see it metaphorically. This idea is very different even today, and then I have to believe that someone thought of it in 1942. That's insane, man. Khandaan also talks about true love vs. Temporary affection, a similar thing that Hollywood's silent masterpiece "Sunrise" did back in the 1920s. We have a man falling in love with another girl when he already has a loyal girl waiting for him at home. Even this betrayal formula has been very influential over the years in almost every family drama where there is a new couple. The language used by Khandaan is typical but sounds very ornamental. "Jis mulk me husb bazaron me bikta hai waha Jawani ka raah ghum Jana lazmi hai," and so many. This would be that quintessential family drama that has set many templates, but we never actually realized them because others only followed one particular formula, and this has many such to be borrowed. Shaukat Rizvi's direction is superb, and the cast is fantastic despite not so much experience and fame. A classic for its time!
RATING - 8/10*
By - #samthebestest.
The Man in Grey (1943)
A solid "female acid" drama from the "Gainsborough melodramas."
The Man in Grey (1943) :
Brief Review -
A solid "female acid" drama from the "Gainsborough melodramas." This is how a female acid/female poison drama should be made. Hollywood has been making such films in the same genre, including several femme fatale noirs, but there are some genres where British cinema was ahead. This costume theme women's cinema was one such thing. I can't say better than Hollywood, but this British movie was quite comparable and on par with the Hollywood movies made on such themes. With "All About Eve" (1950), Hollywood just touched the landmark that hasn't been achieved by others. So, The Man In Grey has a manly title, but the film is actually about two women. Hesther is a cold girl who hasn't been happy since childhood, and Clarissa is exactly opposite. She is kind, beautiful, and peaceful. Despite Hesther's reluctant behavior, Clarissa goes on to make up with her, and they become friends. Clarissa is married to wealthy Rohan, but they don't love each other. Years later, Clarissa finds Hesther and brings her to her house. She then falls in love with Rokeby, while Hesther and Rohan begin their private affair. In order to get married to Rokeby, Clarissa must leave her husband, and in order to replace her as Rohan's wife, Hesther should clear her from the way. These love affairs turn into a chaotic mess where you see two sophisticated men foolishly fighting with each other in a public place over a woman, followed by a murder. Basically, it's about greed and ambition that turn a female's friendship into a female acid. Every single actor in the primary cast has done a brilliant job. Smith's original novel has been adapted smartly, as the screenplay doesn't leave its grip. You are hooked on it right from the first minute till the last. The use of references like gypsy and witch is intriguing, as Leslie Arliss brings authenticity through misconceptions and human conscience. Overall, a gripping film and a solid drama.
RATING - 7/10*
By - #samthebestest.
Ram Balram (1980)
Vijay Anand's mediocrity saved by Dharmendra and Amitabh's pair.
Ram Balram (1980) :
Brief Review -
Vijay Anand's mediocrity saved by Dharmendra and Amitabh's pair. It's hard to believe that Vijay Anand, who has made so many beautiful films for 3 decades, has to surrender to the masala era for this mediocrity. Not that Ram Balram is a bad film or a crappy affair, but it's outdated for 1980. The film runs on known formulas of lost & found and revenge theories and then adds an interesting concept of a thief and a cop being brothers. It's illogical to see them okaying these things and carrying on working in their particular fields when they have to live like brothers, if not together. It's also illogical to believe that none of the gangsters even found out about their relation with Jagatpal. As expected, he is exposed years later, be it about his relationship with these two brothers or his own daughter. The plot looks thin, and the screenplay is faulty as well. Too many things happened so quickly in the last quarter, right from Dharmendra's escape from the ship, kidnappings, Amitabh's raid, Ajit's hostages, and all that masala stuff that looked highly repetitive. You can't really waste two big villains like Prem Chopra and Amjad Khan, even though Ajit has done well as the main villain. Dharmendra and Amitabh's pair somehow saves the show, but even they couldn't match what they had created before in other movies. Zeenat Aman and Rekha play typical heroines, and Helen as a mother wasn't up to the mark. Like I said, it looks so formulaic that at one point you find all if it is forced. Vijay Anand played safe-actually too safe. Ram Balram is based on a ridiculous theory of having chor police combo at home, and I would have enjoyed it more if the father/uncle's role wasn't too brutal. Laxmikant-Pyarelal's "Ek Rasta, Do Rahi, Ek Chor, Ek Sipahi" tried to define the same, while the rest of the songs are below par. Overall, a fairly watchable film but didn't do justice to Big B & Dharmendra's pair.
RATING - 6/10*
By - #samthebestest.
Chandralekha (1948)
SS Vasan and Gemini's grand affair on the fictional adventure. Chandralekha is all about its grandeur more than anything else.
Chandralekha (1948) :
Brief Review -
SS Vasan and Gemini's grand affair on the fictional adventure. Chandralekha is all about its grandeur more than anything else. There are many songs, and none of them sounded like a hit, but the visuals are beautiful. It goes the same for the action scenes as well because they borrow a lot from our history books, taking the swashbuckling lessons ahead. They lack finesse, but don't look cheap at least. Vasan took almost every scene to a whole new grandeur, especially the dance sequence in the climax. Those costumes, crowd, musical properties, and colossal sets are eye-pleasing, even though the storytelling lacked novelty. Had the story been a bit innovative or interesting, the film would have looked much better. Chandralekha is about a young woman named Chandra, who falls in love with a common man, who happens to be the prince. The prince's brother attempts to murder him and takes charge of the kingdom. The woman saves the prince and then joins a circus group as a show leader, Chandralekha. She is then kidnapped by the prince's brother, and now the prince must find a way to free her and get his kingdom back. All those circus scenes, featuring breathtaking exercises and stunts, look wonderful. They make the film grander than one could have expected it to be in 1948. MK Radha and Rajakumari's pair looks natural. I must tell you that they both don't look like the typically glamorous hero-heroine of the film. They actually look like the people they are playing. Rajakumari is not a zero figure or a sexy lady from a Bollywood film. She has a moderately fat body, a proper woman's look to it. Those conversions and romantic moments they share have an organic feeling of a common couple. Vasan may have envisioned the entire film on a grand scale, but he kept the character on the ground. Maybe that's why Chandralekha could connect to the masses then.
RATING - 6/10*
By - #samthebestest.
Dillagi (1949)
Not a fan of Wuthering Heights, still liked this one-maybe due to Devdas touch.
