Shatranj (1969)

Shatranj 1969

Shatranj is proud as punch to be another in a long line of ‘so crazy it almost makes sense’ Indian spy thrillers. S.S. Vasan appears to have a healthy aversion to restraint, and with a top notch cast and Shankar-Jaikishan providing the music, there is no reason to be reticent.

Jai (Rajendra Kumar), also known as The Indian is an international man of mystery. He seems to have full time employment searching the globe for Indians being held captive by foreign governments who shall not be named. He is asked to find Meena (Waheeda Rehman) and her mum (Achala Sachdev) who have decamped to Another Country That May Not Be Named and show no signs of coming home. Amir (Mehmood) and Salma (Helen) are on the side of Good, Susie (Shashikala) is a stylish Bad girl and stunts and schemes abound. Jai travels to Hong Kong and thence by boat to The Mysterious Land With No Name. I do wonder where it could be.

Many hijinks ensue as Jai plays merry havoc with his adversaries General Ko Lum, Zing (or Singh, depending on the subtitle team’s mood and level of nationalist fervour), Chang, Lee Jung, the constantly knitting Madame Chun Qing Lee, et al. If only there were clues as to which country this could be set in. Maddening.

I am lacking the Rajendar Kumar Appreciation Gene but he does OK as Jai, generally playing for laughs rather than milking the drama. Jai has a well provisioned den and a comedy sidekick, proof that he is no novice in the international spy game. There is an over reliance on blue contact lenses in lieu of a proper disguise, but the wig department got to de-mothball a few favourites. Rajendra Kumar cannot, nay should not, dance but he is upbeat and energetic which is something I suppose. He has no chemistry whatever with Waheeda Rehman and she knocks herself out trying to emote enough for both of them in the romantic scenes.

Meena is a good girl and both Jai and her mum think that means she is too sweet and dumb to ever tell her the truth. Apart from the picturesque moping, Waheeda gets some excellent dance numbers and that gives her a chance to show Meena as cheeky and energetic rather than the limp tearstained captive. Waheeda has just the right expression of patient misery for Meena.

And her ‘I’m a hot peacock in sparkly pants with an eye for the ladies’ expression is also memorable.

Among the things I love most about vintage spy thrillers are the lengths to which they go to explain things, and the excellent interior design and fashion. There was either a commitment to ensuring mutual understanding  or total lack of imagination going on when they handed out the codenames. Jai was The Indian, the guy in dark glasses is Mr Dark Glasses and Shashikala in her wig is Miss Golden Hair. The plots and doublecrosses are explained loud and clear, often with a side of comedy mime from Mehmood. There are truly excellent telecommunications devices and an amazing screen of secrecy.  Things light up, go whoop-whoop and beep-beep, and stick on moustaches and rubber masks are a dime a dozen. Is it a truly secret lair if people see you ducking in and out via the revolving secret door? Really?

Helen and Mehmood look like they enjoy working together. Maybe they’re just amazing actors.  Mehmood gets to confuse the spies watching Jai, so the real Jai can sneak over to rescue the ladies. I do like that Mehmood always answers the phone and top secret radios with Alooooooo rather than the traditional Hellohellohello. Amir is both a bumbling fool and a competent gentleman’s gentleman (or beloved lackey). I like Mehmood best when there isn’t too much of him and because there is so much everything else, he is neatly contained.

Helen is Salma, a very charming and fun sidekick burdened with the sad fate of loving Amir (Mehmood). On board a ship between Hong Kong and The Unidentifiable Country, Helen flamencos like a mad thing which is an excellent cover as no one seems inclined to enquire too closely as to her career plans or immediate spy type objectives. Jai tells her to go undercover at his hotel, as (what else) a cabaret dancer. When he arranged to be introduced to her as Shin Raz, a businessman, Salma simply purred “A businessman? How boring!” and sauntered away with a cheeky smile. It’s a great fit for Helen, and she doesn’t have to die to be redeemed as she is already on the side of the angels.

The songs are a sheer delight. Whether used in snippets to set a mood or full on production numbers, the music is a highlight. Even Mehmood gets a share of the musical goodness in one of my favourite dances with Helen, plus a strange mournful dirge about charity that suddenly grows a poppy guitar melody.

And how about that? Yes I know that song is a direct copy of South Pacific but Rogers and Hammerstein missed an opportunity to have the devil bunnies and snake ladies in their musical. Although I’m very OK with missing out on the high pitched screechy ethnic stereotypes. And it even works as part of the narrative, as Meena bemoans her fate as a lonely stranger in a strange land (the one that cannot be identified).

