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India Today
25-05-2025
- Entertainment
- India Today
Ankhen: The sanskari spy who shunned martinis and saved India
As part of our Retro Review series, we revisit 'Ankhen', the 1968 spy thriller that outgrossed every Bollywood film of its year, blending James Bond swagger with desi Ankhen (1968)Cast: Mala Sinha, Dharmendra, Mehmood, Kumkum, Nazir Hussain, Jeevan, Madan PuriDirector: Ramanand SagarMusic/Lyrics: Ravi, Sahir LudhianviBox-office status: Super HitWhere to watch: YouTubeWhy to watch: For tacky gadgets inspired by 007; wacky villains inspired by Hitler; and trendy women's fashion inspired by LebanonMoral of the story: Duty over desire, because India's enemies don't stand a chance against a sanskari spyadvertisementWhat do you get when Ramanand Sagar takes off on James Bond? A 007 who doesn't smoke, isn't bothered about Martinis - shaken, stirred or bugged; and runs away from gorgeous women hitting on him. In short, a sanskari spy - a satyugi avatar of the kalyugi secret agent of drinks, dames, seduction and 'Ankhen', the man who gave us Maryada Purshottam Ram two decades later on Doordarshan, gives us Sunil (Dharmendra), a globe-trotting spy who just wouldn't cross the Lakshman Rekha of maryada. Two beautiful women literally stalk him. But every time they snuggle up to him, Sanskari Sunil lectures them on desh, duty and dharma. No wonder one of them prefers death to the company of a spy who, unlike Mike Myers' Bond avatar, just wouldn't, well, shake a 'Ankhen' is the antithesis of Bond's nocturnal games. But not his diurnal gadgets. Like the arrows that kiss each other to the sound of hissing snakes before falling off in 'Ramayana', Sagar conjures some really tacky gadgets. One of them, like a compass, goes tu-tu-tu whenever Sunil is around. Another, a stethoscope clone, picks out bugs in the (aforementioned) liquor bottles in a Lebanon hotel. In one scene, Sagar beats the future Tom Cruise with a mask that turns a deshbhakt into a traitor. Pity he didn't apply for a patent - the revenue from 'Mission Impossible' would have widened Sagar's 'Ankhen'. Photo credit: IMDb Ankhen's script is both pretentious and prophetic. It features a Kingsmen-like network of saviours - in this case retired INA officers - ready to rid India of its enemy is a curious herd. The head is Dr X, Jeevan, who barks orders through clenched teeth and a voice fraying at the edges, suggesting that he could benefit from a prescription of laxatives. Dr X, who dresses like Hitler in khaki and answers to the call sign of Napoleon, runs a den somewhere in the northeast of India. His goal: destabilise India for the benefit of you-know-who. (Hint: Not Pakistan).advertisementHis most ominous asset is 'Madam', Lalita Pawar. In one scene, the diminutive Pawar slices through a group of men, slashing them with karate chops. For this run alone, 'Ankhen' deserves a Sunil is dispatched to Lebanon to find out who this mysterious Doctor X is. The task is a cinch. Everyone in Lebanon speaks Hindi, and two women, the ones who whisper sweet nothings into his dispassionate ears, are ready to illogical thing leads to another. And Sanskari Sunil completes his DHARAM SERVES COLD Halfway through, you wonder why Dharmendra signed up. His Sunil enters in a Jodhpuri coat, looking like a groom ditched at the mandap, not a suave spy. No dhai-kilo dialogues, no steamy escapades - just a yawn-inducing sanskarism that leaves Garam Dharam the penny drops: 'Ankhen' isn't his film. It's Mala Sinha's show. A box-office titan in the late 60s, Sinha owns every frame. Photo credit: IMDb advertisementShe fits into hairstyles, kimonos, sarees, skirts, and Arabian dresses with equal flair. She stalks Sunil through Japan in a made-for-her intro, belts out Ravi-Sahir's songs in a dramatic platter of emotions, and guns down baddies in the isn't just a spy saga - it's a feminist fest with Sinha kicking stereotypes as deftly as she does gets his moment, though. In a scene made for him. Locked in a cage with a tiger guarding it, he doesn't just escape - —he saws through the bars and wrestles the beast, setting the template for Bollywood's macho showdowns in the 70s, when tigers were in huge its wild gadgety jugaad, 'Ankhen' is a time travel to the 1960s Bollywood - outrageous, earnest, and illogically entertaining. Rewind it for the nostalgia, stay for the sheer audacity of a sanskari spy who makes 007 look like a rebel without a cause, and wine, no women, only desh. That's 'Ankhen' for you.
