KAALA PATTHAR (Written 24.08.22)

K A A L A   P A T T H A R

43 YEARS

#LongPostAlert 

Kaala Patthar is Yash Chopra’s finest and most under rated film. It is undoubtedly the one "Different" script Salim-Javed have written. 

Made on a huge canvas and budget, the film was deemed a failure and sadly while films like Kabhi Kabhi  Deewar and Trishul ( from same team) are still talked about today, Kaala Patthar remains as one of the movies of those times. 

Kaala Patthar was inspired by a real-life mining disaster that took place in India December 27, 1975 in the ‘Chasanala’ coal mine in Bihar. When the mine got flooded and over 500  workers were killed during the mishap.

There is nothing to share about the story as it is well known as over the years this has now got cult status.

Kaala Patthar’s cast in the film are all running away from each other. Vijay from himself, Ravi running for a trip that ultimately killed his innocence and Mangal is running away from the law, 

The film is filled with greys, black and browns, bringing to life a start reality of the miners that highlights their hopelessness and susceptibility to injuries.

Socially conscious and visually brilliant, Kaala Patthar represents possibly one of  the most gorgeous film in Yash Chopra’s repertoire, despite its canvas being much murkier and pale than his trademark lush mountainscapes of the Alps and Kashmir in Kabhie Kabhie or Silsila. The lighting of the film, especially in the mines, signals a strong sense of space, reminiscent more of tunnels and alleyways in noir cinema, which become really effective in the film’s exhilarating final thirty minutes. Chopra’s contrasts in color – the dust and clouded diffuse sunlight of the mines where workers toil away, with the bright gardens and clean whites of the callous billionaire mining magnate Seth Dhanraj’s office – is an unsubtle signaling of economic disparities in the two stratas.

There is a deep sense of betrayal of the people within Kaala Patthar that  the mine labourers who were the backbone of the mining industry seeing the owners interests value profit over people. Like after Dhanraj’s (Prem Chopra) chief engineer says they can’t build a new mining tunnel without putting 400 workers’ lives on the line, Dhanraj asks about the financial implications. “We’ll lose 40 lakhs,” he’s informed. Dhanraj doesn’t miss a beat, condescendingly berating his engineer for being poor at math – “Don’t you know that 40 lakhs is much larger than 400?” And so the story goes…as expected the water bursts and floods the mine and that is when, the audience finds their cheeks wet, as Vijay,Ravi and Mangal entrall by coming together and rescuing the workers from the mines.

Everyone involved were at the top of their game. It seems incredible, then, that the film failed at the box-office. Take the acting: this was Amitabh's show all the way. Vijay is a decorated naval officer who, disgraced by his actions, dishonourably discharged from the navy, and disowned by his family, seeks oblivion in this dusty little town. His hatred is for self, and he lives with it. He volunteers for the most dangerous jobs, regardless of danger. All his actions are driven by a desire to prove he is not a kaayar,  a buzdil (coward). And Yash Chopra channelised that anger in a way that seared the screen.

Vijay's romance with Raakhee's Sudha is very subtle and understated, very much like their romance in Trishul. In this film too, he plays a tortured character, carrying his demons with him, and trying to outrun them at the same time. In the scene where Dr Sudha first meets him - she is the newly-arrived doctor at the clinic - she is frustrated at his rejecting anaesthesia, choosing to bear the pain instead. When all her efforts fail, she bursts out, 'Why don't you understand?' and is stunned when he replies, in flawless English: 'Why don't you understand? My pain is in my destiny and I cannot avoid it.' Later, she asks 'Kahan ke ho?' It's a casual question, asked while she is changing the dressing. His answer (later) is, Bacha sawaal ke main kahaan ka hoon. Toh kuch log aise bhi hote hain jo kahin ke nahin hote. It is an unusual answer and it intrigues her. 

Shatrughan Sinha exploded on screen with as much bluster as Amitabh's silence . His dialogues Teesre Baadshah Hum Hai and other one liners went on and turned out to be very famous.

Whether it is his crackling chemistry with Amitabh, or his rough and ready banter with Neetu's Channo, he burnt up the screen every time he put in an appearance. On the 'opposite' side  of Amitabh, so to speak, he proves a worthy opponent.  But Silence is always golden and deafening.

There is also Shashi Kapoor. 

His Ravi is the stated voice of conscience, alerting the callous mine-owners to the disaster waiting to happen, and is competent enough in the dramatic scenes with the bosses. It is a supportive role, but a strong one. Anita (Parveen) as a journalist gives him company. The repartee between the two does evoke smiles.

