Yearly Archives: 2011

Anand (2004)

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If there is such a thing as a good kind of stalking love story, Anand is probably it. Sekhar Kammula builds characters that have quirks and flaws, and his effort translates into an engaging modern romance. Although the film is called Anand, it’s actually well balanced between Anand (Raja) and Rupa (Kamalinee Mukherjee), at least in the director’s cut version.

Rupa is orphaned after a drunk driver hits her family’s car. Forward 8 years and Rupa (now played by Kamalinee) is a bit of a control freak, and preparing for her wedding to Rahul (often heard but not seen playback singer, Anuj Gurwara). His family are wealthy and traditional, and she is under pressure to modify her behaviour to suit them. She is scared of her future but trusts to god and her own spirit to help her through the challenges she expects lie ahead.

Rupa has pride and a belief that she deserves love and a good future. When Rahul reveals his weakness in the face of family disapproval, she realises she may be making a mistake. Finally, after a showdown with the domineering mother-in-law to be over wearing her mother’s heirloom saree, Rupa calls the wedding off.

I like that there are consequences, but it’s not over the top. Her life goes on, and while there is some embarrassment and explaining, her friends are all there for her, as is her old job. She supports herself financially, and seems to have a good life. It makes a refreshing change from all the filmi orphans living Cinderella type lives on charity from relatives.

The drunk driver is a presence throughout the film, although Rupa doesn’t know this. The shock of causing the accident made Gopalan (played by Gururaj – I think) revert to a childlike state. Initially I had some reservations about whether he was a necessary character, and how his condition would be portrayed. However, I enjoyed his presence and I give due credit to Gururaj for his performance.

Gopalan is loved by his family, and included in all their activities. He isn’t swept into a corner, and no one distances themselves from this damaged man. It was sweet seeing the family in conference, with Gopalan doing that Dad thing of dozing in front of the TV while Anand and his mum argued. They all know what happened, and Anand even describes it as an oddly positive change – a driven man finally happy with simplicity. It isn’t quite as syrupy as that sounds. I really liked the decision to show a content middle-class family who had achieved comfort in their lives at this point.

Anand (Raja) sees Rupa and decides he wants to get to know the real person. He knows her history (she doesn’t know he knows) and while he has sympathy for her, that isn’t his primary motivation. His mother is keen to marry him off, and Anand is tired of the marriage treadmill. He knows he is eligible and doesn’t trust first impressions, and he isn’t really keen on settling down unless he feels he has met his life partner. When he sees Rupa breaking her wedding off, he is intrigued as well as attracted to her. He concocts a story, rents a spare room at her house, and starts to work on getting to know her. He isn’t sure what he feels for Rupa, and he knows there is more to a relationship than just chemistry, so I think the decision to spend some time with her was wise but the method is questionable.

It is a kind of stalking, he does conceal his identity from her, and he manipulates circumstances where possible. It didn’t totally put me off because he is aware of his intrusion into Rupa’s life and he is open about his motives when her friends challenge him. And he can take ‘no’ for an answer. Raja is very much part of an ensemble, not a dominant hero type. He has a pleasant enough boy next door style but wasn’t outstanding.

Better known for directing than acting, Anish Kuruvilla is Anand’s cousin Raju. He is the voice of reason and logic, so of course no one ever listens to him. He supports Anand despite his misgivings, and has an excellent array of pained expressions. Raju is also a colossal snob, and this allows Kammula to introduce some points around discrimination and entitlement. It’s a funny, likeable performance despite the occasionally irritating character. Really, since he seems determined to avoid directing another film in my lifetime (hint Anish, HINT) I don’t see why he doesn’t act more.

Satya Krishnan as best friend Anita has a slightly acerbic yet affectionate nature, and her down to earth comments add a realistic level of dissent and question to the dialogues.

She and Raju have the job of watching their friends fumble with the burgeoning relationship, and their wry observations often deflate the drama or add a dash of humour. I liked the film in-joke when Anita has an Indra flashback and asks Raju if he has ever been in movies. She and Kamalinee took the acting honours in my book. And I love her husky voice – such a nice change from all the super squeaky heroines!

Rahul reappears on the scene, and Rupa and Anand are torn from their comfortable little routine. Rupa finally admits to herself that she loves Anand, but what to do? Anand leaves the next steps up to her.  I like the resolution. I felt it suited Rupa’s character completely and I appreciated that Anand hadn’t gone bitter and started hating her. He accepted that her decision and opinions were valid and essential to any possible future together.

Anand’s family acknowledge a sense of obligation to Rupa, and want to help her secure her future, but there is also trepidation at how they could live together after the truth comes out. It’s a very filmi situation but the emotions feel real – how will that sense of indebtedness balance the anger and resentment, and is forgiveness truly possible? I think Rupa blames herself so much for the accident that she had never considered blaming anyone else until confronted with the man responsible. Having to come face to face with the truth sparked another stage of grieving and she had to forgive herself as well as Gopalan. Kamalinee was convincing in her grief, and rather than loud histrionics she used her physical expression to show the transformation.