Dillagi (1949) :
Brief Review -
Not a fan of Wuthering Heights, still liked this one-maybe due to Devdas touch. Wuthering Heights has been adapted on the screen many times in almost every corner of the world. One of the most important filmmakers from the early days of Hindi talkie cinema, Mr. AR Kardar, was entitled to bring that story to Hindi audiences because of its worldwide popularity. I personally am not a fan of Wuthering Heights, and for the same reason I never understood the hype. Despite my thumbs down gesture towards the original, I surprisingly found this Kardar-style adaptation good enough. Yes, good enough for a one-time watch and definitely much better for the ones who like romantic tragedies without any intellectual bonds and haven't seen much of foreign cinema. Since I am not a fan of Wuthering Heights, it's natural for me not to be a fan of a similar story, Devdas-again another widely popular tragedy. But the combined effect of these two stories actually kept me hooked for two hours. The YouTube version of Dillagi is exactly two hours long, and almost half the runtime is filled with songs. Nothing memorable in music for my today's taste maybe, but "Dil ka lagana nahi koi Dillagi" was truly special for its emotionally powerful impact. The climax was easy to guess, but still looked sensible the way things were turning out. Mala's husband was too wild to accept, though. He killed Popatlal without even thinking for a second. That was too much non-sense. Nevertheless, the pace was so fast and events came one after another so quickly that we don't get time to think about the previous fiasco that took place a minute ago. Suraiya is a timeless beauty, man. Such a beautiful actress and so full of grace and versatility. Shyam also did so well. I wonder why he didn't get recognition of 'tragedy king' or 'Devdas,' even if it was for a few days only. Top-class cinematography, superb editing, and Kardar's skillful direction make Dillagi worth watching, if not classic.
RATING - 6.5/10*
By - #samthebestest.
Sikandar (1941)
Alexander, aka Sikandar, hailing "Maharaja Porus Zindabad..." You gotta see it
Sikandar (1941) :
Brief Review -
Alexander, aka Sikandar, hailing "Maharaja Porus Zindabad..." You gotta see it! Sohrab Modi as an actor and director is simply phenomenal in Sikandar. Now you'll ask which role is better. I guess it's genuinely difficult to choose. Sikandar has grandeur, style, action, drama, romance, and songs, but what made me fall in love with it is the storytelling. A film made in the early 40s having such fine templates of scene making, sound, screenplay, and execution is hard to believe. Moreover, the dialogues make it memorable. "Jo yoddha aurat ke piche jaega woh barbad ho jaega," to "Aurat kisi bhi insaan ki kamjori nahi balki uski sabse badi takat hoti hai," and then the epic dialogue coming from Alexander/Sikandar for Porus: "Hum duniya ko dikhana chahte hai ki is duniya mein kuchh log aise bhi hote Hain Jo ladai harte Hain par himmat nahin harte." And then he hails him, "Maharaja Porus Zindabad." Yes, that was the moment I'll remember for years. This patriotism and heroism this film carries is really something. You want to believe it, no matter what the historical accuracy is, and you want to like it as a proud man because it's a matter of pride, honor, and courage rather than just "victory." Porus could've killed Sikandar and become a great (even greater), but he had to keep the word given to his sister (from Iran). This sister angle also adds a different dimension to the story. You find layers, you understand them, and they all merge together for something interesting. Prithviraj Kapoor is amazing in the role of Sikandar. I can't really imagine anybody else doing that role after him. Modi Ji, as Porus, presents a real king, full of pride and determination. Vanmala as Sikandar's love interest looked good, but Meena Shorey was more beautiful. About songs, I couldn't really connect to any of them, maybe because it's too late now and those days had to have such songs. Overall, a very good film, and much better considering its time.
RATING - 7/10*
By - #samthebestest.
Ram Rajya (1943)
Perhaps the best film ever made on Ramayana, and much before we thought of magnum opuses like Maya Bazaar & Mughal-e-Azam.
Ram Rajya (1943) :
Brief Review -
Perhaps the best film ever made on Ramayana, and much before we thought of magnum opuses like Maya Bazaar & Mughal-e-Azam. Ramayana is such a great epic that even the second half of the story can make into a complete film. Ram Rajya starts when Lord Ram and Maa Sita return to Ayodhya after defeating Ravana. For the sake of people's happiness, Ram has to part ways with his beloved wife, even though he knew that she was "pure" and a "one man's woman." You know the rest of the story of Luv and Kush's birth and how they meet their father, Maharaj Ram, after years, and Sita descends herself into earth's womb. Ram Rajya is too grand to imagine as a Bollywood movie made in 1943. We still call the likes of Maya Bazaar and Mughal-e-Azam as the greatest Magnum Opus ever made in Indian cinema, but believe me, the kind of grandeur Ram Rajya has achieved in 1943 is actually comparable to those two great films. The film has stupendous sets of Ayodhya Nagari, the palace, and then Valmiki's hut. The war sequences are mind-blowing. It's shocking to learn that a Bollywood film had achieved such war scenes in the 40s with all those visuals of weaponry arrows and chariots. It's simply wonderful. Now coming to a couple of flaws: the film has some language issues. I can't believe that some boys spoke like slum boys in Valmiki's ashram, such as "Ae tere ko baap ka naam nahi pata." That's too chapri for a film based on the Ramayana, right? The second big flaw is the climax when Maa Sita bids goodbye to everyone. From what I have heard it read, most of the stories tell us that Sita was asked to give another agnipariksha, so she finally decided to end things by leaving this immoral world, which doubted her purity again and again. That's one of the greatest things from Ramayan and this film skipped that. So sad. Vijay Bhatt will forever remain the greatest Bhatt of Bollywood. Period. Just go through his filmography, and you'll know why. Overall, a fantastic film for its time.
RATING - 7.5/10*
By - #samthebestest.
Joker: Folie à Deux (2024)
Joker Fans, Put Up A Frowning Face
Joker: Folie A Deux (2024) :
Movie Review -
After the blockbuster success of Joker (2019), Todd Phillips is back with a direct sequel, "Joker: Folie A Deux." This time, the joker is not alone. Arthur Fleck is not alone anymore. He has found someone to love, and he doesn't want to die. Lee, aka Harley Quinn, completes him; she "gets" him. "She's really something," says Arthur, and why not because she's the only one who understands him, saying, "He is not sick. He is perfect. Together, we are gonna build a mountain from a little hill." Now back to Joker's climax and its psychologically disturbing characteristics, I asked myself, "Did such a dark and intense story deserve a follow-up like this, I mean, the one filled with love, courtroom drama, and musicals?" My heart said, "Maybe yes," but my brain said, "Maybe No!"