India Today
24-05-2025
- Entertainment
- India Today
Muthina Haara: A patriotic tale of Kodava soldier, his family, pride and pain
In this week's Retro Review, we pick a 1990 Kannada classic. 'Muthina Haara', set in a time period between the second world war and the Indo-China war of 1962, touches upon sensitive topics like repercussions of war, mental trauma of a soldier's family, efficient cultural representation and Muthina Haara (1990)Cast: Dr Vishnuvardhan, Suhasini Maniratnam, KS Ashwath, Master Anand, Sadashiva Brahmavar, Prakash Raj, Ramkumar and Rajendra Singh BabuBox-office status: Hit (Became cult-classic over time)Where to watch: YouTubeWhy to watch: Understand repercussions of war, trauma endured by defense families, how to make films with good cultural representation. An old poster of 'Muthina Haara' (PC: Wikipedia) advertisement'Uri: The Surgical Strike', 'Amaran', 'Shershaah', 'Lakshya', 'LOC Kargil' - these are all examples of blockbuster or cult classic army films in Indian cinema that have left a mark in the hearts of most Indians through their depiction of a soldier's life, courage, and valour. But to the new generation, war drama films from the '90s are now history - something not often discussed, and for many, not interesting enough.'Muthina Haara' is a film that is so dear to Kannada households that it is a regular on TV every Independence Day and Republic Day. Featuring one of the most iconic pairs from the golden age of Kannada films - Vishnuvardhan and Suhasini Maniratnam - the Rajendra Singh Babu's cult classic holds significance in the history of cinema. Rajendra Singh Babu has several titles to his filmography - 'Bandhana' and 'Antha' - which were blockbusters upon release and remain iconic to this day. Perhaps we'll get to those titles later down the line, but 'Muthina Haara' is our first choice for one reason - scale and ambition. Having produced the film himself, Babu took a huge risk, which didn't really pay off completely at the time of release. The film, which was initially accepted only in tier-1 cities, gained full recognition over the years as audience sensibilities evolved. A picture of Rajendra Singh Babu with former Vice-President M. Venkaiah Naidu at IFFI 2106 (PC: Wikipedia) advertisementThe film is certainly not flawless. It has its fair share of plot points that could be memes today - the hyper-dramatic acting at times, the occasional disregard for logic, the 'jugaad' shots here and there. These 'at moments' crop up regularly, especially if the film is judged based on today's sensibilities and trends. However, these demerits do not cast a shadow on the key themes 'Muthina Haara' stands film explores multiple avenues - romance amidst chaos, life through a soldier's lens, the rooted and regional culture of the Kodavas, and more. At the same time, from a filmmaking standpoint, its approach to screenplay - tracking the life story of the lead pair - did not only focus on drama but also integrated a range of other ingredients that made it feel both authentic and War - Drama through traumaThe film explores a soldier's life and his family's temperament as they witness four different wars, each of them playing a significant role in the story. While the names and timelines of these battles aren't mentioned clearly, one can understand the references given in the film to draw parallels and connect the dots. The story of the film 'Muthina Haara' spans between World War II and the Indo-China war of 1962 (PC: Youtube/SRS Media Vision) Starting off in Burma during the Second World War, Achchappa (Vishnuvardhan) is injured in action while fighting for the British Indian Army. The army nurse who tends to his wounds is Lieutenant Annapurna (Suhasini). The two bond over the commonality that they come from the same place - Kodagu in Karnataka. As the treatment goes on, their hearts grow closer, and as the distance between them increases, when Achchappa recovers and gets redeployed to the battlefield, they realise they've fallen for each to the story - Achcha and Anu are married, and Anu gives birth to a baby boy, Veeraraju (Master Anand). Immediately after his birth, Achcha is posted to Korea, hinting at the Indian military's contribution to mediating the end of the Korean War (1950–1953). From there, he receives a promotion as an officer in the Indian Army and is posted to serve in reaching Rajasthan, Achcha sends a letter to Anu asking her to join him with Veeraraju and live in his army quarters. Just as they are about to reach Rajasthan, a war breaks out with 'India's enemy' in 1952, and Achcha gets deployed. Anu and Veeraraju are picked up by an army convoy along with the families of other soldiers. While on their way to the convoy, they get ambushed and Veeraraju is martyred while Anu gets lost in the deserts of Rajasthan. A still from 'Muthina Haara' (PC: SRS Media Vision) advertisementAchcha who is on his way to base from the Warfield notices Anu and realises what has happened. While having to deal with the pain of losing their only son, the couple decide not to