Sanjeev Kumar, in a cameo, makes an impact with one line of dialogue. The pain and defeat on his face when he hands over charge to Rakhee, the incoming doctor, is killing. "Is aspataal mein mareez nahin, laashein aati hai... woh laashein jo abhi puri tarah mari nahin hai."

The unbeatable duo - Salim-Javed, through the script of Kaala Patthar have covered a number of subjects of the human heart. They have written a completely complex, layered and fine plot surrounding by the passion of human interest stories. The story lands in the hands of the legendary Yash Chopra, who films Kaala Patthar with incomparable sets, an impeccable cast and crew and peppered with emotions that define Indian cinema. 

Music Director Rajesh Roshan does a beautiful job. Songs are melodious but it's the background score by Salil Chowdhury that stays with you.

Photography by Kay Gee is a totally class and with Hollywood special effects the entire climax sequence completely achieves the unmissed perfection of a thriller-disaster film, underground.

Despite its nominations in various categories such as Best Film, Best Director, Best Actor, Best Story in the 1980 Filmfare Awards, it never won any award.

Probably the film proved so dark for Yash Chopra that he decided to move on and stick to his bright and Sunny romantic films.

#Repost 

Adapted from my own post of 2020.

Blast From The Past.. Nau Do Gyarah

Revisiting Classics

#Repost 

Today watching Dev Anand in Nau Do Gyarah

(Tata Classic 5am)

And sharing my note on the film again 

Vijay Anand's debut 

Nau Do Gyarah ( Navketan ) 1957

Synopsis:

Raksha (Kalpana Kartik) runs away from an arranged marriage to Surjit and meets Madan (Dev Anand) on the road. Madan is on his way to collect an inheritance but he finds that his foster-aunt and cousin Kuldeep (Krishan Dhavan) have stolen it. In order to locate the original will, Madan and Raksha disguise themselves and pretend to be married. Madan is later arrested, charged with abducting Raksha but she continues the search for the will and to learn the truth about the death of Madan’s uncle. 

Music was a highlight of this film

Sachin Dev Burman was Navketan’s favourite music composer – it was sure he would compose the music for the film. Goldie had his own ideas about how the songs should be. Most songs in Hindi films were there only as fillers and had nothing to do with the story. Goldie made it clear to S.D. Burman about the kind of songs he wanted for the film.

Songs included Hum hain rahi pyar ke (sung by Kishore Kumar) and Ankhon mein kya ji (sung by Asha Bhosle and Kishore Kumar) or Aaja Panchi Akela Hain ( Asha again). 

Music is the true spirit as is the fast direction, even as a 23 year old he showed promise.and class ( esp seen in the climax  ,Goldie wanted the five minutes to look like five hours for the viewer. Each character glances at their respective wrist watches every now and then. Goldie showed the image of the watch every ten seconds.) which he carried on in his later films.

Vijay Anand was a true class..

Dev Anand and Kalpana Kartik. They’d already been married three years when Nau Do Gyarah was made, and you can see the level of comfort between them. I love their chemistry: there’s affection, playfulness, romance, and a camaraderie that’s sweet.

The film paved the way for Dev’s light comedies in the future, with songs taking the story forward. Goldie had become famous with his very first movie. Chetan’s exit made it difficult for Navketan to remain successful with Dev busy with outside projects at the same time. But Goldie’s success strengthened Navketan. His talent assured Dev he was not alone.

Watch it.. 9+2=11

Trivia :

This was the only film in which Shashikala acted with Dev Anand, and also the only film in which Helen was a part of Navketan apart from Jewel Thief 13 years later.

Reference: Goldie and his Movies (Biography by Anita Padhye)

HERA PHERI (1976)

HERA PHERI (1976)

Released on 10th September 1976 completes 46 years today 

The second movie of Prakash Mehra and Amitabh Bachchan together with Vinod Khanna ( Their first proper pairing after Zameer ) out of the six they did together.

The narration opens with two conmen, Vijay (Amitabh Bachchan) and Ajay (Vinod Khanna) who, though friends, put up a mock fight inside an Irani hotel to fool others. The scene then shifts to a casino, where Ajay again successfully cons the opponent through card sharping. The breakup between friends takes place when Vijay discovers that Ajay’s long lost father named PK, now masquerading as Seth Ghanshyam Das, the crime kingpin, is actually his own dad’s killer. Ajay ostensibly sides with his father until he discovers the truth, and surprises even Vijay with his actions towards the extended climax. Vinod Khanna is his usual competent self, and rises to the occasion frame-by-frame against the more versatile Amitabh Bachchan who provides yet another outstanding performance with a mix of Comedy, Anger and Anguish .The two leading ladies, Saira Banu (playing Kiran Singh) opposite Bachchan and Sulakshna Pandit (playing Asha), opposite Khanna have little to do, especially the latter. However, Saira looks effervescent, stunning in a limited role, and performs well apart from getting many one liners. Sulakshana Pandit is Pretty.

