Masti, Masala, Comedy, Drama - sab kuch toh hai iss movie main. So, what's such a movie called? Classic.
Story: This story is about Kishanlal (Pran) and his family. Kishanlal is released from jail and is dishearted, shocked to find how his ex-master Robert (Jeevan) has never taken care of his family despite Kishanlal being loyal and taken the blame and punishment for latter's deeds. Robert, on the other hand, insults Kishanlal to make matters worse which evokes Kishanlal to rob Robert of some of his riches.
Kishanlal's wife, Bharati (Nirupa Roy), tries to commit suicide to free her husband of more worries, leaving behind their three sons - Amar, Raju and Chotu. Her attempt proves to be futile as fate had something else stored in for her and she turns blind. While trying to escape the bad goons chasing for Robert's goods, Kishanlal has an accident that makes everyone think that he's dead. Another turn of luck and that his three sons are separated too and lost in the big world.
Amar, Raju and Chotu grow up to be Amar, Akbar and Anthony respectively. Amar (Vinod Khanna) is raised by a Hindu police inspector, while Anthony (Amitabh Bachchan) is raised by a Christian priest and Akbar (Rishi Kapoor) is raised by a Muslim tailor.
Now, this is one movie which is not at all deficit of 'kahaani main twist'. Kishanlal kidnaps Robert's daughter and raises her as Jenny (Parveen Babi). Another reason for Robert to seek vendetta from Kishanlal.
Anthony and Jenny paint the town red, while Akbar is head over heels in love with Salma (Neetu Singh) and Amar finds his soulmate in Laxmi (Shabani Azmi). Each love story has its own villain. Zebisko (Yusuf Khan) wants to marry Jenny and won't stand Anthony a second. Salma's father, Taiyyab Ali (Mukri), finds Akbar not so perfect for his daugher. And then, we have Laxmi's step brother Ranjeet (Ranjeet) who molests Laxmi and is jailed by Amar.
Disclosing anything beyond this would be an awful crime. :) It's a Hindi movie and so all ends well as all separated ones reunite.
However, this blog does call for quoting certain popular moments. Or should I say, THE CLASSIC MOMENTS.
* What do I think of when I need to start a song with 'Ma' in Antakshari??? Think, think, think... :D
* Talk about how one should apply dettol on their wounds, then have a dekko here.
Something that has always amazed me is the pace of some of these classic movies. There are so many twists and turns. And some of the masterpieces (like this one) have taken every care to make sure that every scene is connected logically and that there's a reason for everything that happens. For example, does it matter what profession does the hero/heroine belong to? Not really, as seen in majority of the movies. Consider Neetu Singh's character in AAA: She's a doctor. And that's for just one purpose: she's the one to overhear Jeevan identify Nirupa Roy as Pran's wife.
Manmohan Desai, the director of this movie did repeat the very same formula after a gap of 4 years - Naseeb. A hard core AAA fan can easily call Naseeb a passe'. However, Naseeb did purvey the famous 'John Johnny Janardhan' number.
Besides making sure that his movie has twists and turns, nothing new to proffer and a cast full of stars - Manmohan Desai also made sure to convey a point that India is a secular country.
The movie had music composed by Laxmikanth Pyarelal. The music department gets a 4.0 rating as well. Now the songs are popular and well known till to-date.
That's all from your very own think-M for now. Happy reading!
Why? Yes, this is the question I asked myself. Why did I order this movie on netflix? Indeed, it was 'Order Diya Dard Liya'.
I had heard/read somewhere long back that the movie was very sentimental and all the female audience carried multiple handkerchiefs to the theatre. But alas, I would say the movie was anything but 'senti'-mental. There's nothing about the movie that I could even write - script, songs, direction, etc. - all a big disappointment. Though, the actors did put in a decent performance.
If the UI of a product sucks with no value to add, no one pays attention to the fact that the buttons/controls in UI worked wonderfully. Similarly, the performance of the various actors involved go in vain.
As mentioned in one of my earlier blogs, looks like AB talking to God asking him for answers and all (Mr. Natwarlal, Deewar, etc.), has been copied from this 1966 release.
If you are still interested, here is the story... Story: Shankar (Dilip Kumar), grandson of some king, grows up as an orphan as his parents die on a stormy night in some water body. Shankar is adopted by a rich seth, who dies of a heart-attack, leaving behind his children - Ramesh (Pran) and Roopa (Waheeda Rehman). Ramesh is a wicked personality since childhood who abhors Shankar and starts treating Shankar as a servant of their house. Roopa and Shankar are in love, as expected. Another set of childhood friends - Rehman and his sister - ask Ramesh for Roopa's hand in marriage for the former.
Shankar is thrown out of the house wherein, he finds his long last heritage and turns into a prince overnight. He returns to find Roopa engaged to Rehman. He turns evil - tortures Ramesh, who dies eventually. He seeks emotional vendetta from Roopa too but after all it's a hindi movie - all ends well. There are turns and twists where Shankar fakes love to Rehman's sister as a part of his revenge.
As I said, too complex and not digestable plot makes me rate this movie very poorly. Not that I am not a Dilip Kumar fan, but you can choose to read a totally different perspective.
The first Indian movie on the concept of dual roles - and trust me, the concept has not changed much since then - See Sita aur Gita or Chaalbaaz or Kishan Kanhaiya. And this is the movie I chose to entertain myself this week.
This movie, if seen even today, is an out and out entertainer. The music is good but not block-buster material either. But as far as story and screen play is concerned - brilliant is the term that defines it. And what stands above all this is Dilip Kumar(aka Yousuf Khan)'s acting. Before Amitabh Bachchan, I guess Dilip Kumar was the one who made it felt that style-personified dialogue delivery is an important aspect of acting. Though a hard-core Amitabh Bachchan fan, I do tend to agree with folks of the opinion that AB copies Dilip Kumar's acting style/persona quite a few times.
Apparently, this movie is one of the last hits of Dilip Kumar's reign as Bollywood's hero no. 1. "Last but not the least" aptly describes the acting prowess of Dilip Saab.
The story: Ram, introvert and mentally challenged to some extent, is coping with life with lot of difficulties whereas Shyam, a filmi-buffoon, enjoys every moment of life. Fate has them interchange their positions in life and both of them enjoy their instincts till they wait for Pran (their evil brother-in-law) to reveal the truth.
Highlights: Comic timing of Dilip Saab. The classic scene: Where street-smart Shyam enters a restaurant to eat like a glutton and escapes without a word... the same Dilip Kumar now entering as Ram, scared and hungry, asking for a cup of tea and being forced to pay 20-30 rupees for the food. Another scene: Where Shyam is eating food at Waheeda Rehman's place - the cuteness with which he says, "Khaane do na gareeb ko, duaaen denga" - is just uncherishable. Oh, you really got to see the movie to feel the punch. :)
It would be a grave injustice to not mention Waheeda Rehman and Pran's contributions. Waheeda Rehman, in the 1st half of the movie, before she falls in love with Shyam, is different from her usual roles of 'Sati Savitri' kind. Pran, an actor par excellence, conveys another winning performance.
A must watch reco is given to this movie. Namaste, Shabba-khair, Sasriyakaal ... till next time :)