The film begins with mentally disturbed and nihilist Arthur Fleck (Joaquin Phoenix) in jail, with his inner bones clearly showing up touching his external skin. This jail life was worse than the world outside-maybe that's what they wanted to portray from Arthur's point of view. He sees Lee (Lady Gaga) in a music room, and they create an instant attraction towards each other. Meanwhile, Fleck is going through medication and counseling, and his lawyer, Ms. Stewart (Catherine Keener), is trying to prove that he suffered through split personality disorder at the night of the crime. Lee is freed, and she goes on to give interviews about Fleck being a "perfect" guy to live in society, and then the trial begins with Harvey Dent (Harry Lawtey) fighting the case as an assistant district attorney. Will Arthur win the case? That's what the film is all about in the second half.
Frankly, I believe, the story of The Joker should have never become a love story or a courtroom drama, and here it becomes both. That wasn't sensible at all. Yes, it doesn't make sense to see a criminal who killed a person on a live show and five other people, trying to prove that it wasn't him after all. Even a medical term like personality disorder can't be an excuse in this case, as it was in Anniyan (2005). Moreover, seeing a morally disturbed and criminally advanced Joker as a puppet and a silent bully of the class doesn't do justice to the image people have in mind. In the pre-climax scene, Joker sees a complete shift in his own mindset just after a sexual abuse by the guard. Similarly, Quinn's obsession for the Joker, having a baby, and then abandoning him all happen so fast that you don't see them as concrete reasons to carry the story. In short, it's a "love got him down" kind of scenario, which has been in Hollywood since the 1930s in many gangster dramas, but instead of a femme fatale touch, Joker 2 is driven by guilty consciousness, dark blue nihilism, and personality conflicts. I still don't understand, "Why would Arthur even kiss his lawyer twice?" Most of the musical numbers and crazy scenes I imagined from the trailer, turned out to be dream sequences, and a few were not there at all. Too much disappointment to Kitty!
Performance-wise, it was a good show. Joaquin Phoenix stunned us all with his act in Joker, and he did it again in Joker 2. It's just that the character has no graph and no soul this time, so it feels dry. The blood, the liquidated feel of that anger-everything was missing. Lady Gaga surprises as Harley Quinn-not very much to what we expected from the promos. She was looking promising from the pre-release movie clips already, and she delivers. A no-sorry female antagonist who doesn't even care about her boyfriend who has finally turned yellow-oh yes, we don't see such ladies in our movies often. Brendan Gleeson is that brutal guard in the jail, and be is awesome. Catherine Keener as a lawyer, Zazie Beetz as Sophie (a cameo), and Harry Lawtey as Dent, all have done fine in those small roles. Steve Coogan and dwarfy Leigh Gill add good support.
Why would anyone want to make a Joker's sequel a musical? I don't understand. Joker: Folie A Deux's musical numbers didn't entertain me much the way that one scene from "The Band Wagon" (1953) did. Gaga singing the same lines or any other song would get my thumbs up any other day, but not today. The cinematography by Lawrence Sher was impressive. That smile with lipstick on a mirror and the top view of the four different color umbrellas taking Arthur in jail or all those dreaming musical sequences-Sher has done brilliant camerawork. Joker was conceived as a standalone film, and Joker 2 literally ends the saga-too quickly! The screenplay is boring and slow, which makes you feel sleepy (believe me, I felt so). The production design was fine, and the sound was well mixed, but nothing noticeable. I can't even imagine that Todd Phillips directed a "banger" like "Joker," and now he is the same person who directed a "blunder" like "Joker: Folie à Deux." It's just not acceptable. He hasn't just disappointed the fans with this sequel but also destroyed the image of Joker created by Phoenix and himself only. Can't believe how someone can really make a boring and meaningless sequel like this to a modern classic like "Joker" (2019). I wish it wasn't "true," and I could forget it as a "fantasy."
RATING - 4/10*
Dharmaveer 2 (2024)
Half Dighe & Half Shinde Show For Hindufied Shivsainiks
Dharmaveer 2 (2024) :
Movie Review -
Dharmaveer 2 continues the story from its predecessor, but it divides the narrative equally in two parts. A half belongs to Mr. Anand Dighe, his work, his ethics, and his pride, and the rest belongs to Mr. Ekanath Shinde, his work, his ethics, and his pride (before he became the honorable chief minister of Maharashtra). That's one of the main issues with the film because it feels like more of a Shinde's film than Mr. Dighe, who is supposed to play the titular role. Also, the film is made right before the election period in Maharashtra, so one might look at it as promotional content, even though the film is fully real and honest from Mr. Ekanath Shinde's point of view. Therefore, it is strictly for the fans of Dighe Saheb, Shinde Saheb, and Kattar Shivsainiks who hail Hindutva as the greatest thing in their lives.
Dharmaveer 2 doesn't have a linear plot, as things are told in a two-layer narrative. One is the past, which belongs to Mr. Dighe's work, and the other one explores Shinde's work from his past with Dighe and then without Dighe. The film begins with Dighe's hardcore Hinduism as the powerful HINDUFIED massy segments come one after another. From Palghar sadhu lynching, Babri Masjid, Jai Shree Ram, Haji Malang, Hindu religion being the best in the world, proselytism, Sawarkar's deshabhakti, the Central government favoring anti-Hindu events, Nathuram Godse's stage drama getting banned to films destroying Bhagawa, it explores everything in the first hour. The second half takes you into Shinde's life, his work, and the torment he had to go through under the political alliance when Shivsena came to rule in Maharashtra during the COVID period.
As mentioned in the tagline, it's a half Dighe and half Shinde show, and it's strictly for Shivsainiks who belong to Kattar Hinduism more than political choices. The film becomes too Shinde-fied in the second half, which many wouldn't have expected because they went in to watch Dighe's biographical, or rather, the curiosity over his sudden demise since Dharmaveer 1 had covered most of his biopic stuff already. The entire second half is about the political struggle Shinde and his close ones had to go through, and we all know the entire story from the media channels from 2019 to 2021. The entire political makeover is known to the public, but not pre-story. Dharmaveer 2 tries to explore that, rather, let's say, it runs with the same motive throughout the second hour. The dated drama may not appeal to a big bunch since they were more interested in watching the Anand Dighe's story from the past than Mr. Shinde's political affairs in the last 4-5 years, which are very much known to everyone through the news channels. The film still has some massy moments and emotional segments that will move you.
Prasad Oak delivers yet another powerpack performance as Dighe Saheb. He is Dighe saheb for those who haven't seen him in real life. He does it again, but this time the screen time is only half. Kshitish Date gets a bigger role this time, and he has done a brilliant job. His getup, body language, and accent as Eknath Shinde are top notch. From Makarand Date to Snehal Tarde to Abhijeet Khandekar and many others, there is a huge supporting cast here, and they all look decent while reprising the roles, including the newly added characters.