Pinchoo Kapoor is competent (in a singular Double Role), as also the subsidiary cast of Ram Mohan as Sherry. Unfortunately, Asrani is wasted Now this is the limit). Shriram Lagoo as the Police Commissioner runs through his role disinterestedly. Stunts are limited to a bare minimum, though fights and fisticuffs are in abundance.

Kalyanji Anandji have provided apt music.

Vinod Khanna received the Filmfare nomination for the Best Supporting Actor that eventually went to Shreeram Lagoo (who had also starred in the film) for Gharonda.

The film was a success and one of the highest grossers of the year.

Kalyanji Anandji gave some good songs.. Mujhe Pyaar Main Khat Kisi Ne Likha Hain, Title Song , Barson Purana ye Yaarana, Kaun Anjaane Ulfat and Aap Ka Sarkar Kya Kuch Kho Gaya Hain (the last on lines of Diljalon Ka Dil Ka Dil Jalake from Zanjeer in a similar set up )

are all hummable if not sheer melody.

This bonding of Amitabh Bachchan and Vinod Khanna with Prakash Mehra was carried forward to Khoon Pasina and Muqaddar ka Sikandar.

Sheer Memories..

BRAMHASTRA.. A Review

One is pleasantly surprised when you go to a movie with least expectations & with a bias ultimately finding that it isn't Bad but belying expectations is watchable even if it's not a masterpiece .

The director Ayan Mukherjee would definitely be a Harry Potter and Marvel comics fan and decided to showcase that Bollywood can match them clubbed with Hindu Mythology.

The period in making is told to be almost 8 years and is one of the most expensive Indian films made till date with a whopping budget of Rs 410 crore. Considering the time and money put into the project – planned as a trilogy – one finds that possibly it could have been better with a bit more of soul than the Special effects.

The cinematic universe of Brahmastra is built around a secret society of rishis – known as the Brahmansh – who possess the powers to control different astras. The most powerful of these astras is the Brahmastra which was broken into three pieces years ago. 

Shiva (Ranbir Kapoor) is a DJ, based in Mumbai, and lives a carefree life. He's an orphan; he lives with orphan kids and dotes on them. He comes across Isha (Alia Bhatt) and falls for her instantly in a Dashera Mela. She, too, gets attracted to him, especially while learning about his way of life. All is going well when suddenly Shiva starts getting flashes. He sees the evil Junoon (Mouni Roy) killing a scientist, Mohan Bhargav (Shah Rukh Khan) and snatching a rare artefact from him. Before dying, Mohan blurts out under pressure that the other part of the artefact is with an artist named Anish Shetty (Nagarjuna Akkineni), who stays in Varanasi. Shiva sees all of this and realises that Junoon is all set to target Anish next. Shiva decides to head to Varanasi to warn Anish of the impending danger. Isha, too, joins him. In Varanasi, Shiva and Isha rescue Anish at the nick of time. Thanks to Anish, they find out that the artefact stolen from Mohan is a part of ‘Brahmastra’. There are two more parts of it and Anish has one part. He hands it over to Shiva and Isha and asks them to go to the ashram of Guru (Amitabh Bachchan).A terrific car Chase follows and what happens next forms the rest of the film.

Does this Astraverse also have a connection with Shiva’s life? What is the backstory? Who is Shiva?

See this in 3D on the large screen , the 3D effects are truly high class.

On the acting front Ranbir Kapoor is the main stay and he as the one with special powers breathes life into his role. Ranbir was superb in the climax of the film. Alia Bhatt gives him ample support throughout the film and their chemistry looks cool.

Amitabh Bachchan has been grossly underutilised but as always holds the second part together and is the crux.

One need not say anything more about his acting prowess.

The film is dominated by Junoon 

(Mouni Roy )who is styled in black clothes and a big silver nose stud to emphasise her villainy. She has performed the negative role with elan. ( Thankfully she doesn't have to break into an item number )

The amalgamation of the different Astras and making it into a story looks quite interesting. The core concept by Ayan Mukherjee is good and is set in an interesting backdrop. However he overdoes it to an extent.