go back home or to inform their parents of Veeraraju's passing. Years pass with Achcha and Anu choosing to spend their lives in service. They are now posted in Kashmir, with Achcha having risen in rank to become a commander training young cadets, while Lt. Anu heads the medical division in the camp. Navigating their trauma - and facing new ones - the couple have held on to each other through thick and thin, before war is declared once again and Achcha returns to the what seems to refer to the India–China war of 1962, which took place between October and November, Achcha and his battalion, having entered enemy territory, are captured by the Chinese. Despite being tortured to divulge military secrets, Achcha manages to escape along with his entire battalion without leaking any information. However, he gets mortally wounded while trying to hold the enemy back as his comrades escape. Achcha somehow manages to hold on until he reaches Indian soil, to give a final salute to the emotional weightage aside, the action choreography of the war sequences may seem a tad caricatured - perhaps more so to those who have only watched modern war dramas or Hollywood classics like 'Saving Private Ryan' (1998). But when you take into consideration the film's budget (from the 90s) and the final output achieved, the technical shortcomings can be forgiven. The result, accomplished on a budget that's peanuts compared to 'Saving Private Ryan' or any of the Bollywood films produced in the '90s, makes 'Muthina Haara' stand apart from the rest.'Muthina Haara' does not use war as its primary focus. Instead, it uses wars to focus on their repercussions on a military family - especially the lead couple, whose romance bloomed amidst one of those wars. The film does not use war to show countries engaging in battle in a villainous shade, but instead shines a light on the bravery, valour, and patriotism of the Indian representation - The right lindThe film shines a light on a minority community from the Kodagu district of Karnataka, called the Kodavas. The Kodava people have a way of life that is unique and distinctive when compared to their neighbouring cultures and traditions. The Kodavas are stereotypically (no complaints) known for three things: military contribution, hockey, and the best coffee (subjective). A still from the film 'Muthina Haara' with the lead Vishnuvardhan and Suhasini in traditional Kodava attire (PC: Youtube/SRS Media Vision) Writer VM Joshi and director Rajendra Singh Babu put in the effort to understand the history, culture, and traditions of the Kodavas and have integrated them efficiently into 'Muthina Haara'. Although it might lean on the lines of glorification, it is still better than misrepresentation or complete culture swapping (yes, that is a 'Skyforce' reference).'Madikeri Sipayi' and 'Kodagina Veera' are songs from the film that have become a bridge between Kodava culture and its understanding among the people of Karnataka. While 'Madikeri Sipayi' is a romantic song establishing the love between Achchappa (Vishnuvardhan) and Anu (Suhasini), it is partly sung in Kodava Takk (language of the Kodava) and partly in Kannada. 'Kodagina Veera', on the other hand, speaks about the way of life of the Kodavas at the time. A still from the song 'Kodagra Veera' from the film (PC: Youtube/SRS Media Vision) The dialogues are also partly in Kodava Takk during key moments to ensure the essence of the culture is retained. From the costumes worn on set to the customs shown in the film - be it that of a wedding or the celebration of the harvest festival 'Puthari' - the makers ensured that the culture is portrayed as accurately as terms of cultural representation, the Kodava wedding scene and the song 'Kodagina Veera' stand out for their authenticity in costume, culture, and creativity. 'Muthina Haara', which translates to a pearl necklace, has cultural significance among the Kodavas as well. Pearls are a significant part of a Kodava bride's Kokkethathi pendant - a crescent-shaped piece adorned with rubies, pearls, and the image of Goddess film is a study material for several theses that delve into the topic of cultural representation. However, the film as an individual entity can also be broken down and studied for the way it integrates India's patriotism with its distinctive culture. This sincerity was a trait seen in films of the past. Unfortunately, with people's increasing inclination towards metro life today, even accurate cultural representation in films - especially when it concerns minority groups - has become of cinematic brillianceTo say that 'Muthina Haara' was ahead of its time would be an understatement. Were it to be remade today with modern technology and adapted to present-day sensibilities and trends, the screenplay and themes would be so relatable that a big, bright box-office future would be almost certain for the film. Considering the fact that the film was made in 1990, it showcased several cinematic elements and moments that are purely brilliant. While attention to detail in the cultural