If you only watched the songs you might think this was a film about a man with dozens of children, multiple wives who were all cabaret dancers, and a drunken stalker addicted to bad disguises. So you really need to see the whole thing and appreciate the verve and dedication to the craft of the spy film. Shatranj never fails to put a smile on my face. 4 stars!

Queen (2014)

Queen

It’s heartening that the Indian Film Industry is producing more female-centric movies with the last few years having seen an increasing number of releases featuring a woman as the main lead. Even better, these are strong and independent women who don’t need to be rescued by a hero and can solve their problems by themselves, thank you very much. Queen is another film to add to the list, and a very worthy entrant it is too. In a somewhat similar vein to English Vinglish, Queen tells a story of self-discovery, but in this instance the protagonist is a young bride, jilted just before her wedding. Rather than bemoan her fate, Rani (Kangana Ranaut) packs her bags and heads off to Europe on her honeymoon by herself. It’s a charming look at Rani’s journey, both the physical trip and the metaphorical voyage, that doesn’t follow the expected path despite a number of frustratingly stereotypical characters along the way. I loved Kangana’s quirky take on an innocent abroad and her coming of age story is endearing and at times familiar as she negotiates her  way through the streets of Paris and Amsterdam.

The film opens with the preparations for Rani’s wedding to Vijay (Rajkummar Rao), a rather smarmy and chauvinistic engineer who met Rani in Delhi but is now living and working in London. The initial voice-over, filled with inanities from Rani as she contemplates the celebrations, her family and her approaching first night, is an excellent introduction to her character and is so very common place and normal that straight away you are drawn into her world. Vikas Bahl perfectly captures the excitement, apprehension and happiness of the occasion, and the first song is a lively and appropriate accompaniment to the celebrations.

When Rani is jilted, her family rallies round and is supportive of her decision to go to Europe alone. I was expecting some parental opposition but everyone seems happy to let Rani go, even though she has spent the previous 24 hours hiding and crying in her room.

What wouldn’t be a big deal to anyone else is a huge adventure for Rani and her amazement at the sights of Paris and Amsterdam is infectious, although I did have to wonder that a resident of Delhi had issues crossing a road in Paris. India is a much more confronting place as far as traffic goes!

In Paris Rani meets a young French woman Vijayalakshmi (Lisa Haydon) who introduces her to Paris nightlife and starts to open her eyes to the possibilities of a more independent life. Lisa Haydon is excellent, although her introduction scene is rather more dubious. However, just when you think the film is about to tread a well worth path featuring a shameless Frenchwoman and loud scenes of intercourse, the film switches direction and Vijayalakshmi turns out to be a more interesting character than first impressions would suggest. Of course there is still the stereotypical portrayal of her European loose morals, since she is an unmarried mother who likes to go out clubbing, but Lisa Haydon gives her character plenty of soul and a caring nature, which helps win over Rani’s initial mistrust.

The relationship between the two young women evolves very naturally and doesn’t fall into the plot pitfalls that loom once Vijayalakshmi takes Rani out drinking. My favourite moment is when Rani climbs up onto the bar to dance, and after twirling her cardigan striptease style, rather than toss it away, she stuffs it into her bag instead. Then dances manically to the strains of a remixed Hungama Ho Gaya. It’s such a classic moment and I totally understand what was going through her head right at that moment! It’s a major strength of the film that Kangana is completely immersed in her character and is such a ‘normal girl on her first adventure away from home’, making it easy to relate to her experiences and understand her reactions. It’s not flawless but it feels genuine and Kangana captures that mix of wonderment, elation and confusion perfectly.

Rani moves on to Amsterdam and therefore there are the expected scenes in a sex shop and with a prostitute who of course is working to send money home to her family. But in contrast to these clichéd moments, the developing friendship between Rani and her three hostel roommates is fresh and unexpected, particularly since all three are male! Mish Boyko as Russian Oleksander, Jeffrey Ho as Taka and Joseph Guithob as Tim are an unlikely trio of friends, but they help Rani discover her self-confidence, and support her new-found independence without any schmaltzy romance or unnecessary posturing. I love the interactions between the three as none of them speak each other’s language and also struggle with English, which reminds me of so many incidents in my own travels and keeps the film moving in unexpected directions. The characterisations do threaten to fall into very well-worn stereotypes, but they are spared by the spontaneous feel of the dialogue, and if nothing else, at least they are a hundred times better than the usual portrayal of foreigners in Indian films.