As a film, it may be remembered for its technical craft but it’s not going to leave anyone holding their breath for 

Part 2 which is DEV and a Part 3 to follow..

#firstdayreview

#bramhastra

Asha Bhonsle .. Defying Law of Gravity

HAPPY BIRTHDAY ASHA BHONSLE TAI

What goes up must come down. That is the rule of nature. And when Newton discovered the law of gravity, perhaps, he forgot to talk about the exception. Or how could you explain the rise and rise of Asha Bhosle. The phenomenon is growing by leaps and bounds every day. Yes! One cannot say anything but that she is not governed by the laws of nature.

Playful love songs or lusty cabaret numbers, soulful ghazals or funky pop, Bhosle's trod everywhere, with aplomb. From the early rock 'n' roll Eena meena deeka, to the seductive Burman number Piya tu ab to aaja in Caravan, to the unforgettable ghazals of Umrao Jaan. And at 89, a voice to match oomph for oomph By any count, a hectic vocal pace. A different Asha for every decade, every heroine and vamp or stars on the ramp.

She has sung in the voices of several children in “Nanhe Munhe Bache” (in the film “Boot Polish”), a feat yet to be equalled. She spun off new trends with songs like “Leke Pehla Pehla Pyaar” (“CID”) with Mohammed Rafi and Shamshad Begum, “O Mere Sona Re” (“Teesri Manzil”), “In Ankhon Ki Masti” (“Umrao Jaan”), “Mera Kuchh Saaman” (“Ijaazat”) and “Dum Maro Dum” (“Hare Rama Hare Krishna”).

In a world so much in awe of elder sister Lata Mangeshkar, she had to work that much harder. Lata Mangeshkar now says with pride: "Asha's rebellious nature and never-say-die attitude drives her ever young and versatile voice to scale new heights even now. She has earned all her achievements with a lot of hard work." Time has not touched her voice, she can please pop lovers with rap and remix. At the same time, she has the ability to match the tunes of Ustad Ali Akbar Khan.

Gulzar probably defined Bhosle’s success best when he compared Mangeshkar and Bhosle to Neil Armstrong and Edwin Aldrin. He said just as Neil Armstrong would always be known as the first man to set foot on the moon, Bhosle, who followed Lata would always be viewed as the younger sister and be compared accordingly.

She shares her birthday with her sister Meena Mangeshkar and also Bhupen Hazarika.

This prima donna of popular music at 89, obviously has no plans to call it a day. "Music is like my breathing. The day it stops, my breath will stop too. There is so much to do and I'm afraid there is very little time left. I hope I can continue singing in my next birth."

She continues

“Like I said, I am truly content today. I have a beautiful family that loves me, and amazing fans who make me feel at home the world over. I can still sing, perform, cook and stand on my own feet at 89. What more could anyone ask for!”

Hard Question:

Personal Favorites ?

Ref : Biography by Raju Bhartan

Hollywood Bollywood

#BollywoodHollywood 

Part 5

CLASSICS ADAPTED :

Some classic Hollywood or International Films have been inspiration for many Bollywood Movies.

1) SOUND OF MUSIC (1965)

 This classic Inspired Gulzar to make Parichay. Just the essence and flavour was similar , taste was different. R.D Burman got an equivalent tune to Do Re Mi with Saare Ke Saare Gama ko Lekar.

Music was the highlight of both the films though 7 years apart.

Jeetendra does a role reversal of Julia Andrews.

Parichay was officially reported to be based on the Bengali novel "Rangeen Uttarain" by Raj Kumar Maitra however the inspiration of Sound of Music was unmistakable.

2) MY FAIR LADY(1964)

My Fair Lady is a 1964 American musical drama film adapted from the 1956 Lerner and Loewe stage musical based on George Bernard Shaw's 1913 stage play Pygmalion.

Pygmalion is a legendary Greek character. As per Ovid's narrative poem - Metamorphoses, Pygmalion was a sculptor who fell in love with the idol of a woman he had carved out of ivory. Taking an inspiration from the character of that sculptor, renowned playwright George Bernard Shaw wrote a play titled as Pygmalion in 1912 which was a sarcastic commentary on the British society and culture as prevailing in that period. In that play, Professor Henry Higgins enters into a bet with a friend of his that he can turn a bedraggled girl from the lower strata of the society into such a well-cultured girl wearing a veneer of gentility that she will pass for a duchess at a party hosted by an ambassador. And he actually succeeds in doing so by turning a flower girl - Eliza Doolittle into a well-mannered lady who by all means appears to belong to aristocracy and therefore acceptable in the so-called high society and thus wins the bet. But this girl is a flesh and blood human-being and not a lifeless idol as made by Pygmalion. She has a heart filled with womanly feelings. Can she be discarded now and thrown back to the class that she was initially picked from ?