representation of the Kodava is one of those factors, from set design to cinematography and more, there's a lot more to the Singh Babu's visionary approach to storytelling - something that was prevalent in his previous films as well - was evident in this film. The film was shot for more than 30 days in Kashmir, with the crew facing several disturbances in the shooting schedule due to extremist interruptions in the area. They also shot in Jaisalmer, Rajasthan, bringing more authenticity to all the border conflict scenes in the film. A practical stunt with Vishnuvardhan riding a Camel while shooting in Rajasthan (PC: SRS Media Vision) The director, in an interview, admitted that he pays great attention to set design, props, and costumes in order to make the set resemble the time and setting the film was based on. In this film, his efforts have certainly paid off. Reportedly, the furniture used in the opening sequence of the film - the hospital where the lead pair meet - was imported from Burma for authenticity. Including British flags, anti-Hitler posters, and several other elements only added to the overall cinematography in the film also shines in several moments. Not just the picturesque takes of the beautiful landscapes that the film was shot in, but there were also several moments where excellent use of lighting and aesthetics can be observed, which communicated the emotions the characters were going example would be when Achchappa is captured by the enemy in the latter half, where he is tortured by the enemy who are trying to extract military secrets and strategy. There is a shot where Achcha's moustache and hair are shaved off, and he is left alone in silence while water droplets - one drop at a time - keep falling on his acting, folly sound of the water dropping on his head, and the BGM slowly creeping up to establish the void and the agony - all add a lot of emotional weight. Finally, the set design and lighting made the scene cement in the hearts of the viewer. Forever. The blues in the background, with glasses of different shades, and the saturated orange/red colour on Achcha's face seamlessly communicate his anger, pride, and agony at the same time. Mind-blowing! Stills from the torture scene (PC: Youtube/SRS Media Vision) Director Rajendra Singh Babu chose not to take the conventional approach and give the film a 'happily ever after' climax. Nor did he choose to tone down the intensity of the film to make it more commercially appealing. He bravely stuck to his core idea and did not compromise his vision for commercial an established superstar like Vishnuvardhan and a sought-after actor like Suhasini did not have to put themselves in risky areas like the conflict zones in Kashmir - but they did! And so did the rest of the crew along with them. This level of dedication, although it might not have paid off as expected upon release, earned its due over the course of you want to watch a Kannada cinema classic, get introduced to a great director and some excellent actors, this film is for you. If you are a sucker for high-on-emotion tragedies that leave an after-effect that takes a moment to heal, this film is definitely for you! Also, 'for research purposes' or otherwise, if you want to know who the Kodavas are, this film is for you!
India Today
18-05-2025
- Entertainment
- India Today
Haqeeqat, a war film forged in India's steely defiance in defeat
As part of our Retro Review series on Hindi films from the past, we revisit 'Haqeeqat', the epic that soothed India's pain of the 1962 Haqeeqat (1964)Cast: Balraj Sahni, Dharmendra, Priya Rajvansh, Jayant, Vijay Anand, Sanjay Khan, SudhirDirector: Chetan AnandMusic/Lyrics: Madan Mohan, Kaifi AzmiBox-office status: HitWhere to watch: YouTubeWhy to watch: For expansive, gritty war scenes shot in Ladakh, capturing both beauty and painMoral of the story: In every defeat there is a victory, even if moraladvertisement'Haqeeqat' isn't a movie. It is the template for almost every war film made in Bollywood since 1964. 'Border' is 'Haqeeqat', 'LoC-Kargil' is 'Haqeeqat', even the recent Tamil biographical film 'Amaran' (2024) is 'Haqeeqat'. Like the beginning of an era that defines everything before and after it, 'Haqeeqat' is a pivotal moment in Indian cinematic epic Indian war films follow a simple stylesheet. They introduce an ensemble, mostly young men - because war is primarily a tragedy where the old cremate their young. The narrative builds with the backstories of these men, full of dreams and hopes. Songs of love, separation and military-camp camaraderie follow as a war looms. And then there is the inevitable death. In eyeball-to-eyeball conflict with a ruthless enemy. As Chetan Anand, the director of 'Haqeeqat', told Satyajit Ray, a war film is a mosaic - of life, love, hate and death. Photo credit: IMDb advertisementIn 'Haqeeqat', Chetan Anand crafts this mosaic with philosophical beauty, creating poetry in the middle of mayhem. He layers it with poignant moments of valour and loss, lyrical songs that epitomise pain and sacrifice. And two