Dharmveer 2 has a few action sequences that have mass value and a solid background score. "Asa ha Dharamveer" song sounded much better in the prequel than this. The editing is sloppy in the second half, and the cinematography is below par. D2 isn't anywhere close to the entertainment value of Part 1, so you better keep your expectations low. Pravin Tarde has finally missed a hit as a director. He has been quite successful, but this time, things are looking bad. Let's hope that Dharmaveer 2 evokes the fans and makes a box office hit, but personally, I think it could have been a lot better, if not on par with Dharmaveer (2022). Tarde's vision isn't really appealing enough to carry this all the way, especially in today's time when Maharastra assembly elections are around the corner. Wait, we still have Part 3 coming!
RATING - 4/10*
Devara: Part 1 (2024)
Jr. NTR's Big-Budget Blunder That Has No Head and No Tail
Devara (2024) :
Movie Review -
Koratala Siva teams up with a man of masses, Jr. NTR, for an "ocean storm" called Devara (Part 1), but the water doesn't really have any stream. You expect this to be something action-packed and adventurous like The Pirates of the Caribbean with a dark Indian touch from a rural area, but it ends up becoming a messy and clueless film. You know there is going to be a sequel, and the story is not going to end here when you read Part 1 in the title, so the best assumption is to see a cliffhanger in the climax. That's so basic, right? Yet Devara fails to understand this basic fact and goes with a terrible ending, making the entire film meaningless after taking 3 hours of your life. That's definitely frustrating because you don't expect such a big-budget and grand-scale film to end with a stupid twist that has no head and no tail.
Devara is set in a remote village on the Tamil Nadu coast in the late 20th century. Devara (Jr. NTR), Bhairava (Saif Ali Khan), and their gang take jobs looting the Navy's ships that are carrying seized weapons of terrorists. When Devara realizes that what they are doing is harmful for the nation, he goes against his friends and challenges everyone to stop him from letting them not to smuggle things anymore. Bhairava decides to kill Deva by trap, but the mighty Deva is alone enough for them all. Years later, Bhairava and his gang want to get back to the business and also plan to kill Deva, but there is Devara's son, Vara (played by Jr. NTR only), who might make things tricky. What will happen when Bhairava and his gang face Devara?
Written by Koratala Siva, the film has a very outdated plot, and the screenplay is extremely weak. Taking the narrative to 3 hours with such a boring screenplay is a crime, man. Moreover, you don't even get any clarity in the climax and leave the theater with a question, "What just happened and why?" Many scenes look illogical, such as Devara alone pushing two big loads along with 9-10 people's restrictions, him living in the ocean for years, a villain driving into water with a gun in his hands, girls talking about marriage, and one of them even says that she will marry her could-be boyfriend's father. The climax here is one of the most stupid climaxes I have ever seen in recent time and for any big-budget films. In short, it's sort of like Tollywood's Thugs of Hindostan!
Jr. NTR fans will enjoy some massy action scenes, but the overall character ratio isn't really enjoyable. Tarak plays a double role, and it should have been a double treat for his fans, but the way those characters are written, you don't really see his heroic image being nurtured with care. The second role of Vara is portrayed childishly, but there is a fantastic twist to it. The impact is again lost by the climax, though. Janhvi Kapoor appears in the second half and does nothing noticeable. The role didn't demand anything else but to look beautiful in the saree and do romance with Jr. NTR, which isn't suitable at all. Saif Ali Khan is all show-off, no variations. Similar expressions and dialogue delivery for every scene make his character look subpar. Marathi actress Shruti Marathe has got the biggest role of her career as far as pan-India flicks are concerned, while Prakash Raj is decent in an important role as a narrator. Srikanth, Shine Tom Chacko, Zarina Wahab, and the rest of the supporting cast have done pretty okay.
Devara Part 1 is high on VFX and action, and these two things actually make it watchable. R. Rathnavelu's cinematography captures some amazing friends during the action sequences. We have seen those blood-half moon and shark frames, but they look even better on the big screen. The editing of the film is at fault. So many useless scenes and cringe moments; no way this deserved a 3-hour runtime. Koratala Siva uses a modern setup and budget for an outdated film, which is indeed wrong. The idea of dividing the film into two parts with this writing doesn't make any sense. It didn't even deserve two hours of storytelling, and then Siva wasted 3 hours and told only half the story. Why? Why waste money and time on this? In a nutshell, Devara Part 1 is a big-budget blender with a superstar that is unlikely to get the second part in the future.
RATING - 4/10*
Aasha (1980)
An emotional soap with chartbuster music.
Aasha (1980) :
Brief Review -
An emotional soap with chartbuster music. J. Om Prakash's Aasha has nothing to do with Kishore Kumar and Vyjayanthimala's super hit "Aasha" (1958), except the title, which eventually defines the same context with a different story line. This is an emotional film because there are a lot of sacrifices and heartbreaks in it, but the film is very soapy about the plot. I can understand the film turned out to be a blockbuster success because the songs were highly popular and they have an evergreen touch. "Sheesha Ho Ya Dil Ho" has come across generations, and what a lovely use of the song here! The first time it plays, it is a simple touchy song; next time, it comes at an emotional situation, and then again when it eventually defines the heartbreak (tut jaata hai), making lyrics meaningful. The other one is "Tune Mujhe Bulaya." It's an evergreen mata ka song yaar. I get devotional goosebumps every time I hear it anywhere (mostly played at temples, hotels, and trucks). The film is about Deepak, who gets married to Mala, leaving Aasha heartbroken, who was secretly in love with him. After the marriage, Deepak is kidnapped but is declared dead, and then Mala commits suicide. Asha and Deepak begin a relationship, but there, Mala is saved but loses her eyesight. She gives birth to a baby, and years later things bring the lost ones face-to-face in difficult situations. Jitendra looks very handsome for a truck driver, and I also wonder how a truck driver is so fluent in English. Rameshwari looks beautiful as a non-glamorous and simple girl/wife, and Reena Roy looks gorgeous in her glamorous avatar. Girish Karnad plays a very different and important role. His hatred for God and then falling at God's feet in the end-this circle adds another layer to this soapy narrative. Overall, a one-time-watch drama with two memorable songs.
RATING - 6/10*
By - #samthebestest.
Shahjehan (1946)
AR Kardar and Kamal Amrohi create an ornamental classic on the fictional accounts of Shah Jahan, Mumtaz, and Taj Mahal.