The support cast is excellent, particularly Rani’s family in India (Yogendra Tiku as her father, Alka Badola Kaushal as her mother and Chinmaya Agrawal as her younger brother) but the star here is Kangana, who completely sheds her neurotic persona perfected in previous films. She appears very genuine and natural throughout, with no sense of artificiality in her gradual shedding of inhibitions and development of confidence. The development of Rani’s self-awareness is well written but comes to joyful life with Kangana’s portrayal. She also is credited with writing some of her own dialogues, which, even with subtitles, are encouragingly realistic and non-filmi. Kudos too to Rajkummar Rao who is perfectly shallow, petty and immature in the role of Rani’s ex-fiancé and maintains his obnoxious personality right to the very end.   The music by Amit Trividi is also excellent and the songs are well placed in the narrative, keeping the flow and adding more layers to the story. The late Bobby Singh has also expertly capture of  the streets of Paris and Amsterdam in beautiful detail, although the cities did seem rather sanitised in comparison to my own experiences. Not too sure about the boots with this dress, but this is a beautiful song, and I love the expressions on Rani’s face as she meets and then farewells her friends – perfect!

Queen is a film with much to enjoy, most of it due to Kangana’s portrayal and her character’s travels through Europe, although the writing, direction and editing all perfectly align with the superb cast. The emotional journey is just as entertaining as the physical one, and I love the optimistic and up-beat ending.  Definitely one to watch with girl-friends, but Queen is much more than a chick-flick and I recommend it to everyone who wants to see something a little different. 4 ½ stars.

Mera Saaya (1966)

Mera Saaya-title

Raj Khosla directs Sunil Dutt and Sadhana in a courtroom procedural with a bit of a twist. Despite the melodramatic conceit at the centre of the plot, this is a sensible and well plotted film that is very satisfying.

Geeta (Sadhana) is lying ill in a very ornate room. The doctor sends a cable for her husband Thakur Rakesh Singh (Sunil Dutt) to come home immediately as the prognosis is poor. The Thakur arrives home – he puts his head down and power walks past the other passengers, urgency in every step. He opens the car door before it even stops. But it is too late and Geeta expires in his arms.

Rakesh mourns, sunk in grief, listening to ‘their song’ – Mera Saaya (My Shadow). Nothing seems to reach him. Until the inspector shows him a photo of a suspected female bandit who is the very image of Geeta.

The woman claims to be Geeta, which of course the Thakur rejects. But she seems to know so much, and looks so much like his recently deceased wife. When she goes on trial, her only defense is that she is Geeta not Raina the bandit, so the judge gives her some leeway to prove her identity. Since her husband is a famous lawyer, she wants him to represent her. But as he is a witness for the prosecution, instead she decides to defend herself and has him called as a witness.

How could she know so much about him? And about Geeta for that matter? And she looks so much like Geeta that he cannot help but feel drawn to her. The words of their shadow song have extra meaning for Rakesh now he is seeing the image of his wife everywhere, in memories, dreams, and in the dock. But who is she? And is she really a killer?

The servant, Sargam (the minxy Kumud Bole), seems to be up to something. And an old lady got arrested so she could pass a note in jail to Raina (and then ate the evidence). There are stories within stories and the evidence seems to point first one way then the other. I often find filmi law a bit unconvincing but the arguments within Mera Saaya are fairly logical. The avuncular judge (Jagdish Sethi) is a genial man. He is interested in a fair hearing for all rather than pushing a predetermined agenda, so he encourages the questions and reminds witnesses of their obligations. The dialogues have the ring of truth and the questions and revelations fall out so that the plot complications are developed and resolved in a sequence that helps reinforce the central question as well as hinting at the solution. There are questions I might have asked in addition to the ones in the script, but not many that I wouldn’t have thought relevant. Plus, you just can’t argue with a Significant Mole.

Sunil Dutt is quietly compelling as Rakesh. He desperately wants a reason to believe his wife still lives, but is a rational man and knows he cremated her. There are flashbacks of Rakesh and Geeta together, their happiness juxtaposed with the dreary days of waking alone. Even in the most confrontational moments in court Rakesh acts with his integrity and tells the truth though it might undermine his own position that the woman is an impostor. Dutt and Sadhana are warm and physically demonstrative in the flashback scenes. Rakesh’s loss and anger at the sheer presumption of this woman taking his wife’s name are born out of an equally passionate grief, and Dutt delivered with restraint. It’s a lovely, intelligent performance.