hours of raw, intense war. With sweeping shots in black and white of Ladakh, its monstrous deserts, imposing hills and daunting streams, he captures both its horror and magnificence. If not for the inherent tragedy, 'Haqeeqat' would have made you fall in love with war. All's fair, beautiful and horrifying in SCRIPTA lost war, like personal grief, is impossible to revisit. Its humiliation cuts like a shard. Its pain haunts like a silent ghost. So, it was bold of Chetan Anand, the eldest of the Anand brothers, to make a film on India's loss in the 1962 Sino-Indian war. And that too, when the wound was so raw that it was tantamount to sprinkling salt over Anand picks up the defiant resolution of a handful of soldiers to showcase bravery, underlining valour even in retreat, defeat and death. Loosely inspired by the battle of Rezzang La, 'Haqeeqat' shows the heroic last stand of Indian soldiers outnumbered by the Chinese at forward posts in Ladakh. (Much like the battle of Longewala immortalised in JP Dutta's 'Border').advertisementThe battle of Rezzang La was fought by 13 Kumaon, led by Major Shaitan Singh, on November 18, 1962 at 16,000 feet in freezing conditions. On being confronted by the Chinese, who crept up on them before dawn, the 120-140 Indian soldiers fought for five hours, literally to the last man. Major Singh, who sustained multiple gunshots, refused to fall back. For his bravery, Major Singh was awarded the Param Vir Chakra, India's highest military employs the flashforward-flashack narrative that has become the hallmark of such movies. He traces the 1962 tragedy through several sub-plots that finally converge. The film's main arc follows Major Ranjit Singh (Balraj Sahni), whose soldiers have been forced to retreat. To help him evacuate, Captain Bahadur Singh (Dharmendra) fights a heroic battle. In the climactic moments, a local girl - Anand's lifelong muse Priya Rajvansh - joins Bahadur Singh in a till-do-us-part pact. Photo credit: IMDb But 'Haqeeqat' is also a political film. It captures India's disgust with China for the unexpected, brutal war. In one scene, Balraj Sahni rails against Chinese treachery. 'We lobbied for them on international platforms. We followed the five principles of peace. We rolled out the red carpets for their visiting leaders (Chinese premier Zhou Enlai); we even asked them to decorate our soldiers for bravery. And, they put bullets in the chest of the same soldier.' His diatribe is amplified by real footage, lending a docudrama edge to the another, Sahni's character spits disdainfully as a Chinese soldier repeats ad nauseam, 'Hindi-Chini bhai-bhai.' To show his rage against the back-stabbing Chinese, a soldier thrusts his bayonet into Mao Zedong's Little Red Book, the ideological Bible of Communist pride was hurt by the defeat in the two-theatre war in Ladakh and NEFA (now Arunachal Pradesh). Unprepared for high-terrain battles, soldiers were cut down by the Chinese, forcing a retreat and surrender. 'Haqeeqat' stands out because it is cathartic. Its central message of defiance in defeat still AS DEFIANCEIn his epic 'Dr Zhivago', Boris Pasternek describes art as spiritual defiance. India's humiliating loss in 1962 produced two of the greatest calls for defiance in Indian music's history. Lata Mangeshkar's 'Ae Mere Watan Ke Logon,' and Mohammad Rafi's 'Kar Chale Hum Fida' - 'Haqeeqat's' swan lot has been written about Lata Mangeshkar's 'Ae Mere Watan Ke Logon'- a song that starts like a dirge and roars like a revolution. Some day we will revisit the legacy of its writer Kavi Pradeep and composer C now, watan ke logon, remember Rafi, Madan Mohan and Kaifi Azmi for their greatest contribution to cinema.'Haqeeqat' ends with the defiant words of Kaifi Azmi, 'Kar Chale Hum Fida'. Its patriotic fervour rivals 'Mera Rang De Basanti'- the song Bhagat Singh sings to the gallows in 'Shaheed' (1965). Each line is steeped in sacrifice and valour - stirring thamti gayi, nabz jamti gayiPhir bhi badhte kadam ko na rukne diyaKat gaye sar hamare to kuchh gham nahinSar himalay ka humne na jhukne diyaMarte marte raha baankpan saathiyon Kaifi's words soar like the Himalayas in Mohammad Rafi's voice, lifting the spirit like an anthem of the undefeated. In the background, Madan Mohan arranges a feast of light strings that start on a sombre note and then explode with violins and brass instruments that go to war. A fitting requiem for the brave, a symphony of resilience, a daring invite to the embrace of like 'Haqeeqat', this isn't just a song. It is a declaration of India's steely resolve - bent but not broken. Photo credit: IMDb PS: In 1965, after the war with Pakistan, Kaifi Azmi wrote a poem inspired by the Bhagavad Gita. It appears in Chetan Anand's 'Hindustan Ki Kasam' (worth watching, but for the poor print), as an ode to the role of the Indian Air Force in the 1971 India is in the throes of a conflict, Kaifi Azmi's lines are worth remembering:Whether a war is a blessing or a curse,Don't ask this question now,Now that it has been thrust upon usA war can only be a blessing!