Shahjehan (1946) :
Brief Review -
AR Kardar and Kamal Amrohi create an ornamental classic on the fictional accounts of Shah Jahan, Mumtaz, and Taj Mahal. It's hard to believe that a film made in the pre-independence era had such a great vocabulary, dialogues, metaphors, and allegorical references. What we saw in Mughal-e-Azam (1960) and Taj Mahal (1963) years later, Shahjehan did that in the 40s. The only other competitors were Tansen (1943) and Mirza Ghalib (1954). But even those films didn't have such an amazing chaos of love, sacrifice, and promise. Although it's a fictional film and does not really tell what happened behind the making of Taj Mahal, it's a great classic and one of the best historical epics ever made in Bollywood. For historical accuracy, I'd recommend you Anarkali (1953) and Taj Mahal (1963), or even Mughal-e-Azam, which is pretty accurate with its never-seen-before grandeur. Still, I'd like to recommend Shahjehan for its brilliant filmmaking and writing. Watch it as a fictional film, just like you see any other Bollywood movie, and you'll fall in love with it. I am damn sure you'll love it and love it like.. so much. The film tells the story of Shah Jahan and Mumtaz, but the main focus is on Ruhi's character. A heavenly beauty that even makes her brother like men fall in love with her-as a future wife. You can imagine what I am saying. The way Amrohi explains her beauty, the way words hype her before she makes her first appearance, is simply mind-blowing. "Husn ka sabse bada johri Aaj iss anmol ratan ka kharid daar dhundne nikla hai!" What dialogues! What songs! KL Saigal, the legend, hands down. Kanwar had played Shah Jahan so well. The script, the screenplay, the idea of fictionalizing a historical event with a love triangle, a king's promise, and a lover's sacrifice, the production design, art design, cinematography, and direction-everything is so beautiful and so ornamental. It's like they all ate diamonds for breakfast and then made this film.
RATING - 8/10*
By - #samthebestest.
Naseeb (1981)
Manmohan Desai's attempt at rehashing Amar Akbar Anthony has too much to take
Naseeb (1981) :
Brief Review -
Manmohan Desai's attempt at rehashing Amar Akbar Anthony has too much to take. Naseeb is a fine one-time watch even during the repeat viewings. I used to watch this film in childhood on TV, but all those ad breaks used to destroy the tempo of linearity. It has all those Manmohan Desai elements, or, rather, it has all those repetitive elements or cliches. It looks like a rehash of Amar Akbar Anthony at many places. Instead of Amar Akbar Anthony, it's John Jani Janardan, or it's those 3 rings of Hindi, Muslim, and Isaai. Instead of Anhonee ko Honi kar de, it's "Rang Jama Ke Jaayenge. Instead of bromance, it's friendship and love triangle, lost and found formula, and so on.. Naseeb is based on known theories, and that's why it couldn't outgrow itself from a template of a regular masala film. Maybe Desai was done with all his theories and was losing his touch post-80s beginning. Amitabh Bachchan plays the main hero, and instead of My Name is Anthony Gonsalves, he gets "John Jaani Janardan, Tara Rum Pum," song for his introduction. That song is full of vibes, man. It must be 1979, when Dharam Veer was celebrating the golden jubilee, and Naseeb was released in 1981, so they must have shot a year or two before. Bachchan requests Raj Kapoor to play the musical instrument like he did in blockbuster Sangam (1964), and right next moment, Big B mimics RK's famous pose from Mera Joota Hai Japani. Absolute nostalgia. We also have superstars like Dharmendra (he stops him) and Rajesh Khanna in the same song, and Bachchan mimics both of them, along with Shammi Kapoor. This is something Farah Khan did 26 years later in Om Shanti Om (2007). As a whole, Naseeb has some good moments and masala theories that aren't harmful at all. It's just that the film is loaded with cliches and is too long (the last hour gets too stretched).
RATING - 6/10*
By - #samthebestest.
Haathi Mere Saathi (1971)
Rajesh Khanna's biggest blockbuster of the 70s decade is an evergreen emotional rollercoaster.
Haathi Mere Saathi (1971) :
Brief Review -
Rajesh Khanna's biggest blockbuster of the 70s decade is an evergreen emotional rollercoaster. Can animal-based films be such tearjerkers? Pet films have a long history, mostly because they were emotionally appealing. Be it the modern films like Charlie 777 (2022) or Hachi: A Dog's Tale (2009) or Hollywood's golden era classics like "Lassie Came Home" (1943), animated flick "The Lady and the Tramp" (1955), or coming-of-age drama "Old Yeller" (1957), we all cried while watching these films. But Haathi Mere Saathi has epic "Nafarat Duniya Ko," sung by Mohammed Rafi, man. How can any other film challenge that? The lyrics actually put humans at shame for their inhumanity towards animals. They are more loyal than humans, and that's why the lyricist says, "Pyaar ki duniya me khush rehna mere yaar." This is beyond any emotional experience. Beyond a tearjerker segment. The director has so many things to tell and so beautifully. Tanuja tells Ramu, "Jab tak tu Zinda hai me uss Ghar me wapas nahi aaungi," and she actually returns after he is dead. The doctor says, "Bhagwan pe bharosa rakho," and the next moment you have four elephants bathing Lord Ganesha's idol, and they start praying. Which pet/animal-driven film has such brilliant scenes, tell me? Convincing audiences with such films is the most difficult job, and that's why we don't have many blockbusters made on such topics. HMS tops the list. One of the major reasons was superstar Rajesh Khanna's presence and super hit songs, I agree, but convincing Rajesh Khanna to sign a sort of remake of a flop film in his peak period was a task itself. Writers Salim-Javed, director, and producer not only convinced Kaka but also the audience to make it a blockbuster film. It tells a lot about the impact the film must have left on the public. It just leaves you in so much pain and so many emotions that it just stays in your memory.
RATING - 7.5/10*
By - #samthebestest.
Nagin (1976)
Didn't know my childhood fascination was actually the best fantasy horror film of Bollywood in the last 5 decades.
Nagin (1976) :
Brief Review -
Didn't know my childhood fascination was actually the best fantasy horror film of Bollywood in the last 5 decades. Nagin is about to turn 50, and in these 5 decades, I don't really think any film has come close to it when it comes to a proper commercial mythological fantasy horror saga in Bollywood. We were very late to pick the mythological and fantasy elements into the horror genre than Hollywood, who did it way back in the 20s with silent movies and then in the 30s with talkies. Rajkumar Kohli's filmography has been forgotten, deservingly, but two of his works in the fantasy horror genre, Nagin and Jaani Dushman, will forever be the best in this category. We hardly have horror classics with ghosts or revenge theories. Today, we have Tumbbad and some of those classics like Mahal and some 60s stuff to argue, and Ramsay's works were not on that level, even though they are very popular to date. Kohli's Nagin may be that one film that I wouldn't call a classic but would definitely call a film to be remembered and certainly the best commercial horror film since ages. It was a super hit in the initial run and then re-release. I can imagine the fear, the fascination, and the mystical nostalgia people must have felt back in the 70s, when Bollywood was heavily riding on masala movies. Reena Roy looks so freaking hot in her first appearance only, and then throughout the film with those grey eyes, lipstick, and dark eyelids. Besides being a fascinating fantasy flick, Nagin is such a stimulating and sexy film. There is so much spice and glamor in it. There are flaws too that one can easily notice today, but they are forgivable. It comes out as such a frightening entertainer, just like Jaws was in Hollywood around the same time. People used to pay to get scared back then. Imagine the fun of doing so for yourself. Thank you, Kohli Saab, for this evergreen horror fantasy that has come a long way through 5 decades and almost 3 generations.