My Fair Lady With a screenplay by Alan Jay Lerner and directed by George Cukor, the film depicts a poor Cockney flower-seller named Eliza Doolittle who overhears an arrogant phonetics professor, Henry Higgins, as he casually wagers that he could teach her to speak "proper" English, thereby making her presentable in the high society of Edwardian London.

Audrey Hepburn plays Eliza and Rex Harrison plays Prof Higgins.

It's a complete musical.

Now how can a topic so charming not be adapted by Indian Cinema.

The first inspiration was seen in the 1972 film Raja Jaani ( which was actually a remake of the 1956 film Anastasia). Dharmendra who needs to find a Princess lost in Childhood gets a gypsy dancer and trains her to act and behave like a princess.

1979 saw a second influence in Hum Tere Ashiq Hain.

Jeetendra trains a flower seller girl to become a Princess.

In both these adaptions the Lady in question is Hema Malini.

A year Later came Basu Chatterjee Directed 

MAN PASAND

Man Pasand can be called an official Remake of a Marathi Drama

"Tee Phulrani" written by P.L.Deshpande and was an adaptation of Pygmalion by G.B.Shaw.

This is version of My Fair Lady, a great musical that was. In this Movie Dev Aanand and Girish Karnad (both sworn middle aged bachelors) play as two friends who while traveling suburban train discover a lady selling datun (toothbrush made from branch of Neem Tree) - played by Tina Munim and Dev bets that he will make her a not only a high society lady but also an accomplished singer!

How he does it is the story. There is good direction and polished performances. There a some good songs like "Logon ka dil agar haan jeetana hai tumko to bas meetha meetha bolo!" By Rafi Saab(with Tina Munim shouting loudly in between to sell her datuns)! and "Manmani se hargiz na daro kabhi shadi na karo!" (sung by Kishor Kumar)

Music by Rajesh Roshan

You can add to the remakes of these two classics and comments welcome.

Kumar Gaurav: He had it He Lost it

Manoj Kumar Tuli..Aka

Kumar Gaurav turns 62 today.

Launched by his father Rajendra Kumar in 1981 in Love Story

He turned an overnight Super Star.From the very first film, Kumar achieved the level of success that actors have to wait for many years to get. 

Infact the second star son launched in the same year Sanjay Dutt in Rocky also wasn't such a big hit.

(It was ironical that Kumar Gaurav subsequently married Sanjay Dutta sister and they became best friends).

Vijeta Pandit who played Gaurav’s leading lady in Love Story, recalled, "I’ve never seen such hysteria for any actor. Wherever we would go, Kumar Gaurav was mobbed by hundreds of fans".

After Love Story, Kumar Gaurav became the most talked about superstar of Bollywood. Producers were falling over each other to sign Gaurav. And he took on projects as though there was no tomorrow.

15 months after Love Story came Teri Kasam . It was a better film than Love Story specially in the music department .

He made a great pair with Poonam. But Teri Kasam wasn't a monster hit it almost bombed

The film’s failure shook Gaurav and his father, the latter was known as ‘Jubilee Kumar’ in his heydays for his uninterrupted string of hits in the 1960s. Rajendra Kumar left no stone unturned to sustain his son’s initial stardom. After Teri Kasam came Star, a full-on musical with music by Biddu and vocals by Nazia and Zoheb Haasan, the Disco Deewane musical sensations of the 1980s but

Star bombed and so did other big budgeted Gaurav vehicles like Lovers, Romance, Hum Hain Laajawab, All Rounder…and many more.

Finally in 1986 came Naam but Brother in Law Sanjay Dutt stole the show .

In 1993, Rajendra Kumar tried again to resurrect his son’s lost glory in Phool. Madhuri then a big star was roped in as the leading lady. Rajendra Kumar not only produced Phool, but also got his samdhi Sunil Dutt to also play a pivotal role.

Again Phool flopped. It was nearing the winter of Gaurav’s career. He retired from the rat race soon after Sanjay Gupta’s Kaante.

However he did do some good films like Janam, Aaj.

He is now a businessman and three years back his daughter Siya got married.(The news read Sanjay Dutt's niece getting married!!).

He had it all.

He Lost it all..

Life's like that .