India Today
04-05-2025
- Entertainment
- India Today
Baazi: Where noir meets nonsense in Dev Anand and Guru Dutt's early experiment
As part of our series on Hindi films from the past, we revisit Baazi, the film that started one bromance, and two romances — off the screenFilm: Baazi (1951)Cast: Dev Anand, Geeta Bali, Kalpana Kartik, KN Singh and Krishan DhawanDirector: Guru DuttBox-Office Status: Super-hitWhere to Watch: YouTubeWhy to Watch: For Guru Dutt's camera angles and Dev Anand's complex love triangleMoral of the Story: None, not every movie gives free gyaanadvertisement'Baazi' poses a mathematical riddle so profound, it could stump even Pythagoras: If one person can fool you for one hour, how many people are required to dupe you for three? The film's solution? A trio of titans—Dev Anand, Guru Dutt and (et tu?) Balraj math is not your thing, don't worry. Baazi also imparts a timeless lesson: too many geniuses spoil a the film ends, only one question endures: How could three contemporary greats sabotage a decent film with a climax so ridiculous, it feels like a prank? And, more intriguingly, how did our ancestors fall for it, making Baazi the second-highest grosser of 1951? Truly, a mystery for the Backstory Baazi was the result of a pact between Dev Anand and Guru Dutt. Both had promised each other that whoever makes a film first will cast the other—Guru Dutt as director, if Anand produces it, and the actor as the hero if the other directs when Dev Anand launched his production house Navketan, named after his nephew Ketan–later linked to the controversial death of actor Priya Rajvansh—-he kept his word. Another Bollywood legend, Balraj Sahni, joined the project as a from this bromance, Baazi also marked the beginning of the romance between Guru Dutt and Geeta Dutta (who sang most of the songs), and Dev Anand and Kalpana Kartik, the actor's future wife, after his failed romance with Suraiya. Dev Anand, Rashid Khan and Geeta Bali in a still from 'Baazi.' Photo:IMDb The StoryMadan (Dev Anand) is almost a reincarnation of Mama Shakuni from the Mahabharata. An accomplished gambler, every time Madan rolls the dice, you can imagine Duryodhan screaming, 'Six, Mamashri, six.' Lo and behold, six it always Madan doesn't play against the Pandavas to rid them of their wife and kingdom. His mission in life is humbler. He snares rich gamblers into a seedy underground casino run by Maalik, a shadowy figure whose face is always hidden by Guru Dutt's legendary use of is born not just with lucky hands, but also lucky lips. For no particular reason, two women are madly in love with this Bombay tapori, who doesn't have money for his sister's treatment but is never without a cigarette, and is always kitted out in a scarf and a first victim of his unexplained charm is the local Doc, Rajani (Kalpana Kartik), who gets smitten by him after he harasses her at her clinic. Simultaneously, the cupid's arrow srikes Leena (Geeta Bali), a coquettish club dancer referred to as 'Madaam' (pronounced like badaam), who also works for evolving love triangle, with the usual ameer-girl-gareeb-guy trope and some hummable songs. So far so good. To make it spicier, Guru Dutt even adds a post-interval twist by revealing the identity of Maalik—our Kaliyug Shakuni's employer. Dev Anand and Geeta Bali in Baazi. Photo:IMDb Then the film slides down the path of absurdity. Madan is accused of a murder he didn't commit. Yet he confesses because the real perpetrators threaten to harm his sister. The investigating officer, Krishan Dhawan (always in the same khaki suit), knows Madan is being framed. Yet, in record time, Madan is sentenced to death (presumably without even a chargesheet). But, just an hour before the hanging, the inspector accidentally discovers evidence previously non-existent. Time rolls back, literally. The real culprit implicates himself. And, The ending feels rushed and is wrapped up in just 15 minutes. If