RATING - 7/10*
By - #samthebestest.
Dost (1974)
Dharmendra as the flagbearer of honesty in a beautiful friendship drama.
Dost (1974) :
Brief Review -
Dharmendra as the flagbearer of honesty in a beautiful friendship drama. Dost begins with an evergreen song, "Gaadi Bula Rahi Hai, Seeti Baja Rahi Hai." The next lines are even more beautiful: "Chalna hi zindgai hai." Throughout generations, people have misunderstood this song as a travel/train song. It's a beautiful melody of life, actually. It appears several times in the film, and every single time, it leaves a different impact. In the end, it goes like this: "Yaade meeta Rahi hai, (getting negative with the tragedy of losing a kid), and the next line is, "Yaaden bana raha hai" (making things hopeful again with a new kid joining the family). Once you understand this song fully, you'll have learned yourself a lesson of a lifetime. Please, next time try that. Dost is a beautiful friendship drama that deals with multiple aspects, such as friendship, honesty, poverty, the value of hard work, the power of truth, inequality in society, and last but not least, what's how to live an honest and happy life. The film explores multiple dimensions beautifully and gives very delightful vibes all the time. However, the last quarter gets a little messy with the death, corruption, sacrifice, and all. Maanav's sacrifice of love (for a friend) is different from love triangles and other love stories, and it feels sentimental too. But the moment he returns, it destroys the emotional value of it. The kid's death, corruption, Gopi losing a hand and getting arrested despite being innocent-all of it happens in quick time and in a consecutive manner, which makes things messy. Whatever we saw before the first three quarters was so simple, steady, and joyful. But the last quarter lacks all those things. Dharmendra's honesty, looks, and style statements looked trendsetters, while Shatrughan Sinha's accent won me completely. Hema Malini shines as a beautiful heroine. Guha's film is good, a little more than good, but it had bigger potential that was reduced by the last 40 minutes.
RATING - 6.5/10*
By - #samthebestest.
Dharmatma (1975)
This first-ever Indian adaptation of "The Godfather" actually makes things more accessible for Hindi audiences
Dharmatma (1975) :
Brief Review -
This first-ever Indian adaptation of "The Godfather" actually makes things more accessible for Hindi audiences. Feroz Khan was heavily inspired by Hollywood flicks, mostly gangster flicks and Western flicks. You'll find many more adaptations and references in his filmography, but can you believe that he actually managed to pull The Godfather's adaptation in 1975, just a year after The Godfather's sequel? I still believe The Godfather is difficult to understand for mainstream Hindi audiences even today. Then let's just assume that the 70s audiences who were growing up with typical masala movies couldn't understand it properly. Those artistic references, dark theme, and heavily intense narrative-everything was new even for Hollywood audiences, then forget about Indian audiences. Feroz Khan picked the soul of The Godfather and put it in a desi body. It's much simpler and more accessible than the original, that is, for Indian audiences. He also gives a nice touch of patriotism to the main hero's character, as you see him giving up everything in the end. His main motive was revenge, not greed or money. That's the biggest strength of Dharmatma. We Indians can't really fall for the characters like Vito and Michael. We need sympathetic gestures and emotional boundings, which Dharmatms gets right. The past romance of Ranbir, i.e., Reshma, is sweet too. You get two memorable songs: "kya Khoob Lagti Ho" and "Tere Chehre Mein Wo Jadoo Hai." Hema Malini looks so gorgeous, and even Rekha plays such a cute character. Feroz Khan nails it as an actor, and Prem Nath as Dharmatma was nothing like Vito but far more localized and grounded. The supporting cast has also done well. Khan's direction is also good, actually much better than his acting. Overall, if you love The Godfather as a Hindi cinema audience, then you got to love Dharmatma.
RATING - 7/10*
By - #samthebestest.
Sargam (1979)
K. Viswanath's musical and dramatic masterclass
Sargam (1979) :
Brief Review -
K. Viswanath's musical and dramatic masterclass. Sargam is a Hindi remix of the Telugu film "Siri Siri Muvva" (1976), directed by Viswanath, which became famous at the time. As we all know, Viswanath is a legendary director, but I'd like to focus on one of the signature styles that's related to music. How beautifully he has used art forms like music and dance through his films, and that too with abnormal or helpless characters. You can notice that through his films, such as Sankarabharanam, Sagara Sangamam, Jeevan Jyothi, Swathi Muthyam, and Swathi Kiranam, and learn that music can be one of the main elements in human life. Sargam is simply based on that theory. A mute girl expresses her love and views through her dance. A pupil expresses his needs and care through his instrument. They are in love, but they don't know that. When the girl realizes, the boy denies, making the entire scene highly emotional. You can't find a better musical and artistic proposal scene than seeing a girl putting a varmala on Dafli and keeping her anklets there. The film is filled with many dramatic and emotional moments like this that move you. They haven't got much to do with a theoretical sense, but you don't really care much because the film is set in a certain musical zone and you believe everything that's happening out there. The scene when Raju begs the doctor to marry Hema and she is eavesdropping from the room is so beautiful. In the next scene, she realizes her love and even expresses it. Sargam has got one of the best music albums of the decade. The legendary Laxmikant-Pyarelal gave us "Dafli Wale," "Parvat Ke Uss Paar," "Hum Pardesi Hi Gaye," "Koyal Boli," and "Ramji ki Nikli Sawaari"-a total of 5 evergreen songs, and look at the choreography and the videos of those songs. You'll enjoy every single moment. Don't miss this one if you love musicals with an allegorical touch.
RATING - 7/10*
By - #samthebestest.