Sadhana plays her double role with gusto. Geeta is the sweet and dutiful wife, but she has personality and a cheeky streak. Raina is suspected of being in league with the local bandit gang leader. Nothing about her story makes much sense, but when Raina is trying to persuade Rakesh that she is his Geeta her desperation seems genuine. Both characters have enough similarities that Rakesh cannot outright say that Raina is nothing like his wife. But there are a few things that don’t add up and Sadhana’s expressions convey that there might be something dubious going on. Like her co-star, she focusses on delivering a balanced and believable characterisation that helps sustain the mystery.

As befits the story, this is not a movie chock full of big item numbers but the soundtrack has plenty to offer. The songs range from romantic ballads to more boisterous fare.

It was quite handy that Raina had a dark past as a dancer (and a good use for Asha Bhosle’s flirty upbeat vocals). The songs are often used to amplify the characters emotions, like giving Rakesh a glimpse of his happy past before the present crashes back in.

The support cast is generally excellent. I really liked the scenes between the police inspector (Anwar Hussain), the family doctor (Shivraj) and the prosecutor (K.N Singh) as they would sit around in the evenings and talk about the case, what they thought would happen, and how Rakesh was bearing up. They were gossipy, opinionated and yet pragmatic. Bankeji (Dhumal) and Munshiji (Mukri) are the comedy sidekicks – less entertaining although I was mildly taken aback by the casual references to Bankeji’s opium use. Ratnamala is warm and caring but quite ineffectual as the aunt. And while I am trying to avoid spoilers, Prem Chopra has a small role so you can guess who one of the bad guys is.

Partly filmed on location at the Lake Palace, Udaipur, this is a beautiful looking film. Sunil Dutt and Sadhana bring their characters to life and give a solid emotional core to the story.  Plus there is a lovely lush soundtrack by Madan Mohan with the golden trio of Lata Mangeshkar, Asha Bhosle and Mohammad Rafi lending their vocals. 4 ½ stars!

Kill Dil (2014)

Kill Dil

I had high hopes for Kill Dil. I like Ranveer Singh and Ali Zafar. I enjoyed Shaad Ali’s previous films, even the fairly nonsensical Jhoom Barabar Jhoom, and hey – Govinda! So, surely all these elements would be great together? Well, not so much. Kill Dil isn’t terrible, but it just isn’t as good as it should have been, mainly due to the shallow and poorly developed story. I don’t have a problem with the 70’s style masala plot, or with the Urban-Western style of Kill Dil, but I do prefer to have some plausibility in a romance and at least a smidgeon of logical possibility in the storyline. Both are conspicuously absent here. At least Ranveer, Ali Zafar and Govinda are all very watchable, while Shankar-Ehsaan-Loy’s exuberant songs are a definite plus, so even if the sum isn’t as great as all of its parts, Kill Dil is still worth a look  if you just sit back, leave logic at home and watch the spectacle.

The story starts with shades of Gunday as Bhaiyaji (Govinda) finds two babies in the rubbish and decides to raise the kids himself, despite the fact that he’s a gangster who kills people for a living. Somehow the orphans manage to survive, although they learn how to shoot a gun almost before they can walk and both drop out of school to work for Bhaiyaji as assassins for hire. Tutu (Ali Zafar) is apparently the elder, although how Bhaiyaji worked that out is anyone’s guess. He’s the quiet, less flamboyant and more brooding one who seems a little more aware of the risks but still seems content in his work. Dev (Ranveer Singh) is more exuberant, and with his bouffy hair and leather bomber jacket he’s actually a bit of a dork. The two brothers live together, work together and party together, but still have a lack of worldliness when it comes to anything outside of murder.

While out clubbing one night, Dev saves the life of Disha (Parineeti Chopra), a millionaire who gave up her degree in medicine to help rehabilitate criminals. Um – what? Disha is portrayed as the quintessential  rich party girl and the idea that she works as some kind of social worker is ludicrous. Yet it becomes even more ridiculous when Dev falls in love with Disha and is inspired to give up his life of crime for love.

The question is will his life of crime, and specifically Bhaiyaji, be willing to give up Dev?