only Guru Dutt had kept it simple, replacing it with some dishoom-dishoom at the edge of a Khandala hill, where Madan's sister is convalescing, the climax wouldn't have looked like a byproduct of a bad for the ending, the film is quite decent— time-pass stuff, if not memorable. The pace is brisk, the dialogue snappy and weighty, delivered without excess melodrama. The choreography, another defining feature of Guru Dutt's films, is innovative (one of the sequences was later copied in Sridevi's 'Chaalbaaz'). Dev Anand looks roguishly charming and Geeta Bali's audacious flirting and bold dresses light up the noir feel is enhanced by dramatic use of shadows, lighting, and smoke—though it's sometimes overdone. Every male character wears sharp suits, and smokes nonstop, leaving behind a trail of soot like an old locomotive engine. (Ironically, it is the women who keep coughing). Dev Anand in a still from Baazi. Photo:IMDb SD Burman's music and Sahir Ludhianvi's lyrics create timeless classics like 'Taqdeer se bigdi hui tadbeer', 'Suno Gajar Kya Gaye,' and 'Ye Kaun Aaya Ki Meri Duniya Main Bahaar Aayee.' But, the soundtrack also features a monstrous Kumar gets to sing 'Mere Labon Pe Chippe' in a nasal voice with an exaggerated treble, the style made famous by KL Saigal. Lip syncing the song on the screen, Dev Anand rides a donkey, making one wonder if Kishore got confused who among the two he was lending his voice back to the original question, how did this mediocre film with an ending that insults common sense make it big? The only possible answer is that people got lured by the charm of Dev they mistook it for a free math class. No other explanation adds up.
India Today
27-04-2025
- Entertainment
- India Today
Waqt: Earthquakes, epiphanies and the baap of masala cinema
As part of our series on Hindi films from the past, we revisit the blockbuster 'Waqt' that can easily be called the baap of masala cinema, and the maa of lost-and-found–and the twain meet at the Waqt (1965)Cast: Balraj Sahni, Raaj Kumar, Sunil Dutt, Sadhana Shivdasani, Shashi Kapoor, Sharmila Tagore, Rehman, Achla Sachdev, Madan Puri and Yash ChopraBox-Office Status: Super-hitWhere to Watch: YouTubeWhy to Watch: Raaj Kumar, Raaj Kumar, Raaj Kumar –rewindMoral of the Story: Don't run when an earthquake hitsadvertisementYash Chopra made 'Waqt' (Time) for an audience with a sub-50 IQ. Sahir Ludhianvi wrote poetry for listeners with a plus-100 IQ. Between the two, they managed to fool all of India at the same time with an absurd masterpiece.'Waqt's' plot, an ode to the times when hominins had very small brains, could have been imagined in the Bhimbetaka caves. Photo credit: IMDb An earthquake strikes the posh abode of Lala Kedarnath (Sahni) while he is making grand plans for his three sons. Within minutes, the family gets scattered across India. Lalaji is presumed dead. The eldest son ends up in an orphanage. The middle one is picked up by a wealthy family from Bombay. The youngest and his mother (Achla Sachdev - the pre-Nirupa Roy mom in all such tragedies) wind up in Delhi. A chitrahaar, a farcical he-dunnit and a kindergarten-level court trial later, they are united. The final message: 'Waqt's' fleeting, all can an earthquake separate a family? To make the lost-and-found plausible, Chopra could have at least replaced it with some other tragic trigger - a flood perhaps, especially when Kedarnath and Sons are presumably from pre-partition Punjab, where rivers were plentiful. But no. He starts at the highest note of stupidity, and from there diligently follows the Olympic motto: faster, crazier, that's the beauty of the film. It is so inane that it is actually great. It is so dope that it is almost hallucinogenic - a trip to a land of unwavering belief in disbelief. You watch it till the end to figure out what other bizarre twists the writer-director will conjure to keep the 60000-BC vibe going. Photo credit: IMDb In the