Zanjeer (1973)
Indian cop drama gets gritty and intense like never before
Zanjeer (1973) :
Brief Review -
Indian cop drama gets gritty and intense like never before. Amitabh Bachchan was coming from soft roles, and it must have been a shocking experience for the audience to see him in such an intense role, and that too in a masala-driven cop's avatar. The cop dramas in Bollywood or Indian cinema have always believed in keeping things massy and preferred revenge as the main tool behind the anger of the character. Zanjeer is also based on the same lines, with an additional touch of gritty character, which was mostly seen in Hollywood's western dramas back then. For our audiences, a cop movie meant a simple action masala flick, and the equation hasn't changed till date. Be it Singham, Dabangg, or Rowdy Rathore, you see diversity in the screenplay and the characters because the writers don't want to take a risk. Zanjeer took that risk in the peak era of masala movies and turned out to be a successful film. That's why it should be hailed forever. It has also inspired many mainstream theories, but the ideological metaphor of Vijay's character remains unmatched. In the above-mentioned films, you'll see a cop behaving like a child in a few scenes or becoming comical for a while, but you don't see that in Inspector Vijay Khanna's character. The seriousness of being on duty or being traumatized around corruption or past memories has to be highlighted, and Zanjeer did that so well. Amitabh Bachchan plays that angry young officer's role, and in the 10-15 minutes you know what kind of material he is. Pran plays one of the best roles ever written and portrayed in any cop movie in history. Be it his dialogues, action, attitude, or even that joyful dance of friendship, everything is top notch. Salim-Javed's screenplay looked fantastic, even though a few things seemed to be borrowed from classic Western material. Jaya Bachchan was more fun as a chatterbox than a responsible woman. Mehra must be on fire from inside while making this one.
RATING - 7/10*
By - #samthebestest.
Yudhra (2024)
Siddhant Chaturvedi's Action Drama Is A Headless Trash
Yudhra (2024) :
Movie Review -
Ravi Yudyawar's action drama Yudhra has proved again that not every action film with gore violence be "Animal" or "Kill." The action and violence aren't the only two materials that complete the film, but there are some things called the director's vision, passionate performances, and honest storytelling that fulfill the film's potential to prosper. Yudhra fails on every single front there. Siddhant Chaturvedi and Malavika Mohanan's action thriller turns out to be headless trash that you can hardly afford to watch.
Yudhra Rathore (Siddhant Chaturvedi) struggles with anger issues that have everything to do with his genetic trauma after his father and mother's accidental deaths. From childhood, he can't control his anger, and even his foster father can do nothing to stop him. Yudhra and his childhood friend, Nikhat (Malavika Mohanan), fall in love, but then Yudhra loses his temper yet again and is sent to prison. There, he learns the truth about his father's death and embarks on a mission to find the killer to seek revenge as well as help the nation's security. Will he be able to complete the mission?
The screenplay of Yudhra drags every 15 minutes because it hasn't got anything to hold the viewers. Every 15 minutes you have a useless scene that damages the tempo built by the previous 15 minutes, and then the same story repeats in the next interval. The first half goes into the introduction of messy characters that fail to make a connection with the audiences. Be it Yudhra, Nikhat, Firoz, or Shafiq, you don't feel attached to any of them, and they just keep wandering on the screen to grab your attention-all for zero results. The romance between Yudhra and Nikhat is terribly presented and is strictly for roadside romeos, but sadly it is portrayed by educated students belonging to medical and army streams. Wow, such stupidity! Unlike Kill, where the simplicity of the character drags you into the narrative even if it's set in a single place, Yudhra is far more diverse but extremely disturbing with the locations and characterizations.
Siddhant Chaturvedi grabbed everyone's attention with Gully Boy, and he was indeed very good there. But what's he doing after that? Or rather, how can you go so wrong after that? Bunty Aur Babli 2, Phone Bhoot, Kho Gaye Hum Kahan, and now Yudhra, what's this? Bro, this is not what I want from you. Be more sensible with the choices because we have seen your potential in Gully Boy. Malavika Mohanan looks hot, and that seems to be the only compliment from my side, because acting and all, sorry, wrong number! Raghav Juyal fails to create the Kill magic here and how! Raj Arjun plays a deadly villain, Ram Kapoor is dated but decent, Gajraj Rao was okayish, and Shilpa Shukla is wasted.
On the technical front, Yudhra has a decent sound design and background score. The music is unnoticeable, the cinematography isn't good, and the editing is poor. 142 minutes for the story, which doesn't even deserve 42 minutes of your time, seriously? Either we need better stories or we need better editors who know how to engage audiences for two hours. Shridhar Raghavan has written average stories like "War" (2019) and "Pathaan" (2023) in recent times, which were uplifted by huge scale and the director's vision of larger-than-life cinema, but Yudhrat lacks that. Ravi Udyawar is not Siddharth Anand, nor does the film have any big superstars to survive. Ravi's outdated vision hampers Yudhra more than anything, and the production value also looks compromised. As a whole, it's a big mess, but more than that, it's close to a headache point. Please stay safe at home.
RATING - 3/10*
Prem Nagar (1974)
Rajesh Khanna and Hema Malini's romantic soap.
Prem Nagar (1974) :
Brief Review -
Rajesh Khanna and Hema Malini's romantic soap. This film is a remake of the Telugu film Prema Nagar (1971) and tells the story of an alcoholic rich man. He is brought to the right path by his secretary, an honest girl from a poor family, and, expectedly, they fall in love. With his mother and brother attempting to break this love story, the following drama becomes too dramatic and soapy. I can remember a few films from old Hollywood on the similar lines where a rich alcoholic man falls in love with a poor girl and then she makes him a gentleman. However, he is drowned back in alcohol again, but this time for worse. Earlier, he couldn't live without alcohol, and now he must drink it to continue living on. The conflict of alcohol with love and its pain makes sense, but Prem Nagar is too soapy about it. The film looks totally dragged in the second half because there is no entertainment. Everything is drama, soap, and cliches. The film didn't have superhit numbers in the first two hours, but then we had two classic numbers in the last half an hour: "Yeh Laal Rang" and "Jaa Mujhe Na Ab Yaad Aa." Rajesh Khanna suits the character because he had that attitude, that royal image, and somehow those vibes of a devastated drunkard. Hema Malini is absolutely breathtaking in every single frame. It's time to say it again: "Hindi movie heroine looks best in sarees." Kamini Kaushal plays a very problematic character, which I failed to understand. She is an irresponsible mother, a little arrogant and brain dead too, but in some scenes, she suddenly turns into a good mother. Prem Chopra was a perfect choice for the villain's role; Bindu was his second half, and Aruna Irani looked damn sexy in her item song. Overall, a one-time watch by K. S. Prakash Rao, who also made the original flick. But I ask, was the remake really needed? And also, a devastating ending would have looked better than a happy one.
RATING - 6/10*
By - #samthebestest.