Although the film starts off with both Dev and Tutu having roughly equal amounts of screen-time, as the story unfolds, Dev takes centre stage. Ranveer Singh is excellent and veers between annoyingly hyperactive, sweetly naïve and ultra-cool, often during the same dialogue. Although his transformation from gangster Dev to insurance salesman Dev is by the numbers, Ranveer is charming and charismatic throughout, even as his look becomes ever more conservative. He is brilliantly energetic in the songs, despite some truly dreadful styling, and if the song placements are often abrupt and odd, there are at least plenty of them, which keeps the amusement level relatively high.

Ali Zafar’s Tutu is the stoic friend who warns Dev about the possible consequences of Disha discovering his past and who is left to try and pacify Bhaiyaji when Dev is off romancing. Unfortunately, he’s not particularly successful at either task. However the relationship between Dev and Tutu is well portrayed and Ali Zafar and Ranveer Singh do have good chemistry together, even if it doesn’t get close to the Shashitabh ideal of bromance. Parineeti Chopra on the other hand has one of the most pointless and nonsensical characterisations I’ve seen, which is not helped by a complete lack of chemistry in her romance with Dev. She’s portrayed as a shallow character and is not just an unbelievable persona, but her style of behaviour makes her character essentially unattractive. Ultimately Disha seems an unlikely partner for Dev in every possible way and apart from this one fantasy song (which is still more about the styling and Ranveer’s increasingly unfortunate coiffure), the romance is fairly limp and ineffectual. It’s frustrating, since Parineeti looks fantastic and seems as if she is capable of so much more, if only she’d been given a chance!

As an occasional relief to all the posturing, Govinda is refreshingly straightforward as Bhaiyaji. He doesn’t do anything particularly gangsterish, apart from hand over pictures of the next victim to Dev and Tutu, but he does growl and look appropriately menacing when required. Even better, he does get to break out his dance moves and proves that he hasn’t lost any of his old mojo. However not even Govinda can breathe some fire into the flimsy story by the end, and Bhaiyaji’s response to Dev’s defection is disappointingly weak.

Kill Dil then is a bit of a disappointment. While the cast all try as hard as they can to look cool, and do look as if they had a great time during filming, they are let down by poor character development and the unreasonable story. However despite feeling frustrated by the character of Disha and annoyed by the paucity of scenes involving Govinda, I still did (mostly) enjoy the film. Ali Zafar and Ranveer Singh are very cool dudes here, and I liked their partnership. The songs are also improved by the colourful choreography and Ranveer Singh’s energy and joie de vivre is contagious. Perhaps one more for the fans, although it is worth a look for even just the brief glimpse of Govinda back in top form.

China Town (1962)

Chinatown

Shakti Samanta is responsible for many of my favourite Hindi films, and China Town is another one to add to the list. Not only does it have Shammi Kapoor in a double role, but as an added bonus Helen appears as one of the two heroines, and she dances in two songs – awesome! Shakti Samanta heads to Calcutta and the seedy opium dens of Chinatown to deliver a crime drama with plenty of masala seasoning. It’s the story of a gangster whose buffoonish lookalike becomes involved in a police plot to uncover the shadowy figure behind the Chinatown drug trade. If that sounds familiar, Salim-Javed were supposedly inspired by China Town when they came up with the plot for Don and the set-up is certainly very similar. However there are fewer twists and a lower body count in China Town, and the end is quite different. This has fewer noir elements than Samanta’s earlier Howrah Bridge but it does edge into the genre, and even though the outcome is fairly predictable, the journey to get there is well worth taking.

The film opens with the title track and features Helen in a wonderful dress covered with dragons. Chinatown gangster Mike (Shammi Kapoor) is introduced in the bath (!) and has a wonderful laconic style as he explains that the world will order itself to accommodate Mike, not the other way around. With such ishtyle, it’s not really surprising then that dancer Suzi (Helen) is in love with Mike, despite the callous treatment she receives at his hands.

Mike works for Mr Wong (Madan Puri), the owner of a hotel in Chinatown that acts as the front for a number of criminal activities, but chiefly the gang run an opium den and deal in drugs. Mike is spotted making his dodgy deals by the indomitable Inspector Dutta (Kanu Roy) and in the course of the ensuing car chase Mike is hurt and brought back to the police station by Inspector Dutta. However Mike proves to be a tough nut to crack and none of Inspector Dutta’s interrogation techniques manage to force him to reveal the other members of the gang, or who is controlling their activities. Fortuitously for Inspector Dutta, Rai Bahadur Digamberprasad Rai (S.N. Bannerjee) comes to the police station to make a complaint about bar singer Shekhar (Shammi Kapoor) who has followed his daughter Rita (Shakila) to Calcutta. Shekhar just happens to be the spitting image of Mike, and Inspector Dutta sees a way to infiltrate the gang, if he can get Shekhar to impersonate Mike.