I like the realistic touches in the background detail. Rupa has a kitchen with packets of cereal and jars on the shelves, she gardens and washes her own clothes. People use public transport and their idea of a big night out is going to the movies. The house that Rupa lives in is located in an oasis like compound, but it looks a little ramshackle. There are people who fail exams and still have a happy enough life, and people with high aspirations. It’s all very easy to relate to.

I have a few dislikes. There are horrible cutesy kids and I could have done without them. Their performances were fine it’s just a directorial choice I disagree with. And the background soundtrack is a bit too whimsical for my liking. The songs by K.M. Radha Krishnan are great, and are a little classically influenced so it’s quite a contrast to the cheesy background score. I really like Shreya Ghoshal so her singing is a bonus. There is little dancing, although I see in Wiki Sekhar Kammula gets a credit for choreography.

As  modern film romances I prefer Avakai Biryani and Godavari to Anand, although that may be a bit of rural romanticism on my part as the locations were nicer. But I liked seeing a smart woman in control of her own life as a heroine,  people I could relate to, and the non-preachy social observations. 3 and 1/2 stars!

Heather says: There are a lot of things I really like about this film. Sekhar Kammula has the knack of telling a simple story in a very realistic way with genuine characters. And although the story is simple, there is enough complexity in the way it is told to keep it interesting and fresh. The characters are all down to earth and act in very believable and normal ways to the different situations throughout the film. Rupa does have a tendency towards melodrama but I think that is just part of her character and since I have quite a few friends who behave similarly (it must be all the Bollywood we watch!) I found her over-reactions to be just another facet of her personality. And I think a bride approaching her wedding day is entitled to a little drama anyway. There are a lot of little touches in the film which are very simple but help to convey an idea of the various personalities. Rupa’s regular morning coffee and Anita’s morning runs give us insights into their character and their lives seem very typical of the average person. I think Kamalinee Mukherjee is excellent at showing Rupa to be a strong minded and compassionate woman who has some issues due to her past, but is determined to make her own way in the world. I also really like Anita’s character, and think that Satya Krishnan is very good in this role. Her visualisation of a scene from Indra when Anand’s cousin is talking to her was excellent, and I can really understand exactly what she is thinking as a result.

What I don’t like as much was the character of Anand. Although Raja is perfectly fine in his portrayal of the character, I just don’t warm to Anand at all. He seems selfish and lazy and I can’t see why Rupa would want to get involved with him having just broken up with another selfish and lazy man. Anand relies too much on his cousin to help him out whenever he needs something done, and although his interaction with Samatha and Anita is good, it’s just not enough to make me like his character. I do like Anand’s speech to his Raju though, where he seems to realise that he hasn’t actually ‘fallen in love at first sight’ but that it’s more of an attraction. So it seems much more realistic when he says that first of all he has to get to know Rupa and she has to get to know him, and then they will see where it leads. This is a more reasonable approach than many other films where the boy declares his love and then stalks and harasses the girl until she agrees to marry him. And although I didn’t particularly like Anand his character was well developed and his relationship with Rupa was well portrayed.

The other support characters are all good and Rahul’s mother in particular seems to relish her role as the evil mother in law to be. Rahul’s character is well developed and the portrayal by Anuj Guwara was spot on. I agree withTemplethat it was lovely to see AnishKuruvilla on the other side of the camera and he was excellent as Raju. He really did have some of the best expressions.

The film has a great soundtrack and I do really like all of the female characters. It’s an enjoyable story with some lovely performances, but I just would have liked Anand’s character to be a nicer person.  3 ½ stars from me.

A Mega Birthday Celebration

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It will be Chiranjeevi’s birthday on 22 August.

To celebrate another year of the Megastar, several bloggers will be posting thoughts on the man, the movies, the legend, the lycra, the one and only Chiranjeevi. 149 films and countless spectacular dances – there is something for everyone in the mega-oeuvre.

The plan is to publish items between 22 – 31 August so you have heaps of time to work your way through the filmography. I am happy to collate and publish the links so please let me know if you want to join us and I’ll make sure your links are added.

The hashtag for Twitter is #Megabirthday2011

So far, these fab blogs are up for Mega festivities :

The more the merrier!

Aa Gale Lag Jaa

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There is a scene that gets me every time. Shashi Kapoor heartbroken, on roller skates, in a white safari suit, playing the accordion and yodelling (thanks to Kishore Kumar and RD Burman) as he sweeps around an empty skating rink at night. It should be ridiculous and yet it’s strangely affecting. And that sums up my feelings for this fabulous Desai film. Aa Gale Lag Ja is convoluted, goes off the rails at the end and relies heavily on coincidences, but I find it beautiful and touching as well. I recently re-watched it with the the excellent company of Beth and Ira, and couldn’t pass up the opportunity to revisit this masala classic for Kapoor Khazana.

I love the leads, it has one of my all time favourite soundtracks (indeed, it changed my views on accordion solos), and the writing is far more interesting than I expected from a retro filmi romance. And they don’t waste time on building up to a song – they just go for it.