Gora Aur Kala (1972)
A rare double-role formula trying to be intellectual
Gora Aur Kala (1972) :
Brief Review -
A rare double-role formula trying to be intellectual. Gora Aur Kala, means the Fair and the Dark, like its title, is about good and bad. Bollywood had to adopt the double role siblings formula from the South with Ram Aur Shyam (1967), followed by Seeta Aur Geeta in the same year as Gora Aur Kala. Before that, there was Hum Dono (1961), which wasn't about brothers but was far more intellectual. The same intellectual formula thrived with Gora Aur Kala, boosted by the twin brothers formula that ended up with much better theories than any other twin role formulas we have seen in Bollywood. Though the film has its own flaws that are included with basic mistakes, the overall structure successfully manages to go past a certain point of mainstream filmmaking. Based on a French novel "The Corsican Brothers," the film adds a message, which is missing in almost all twin brothers we have seen in Bollywood. Gora Aur Kala pits two brothers against each other over a beautiful girl because the dark one is filled with lust and greed. However, the trick here is to see him as the most powerful person, whereas the fair one has a fair heart but cannot match the dark one in strength. The same way, the dark one cannot match the fair one's goodness. By the time Kala realizes what's wrong with him, it's too late because his sacrifice takes you back to the opening scene of the film to complete the metaphor. I don't think any Bollywood movie with twins could think about such things, and the way Naresh Kumar has presented this film with a lot of entertainment, action, romance, and drama is beyond the ordinary viewer's mindset. I can imagine how an ordinary viewer would have entered the cinema halls for a simple entertaining movie, and how he would have come out with much more in his memory. Overall, a few hiccups in the screenplay, but otherwise a super entertaining drama.
RATING - 7/10*
By - #samthebestest.
Kaala Patthar (1979)
Yash Chopra's haunting melody for mature audiences.
Kaala Patthar (1979) :
Brief Review -
Yash Chopra's haunting melody for mature audiences. One should give it to Yash Chopra, superstar Amitabh Bachchan, top writers Salim-Javed, and everyone included in the cast for even thinking of making such a dark movie back in time on this scale. Such dark and haunting films don't even work in today's time when audiences are much more literate than the 70s, and then someone actually attempted it in the late 70s, when Bollywood was all about masala movies, is definitely pathbreaking. Not because it was based on a true event of the Chasnala Coal Mine disaster-it hardly is honest with the actual event and numbers-but because it dares to go against the mainstream cinema, which was safe if you look at the starcast. There is enough mass masala in this one too, and that was obvious because of Salim-Javed and the multi-hero narrative. Kaala Pattha is almost 3 hours long, and 2 hours of that runtime belong to your regular mass cinema. The next 40-45 minutes are what make my headline meaningful-a haunting melody. Look at the framework, the background score, the cinematography, and the intensity of the narrative, and tell me, does it look like an 70s movie? No. It looks far superior to what Mission Raniganj achieved after 4 and a half decades. Due to multiple love stories, the narrative feels lengthy because you have three heroes and three heroines, so you need to give some space to explore their love stories. That hurts the narrative and its grip in a way. Needless to say, it was a commercial tantrum because the rest of the film was only for mature audiences, who come in few numbers. All the actors have performed really well. More than its script and screenplay, Kaala Patthar emerges as superior on the technical fronts. Yash Chopra's direction and vision surely make it what we call "a film ahead of its time," even though it lacks a few things in its writing. Overall, still fantastic!
RATING - 7/10*
By - #samthebestest.
Andaz (1971)
A brilliant 70s drama by Ramesh Sippy
Andaz (1971) :
Brief Review -
A brilliant 70s drama by Ramesh Sippy. Andaz has no similarities with Dilip Kumar, Raj Kapoor, and Nargis' record-breaking blockbuster, "Andaz" (1949), except that a lady with two love interests. "Zindagi Ek Safar Suhana" may be one of your all-time favorite travel songs, but after watching this film, you will realize that the song is very inspiring to live this life. Whatever happens, happens; just don't care about the past and move ahead with the future. The song teaches you a lot of things like this. Andaz cannot be counted as Rajesh Khanna's movie because he hardly has a 15-minute role here. That's enough to be called an extended cameo, not the second lead. The film is about a single mother, Sheetal, and a single father, Ravi, who fall in love and decide to get married as their children also like each other. However, both have past traumas as they have lost their partners. Can they outcome it and live together when there are a few other problems too to make it difficult for them? Rajesh Khanna plays Raj, the first husband of Sheetal, a role that is very similar to "Aradhana." But instead of giving her son away, Sheetal keeps it with her and lives with him. The film is based on many such cliches that audiences have seen in many movies from the 60s and 50s. Be it the rape angle, enemy brother, or in-laws negative mindset. Shammi Kapoor plays a fine role, and Hema Malini looks very fresh and beautiful. Both child artists, Alankar and Gauri, are super cute. Shankar-Jaikishan's album has a variety, but nothing as iconic as Zindagi Ek Safar. Re Mama is a fun children's song, and Papa Ko Mummy Se is a love song from a children's point of view. Ramesh Sippy keeps the drama simple but very engaging. No hardcore moments or forced scenes. Andaz's real beauty is in following unintellectual footprints.
RATING - 7/10*
By - #samthebestest.
Kahani Kismat Ki (1973)
Conspiracies of fate!
Kahani Kismat Ki (1973) :
Brief Review -
Conspiracies of fate! Kahani Kismat Ki has a title song that keeps playing continuously on many occasions and defines the narrative in a unique way. It's the story of destiny, fate, which cheats a man, and he has to wait until it switches the results. The film is about Ajit (Dharmendra), who is a robber and is soon caught and sentenced to 2 years in jail. After coming out, he decides to be an honest man as his mother wished and finds a job at a wealthy businessman's house. He falls in love with his boss' daughter, Rekha (played by Rekha), and her father is against this marriage. However, he agrees to their marriage, but there is a big conspiracy behind it. Ajit learns about suffering from blood cancer and decides to go against his nature for the better future of his family members and Rekha. But was that all true? Ajit isn't aware of what's going on and why, and then the pre-climax portion reveals all those things. The screenplay takes the title very seriously, as you see many events are driven by fate, including the climax. The reel being taken by a black kite, the smart doggie, the camera under Lord Shankara's idol, the doctor's secret, and Rekha's past-there are so many scenes that hang on the string of fate and destiny and end with human touch. Dharmendra looks damn handsome here, and the director also attempts to justify that. The first scene when Rekha bumps into him and she has lost her heart. The teasing, flirting all is so beautiful, and then we have the super hit "Rafta Rafta" in Kishore Kumar's energetic voice, and even that small "Maine aise to nahi kaha tha" in female voice is damn cute. Rekha is too young to be judged according to her standard, which she set later on. Ajit makes a fantastic villain, and Arjun Hingorani's writing and direction are both fine. As a whole, it spins too much round and round but makes a good entertaining watch.
RATING - 6/10*
By - #samthebestest.