Shekhar is the antitheses of Mike. He lives with his mother (Jeevan Kala) in Calcutta and spends his time singing, chasing after Rita and avoiding her father who is less than impressed with Shekhar. Shekhar is carefree and careless, and Shammi is excellent as the crazy and impulsive singer who will do anything for love.  Here he is serenading Rita, who doesn’t seem too impressed by his moves here at all!

Rai Bahadur on the other hand will do almost anything to keep Shekar away from his daughter, and when you consider Shekar’s antics as he dresses up as a Sadhu to follow Rita on the journey to Calcutta it’s hard to disagree when Rai Bahadur calls him a cartoon.

Despite his somewhat frivolous nature, Shekhar allows himself to be persuaded to work for the police, and undergoes extensive training to impersonate Mike. He successfully infiltrates the gang and starts to pass information back to Inspector Dutta, but before he can find out who’s the boss behind the scenes, Shekhar’s mother arrives in town. She soon reveals that it’s not a coincidence that Shekhar looks like Mike, and soon my favourite Bollywood plot device of separated twins gets thrown into the mix. So now all Shekhar has to do is stop Rita from marrying Mr Chaudhary, convince Rai Bahadur that he is a suitable person to marry his daughter, find the head of the drug smuggling gang and save his long lost brother – no worries!

Although Shekhar fools the gang, he can’t hide his musical soul and when out delivering drugs he dances and sings along to this wonderful mujra. I love the way Shammi can’t sit still and gyrates away in the background before finally joining in with Roshan Ara.

Along with the action, as Shekhar fools Mr Wong and one by one delivers the gang members up to the police, naturally there is time for some romance. Rai Bahadur seems a very liberal father, except where Shekhar is concerned and Rita manages to meet up with Shekhar and hit the tourist spots of Calcutta. They make a lovely couple, and Shakila looks beautiful here in a couple of sweet duets. The romance is rather cute too – as in one scene where Shekhar and Rita take refuge in a hotel and pretend to be married. The owner’s wife Mahakali (a brief appearance by Tun Tun) adds a vermillion tikka which Rita then doesn’t want Shekhar to rub off later despite all her protests about the deception. Very sweet! Rita is also feisty and quite prepared to fight back when she is kidnapped by the gang, which makes her a likeable heroine and more of a partner to Shekhar.

Suzi is quite prepared to fight for her man too, and Helen is fantastic in a role that gives her the opportunity to do more than dance. However she also looks stunningly gorgeous in this song where she dances with an intoxicated Shekhar.

The location allows Samanta to use the Calcutta backdrop and Howrah Bridge to good effect, particularly in the last fight scene. Dwarka Divecha does an excellent job with the cinematography and as in previous Samanta films there is good use of light and shade to heighten the drama. The Blue Dragon hotel has plenty of hidden doorways behind fake walls and bookcases, and there is even an escape route through the sewers to add to the ambiance.

The support cast all fit their roles well; Madan Puri reprises the role of a Chinese hotel owner while M.B. Shetty is expressive as Ching Lee, one of the gang who suspects Shekhar is not really Mike. But despite good performances from all the cast, China Town is all about Shammi Kapoor, and his performance here is the reason to watch the film.

I just adore Shammi in this film. He looks fabulous and seems to relish the contrast between his two roles, keeping the two personalities quite separate throughout. Shammi even looks very different as Mike and he plays the part of a brutish and rough gangster easily without hamming it up for the camera. As Shekhar he is buffoonish but good-natured, and although he does become more sensible when working for the police, he manages to make this seem like an act and every so often reverts back to true form with some classic Shammi craziness. When there are two Shammi’s onscreen it’s just wonderful, even if the technology isn’t quite able to make the effect completely seamless. Shammi is wonderful to watch, so even if the story does become a little predictable and the ending is annoyingly contrived, it really doesn’t matter when Shammi is this good – twice over! Recommended for Helen, Shakila, good songs and shady ambiance, but overall watch this for Shammi – he’s amazing! 4 stars from me – and I’ll give the last word to Helen, because I think this is exactly what she does.

Helen!