end, Chopra pulls it off with such audacity that he should have got the highest gallantry award for cinematic bravery, instead of the Filmfare for Best Director he actually film is relentless middle-finger-to-the-audience daring. Sample one:Raaj Kumar is accused of murdering Madan Puri. In court, his lawyer, Sunil Dutt, interrupts the proceedings to dramatically announce the discovery of the aala-e-qatl (murder weapon). He then flashes a Rampuri-chaku at Chinnoy Seth (Rehman), who is deposing as a (wide-eyed, in chaste Urdu): 'The knife shows there could have been only one murderer, Chinnoy Seth– his name is on it.'Rehman (wide-eyed, hair falling on forehead): 'Wrong.'Dutt (eyes drilling Rehman): 'Why?'Rehman: 'Because the victim was killed with his own knife'Dutt: 'How does he know the weapon was the victim's knife?' (Imagine a thigh-slap and a gotcha!)Stunned sweating now - you can sense another stupidity loading. He dabs his face with a handkerchief, unsheathes a rapier from a walking stick and thrusts it at 'Arrest him.'QED - Rehman implicates himself and the audience, proving that cinema is like democracy–by the director, of the director, for the how did this low-IQ film become a high-earner, grossing approximately Rs 6 crore, the equivalent of Rs 500 crore today?If you can't baffle them with your intelligence, dazzle them with your BS. So, Chopra cooks the trashy story with a cunning recipe: large variety, small portions, lots of masala and a grand setting. The ensemble ensures plenty of quick, snappy side stories till they merge with the main plot. The action oscillates between Punjab and Delhi, Mumbai and Khandla, Mumbai and Kashmir like a yo-yo on steroids. The frenzied editing leaves no time even for a loo break. When the pace stalls, Chopra serves Ravi's fabulous songs - each a masterpiece of Sahir's poetry. He sprinkles this lavish buffet with a scene far ahead of its time: Sadhana in a swimsuit, cootchie-cooing with a bare-chested Sunil Dutt (a precursor to 'Gapoochi-Gapoochi' of 'Trishul'.) And in no waqt, the film is over. Photo credit: IMDb advertisement'Waqt' has stood the test of time (in spite of its fool-ya-gotcha kind of plot) for two reasons. Its music and poetry are timeless. 'Aage Bhi Jaane', 'Waqt Se Din Aur Raat', 'Kaun Aaya' and 'Chehre Pe Khushi' are poignant, poetic and romantic -philosophical musings in a madhouse. Even 60 years later, 'Ae Meri Johra Zabin', is obligatory at wedding anniversary parties. The sight of couples dancing to it on their 25th/50th, reminds us the song's the anthem of till-death-do-us-part kinda the star of the show is Raaj Kumar. This was his greatest outing. He dresses impeccably in sharp suits and square-edge ties (the film's a fash-fest between Dutt, Kumar, Sadhana and Sharmila). With the right shoulder drooping, he struts around with a tiger-esque swag. Throughout the film, Sunil Dutt gets to speak fast, and gibberish like 'toofan-e-humdum, gul-e-gulzar.' But Raaj Kumar steals the show with just two lines - the dialogues that sum up his entire a moment of cinematic immortality, he walks up to Madan Puri, who has just flipped open a Rampuri, and coolly tells him: 'Ye bachchon ke khelne ki cheez nahin, haath kat jaye toh khoon nikal aata hai.' Throwing away the knife, he laughs disdainfully. Photo credit: IMDb The tone is conversational, almost like a parent chiding a kid. Yet, the sheer sound of Raaj Kumar's gravelly voice and its controlled anger convey the menacing power of a thousand a rare moment of exhilarating brilliance in a cornucopia of absurdity. Even 'Waqt' has its waqt–however ridiculous brilliance and Raaj Kumar's timeless swagger prove that even fleeting moments can create cinematic Sharma likes to spin gripping tales on cricket, cinema, and history, deeming all else utterly pointless and yawn-inducing. When not scribbling, he dodges life's mundane bits by reading everything under the sun, including his own Watch