Shashi Kapoor is Prem, a poor but honest roller skating enthusiast. He lives up in the mountains so roller skating, as well as life, is very challenging. The beautiful Sharmila Tagore is Preeti, a minxy medical student.

I appreciate Shashi’s wobbly attempts to skate. It lacks flair, but he is endearingly earnest. Sharmila is very good at fake skating and her pretend waterskiing in Evening in Paris was also excellent. I also applaud her efforts to look like she is gliding majestically under all that Spare Hair. The wig is bigger than she is! Prem is poor, Preeti is rich, they’re both good looking and there is no doubt about the results. Especially after he sells himself to science for an afternoon so Preeti can test hypothermia treatments on this most willing of guinea pigs.

After a song related mishap, the two spend a night fighting off hypothermia.  What an amazing coincidence! Given that Shashi’s innate hotness seems to dry out his clothes in no time flat, the ‘cure’ did raise some questions.

This episode has sparked much debate about whether Preeti was conscious, was it consensual, why didn’t someone keep their pants on … I say she looks rather pleased with herself the morning after and does not strike me as a woman with regrets. My diagnosis is that she woke up, saw what she saw and thought ‘Hello!’

The youngsters want to marry but Preeti’s father Hirachand (Om Prakash) pulls a few swift moves to alienate the lovers. Preeti fell pregnant to Prem That Night and is sent to a sanatorium to have the child in secret. Hirachand and Prem’s ailing mother (Sulochana) play their parts in the drama and Preeti believes the child was stillborn. In a typically filmi twist, Shashi acquires his own son and loses his Ma. Everyone judges everyone else, and the misunderstandings send the protagonists off on their separate paths.

Apart from a spectacular display of acting – Shashi looks so joyous, and unperturbed yet loving, as that baby bawls its head off – this song is quite lovely and sets up the very caring single parent family.

 

Prem and son Rahul (Master Titoo, one of the few dreaded child artistes I like) have a really lovely relationship. Prem felt no need to marry a substitute for Preeti just so there was a woman to look after them both. He embraced his parenting role and did the best he could. I do think there could be a case for child cruelty when we consider the poor kid’s wardrobe, which features purple and ruffles as well as some hideous short and vest ensembles, but apart from that Prem was a thoughtful and loving dad.

Preeti crosses his path again, and has no idea that Rahul is her child, or that Prem had always loved her and never moved on. Prem thinks that Preeti jilted him to keep her luxe lifestyle and that she never cared about her child.

The ‘will she won’t she realise’ tension is heightened as her fiancé Amar (Shatrughan Sinha) takes over treatment of the crippled boy and so the families draw closer. Shotgun’s entrance is so amazingly filmi, I can’t believe I almost always forget he is in the film until that moment! And his treatment of what he decides is a psychological rather than physical condition is unconventional to say the least. The contrast between Prem and Amar’s economic circumstances couldn’t be more pointed.

Despite the high level of coincidence and near revelation, the performances of Shashi and Sharmila along with Master Titoo made me care so much about what would become of them. Shashi shows his pain and anger, but also his love for both Preeti and his boy. Sharmila is poised and beautiful, and she shows the uncertainty and hope when she sees her old flame. I also really like that the story is about a man who becomes a single dad while the woman moves on with her life and has no idea she has a living child.

Preeti lives with her father, who of course knows about the child, but there are no great histrionics about her lost honour or anything. She has had a long engagement to Shotgun and her future seems assured. Om Prakash is shown as a lonely old man in his opulent home, and the development of his relationship with grandson Rahul is fun as they bring out each other’s competitive and playful traits.  The winning enthusiasm of the child and his belief that his mother will come back for him one day makes his grandfather realise the gravity of his deception. There’s a lot of quiet heartache in amongst the more dramatic antics.

As for the who’s who and what of the story…There’s a Significant Song, a secret photo, Ticky (Amar’s sister, played by Ruhi) loves Prem, Prem loves Preeti, Preeti loves Prem (again), Amar loves Preeti, Rahul just wants everyone to be happy. We have the flaming roller skates of death, and then the happy roller skates of ever after. Almost everyone ends up on wheels at some stage, even the token thugs who hang around menacing young ladies.

But the mad masala trappings never really get in the way of the story so I think Desai and Prayagraj must have had some robust conversations of their own to make sure they kept the balance right. The dialogue by K.B Pathak is marvellous, shadowed with meaning and laden with emotions. When Prem and Preeti meet again, and he sees her as the rich girl who has done well for herself, the polite bitterness is pitch perfect. There is great use of eavesdropping, particularly in a ‘musical chairs’ scene that throws the protagonists into proximity and under stress where much is explained in small bites of barbed civility.

And then, I’m left with that image of Shashi on roller skates playing the accordion.

See this as a great example of Manmohan Desai’s masala excellence, for the beauty and appeal of Sharmila and Shashi, for the marvellous songs by R.D Burman and for the passionate and romantic love story that produced a happy family but didn’t feature a wedding.  5 stars!