Agent Vinod (1977)

Agent Vinod

Aaah, the seventies!

A time of flares, large floppy hats, the always delightful Helen, and wonderfully cheesy Bollywood.

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A time when Mahendra Sandhu played the original Agent Vinod, long before Saif Ali Khan donned the same nom de guerre and secret agent mantle.  And did it with much more flair (and flares)!  Agent Vinod draws heavily on the 007 franchise, even including a sidekick by the name of James Bond, but despite its derivative nature it’s still lots of fun with plenty of gadgets, glamorous women, car chases and the obligatory secret hideaway.  Mahendra Sandhu is quintessentially smooth and suave as Agent Vinod, although his habit of introducing himself as ‘Agent’ Vinod does rather give his profession away.  As an added bonus there are strong female performances by Asha Sachdev, Rehana Sultan and Jayshree T, as well as the divine Helen in a role that requires more than her appearance in an item number.  Sadly I only have an un-subtitled VCD copy of this film which means I may have missed some subtleties of the plot (if there were any!), and I do apologise for the poor quality of the pictures.

Agent Vinod is a spy film, so of course there has to be an evil organisation plotting world domination of some description, and the film starts with the kidnaping of renowned scientist Mr Saxena (Nasir Hussain) by the Scorpion group. The Scorpion organisation plan to sell his secrets to the rest of the world for mega bucks, or maybe it’s to force him to create a secret formula for something that they can bottle and sell for mega bucks.

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Both seem equally plausible and maybe it’s a combination of both, but whatever the reason, Chief Scorpion Madanal (Iftekhar) and his gang of thugs find that Saxena won’t be coerced by the fear of death, but he might just be persuaded if his daughter is threatened instead.  To this end, the group sets out to kidnap Anju Saxena (Asha Sachdev) but she manages to elude her rather inept kidnappers and instead disguises herself as a taxi driver in an attempt to find her father.

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At the same time, another secret agent Zarina (Rehana Sultan) has foiled an attempt by Madanal and his thugs to blow up a train, managing to take pictures of the main gang members before they spot her and give chase.  Zarina is an ace secret agent, and she escapes pursuit, hides the photographic film and climbs down the side of a building – all in high heels too – before she’s finally captured by the gang.  Zarina is my hero.  She escapes from Madanal not once, but twice, including by climbing up against the water being pumped into her cell to drown her – go Zarina! Her best moment comes when she uses a handy robot to beat up one of the gang members and to be honest I think she’s a much better secret agent than Vinod!

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However, the film is titled Agent Vinod not Agent Zarina, and finally the threat to National Security means that there is only one man for the job.  Agent Vinod is recalled from his frolicking in the sun with a bevy of beautiful maidens and charged with finding Saxena and his daughter, as well as hopefully finding out what has happened to Zarina.  Finding Anju Saxena turns out to be relatively simple, although initially she suspects him of involvement in her father’s disappearance.  This leads to an excellent cat and mouse song between the two where Anju tries to get Vinod drunk to make him reveal her father’s whereabouts.

As any good secret agent knows, the key to foiling villains is a bunch of cool gadgets, so Agent Vinod picks up an assortment of disguised bombs, tracking devices, a distinctive golden gun and of course his specially modified car.  He’s also well prepared in the event of a stake-out, making sure to have his trusty flask along.  I was also impressed to see that despite the reckless nature of the car chases, Agent Vinod was careful to fasten his seat-belt before driving with reckless abandon along Indian country roads.  Note the dapper white suit too!

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The discovery of Zarina’s resourcefully hidden photographs point Agent Vinod in the right direction although Lovelina (Helen) attempts to lead him astray, although her backing dancers might just dazzle him enough all by themselves.

Luckily for Agent Vinod, the Scorpion organisation falls into the trap of so many evil, secret gangs by requiring its agents to wear the mark of the scorpion, making them easily identifiable.  However, perhaps as compensation, the gang have cool walkie-talkie’s in the form of scorpions and they have a classic hidden lair on a remote island.  Although this isn’t as opulent as might be expected, it does feature a giant opening mouth on the wall as a rather obvious ‘spy-hole’, and there are plenty of traps and creative ‘death’ rooms to make it acceptable as an evil hide-out.

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Agent Vinod is helped by the hapless James Bond (Jagdeep), aka Chandu who appears at odd moments with some generally vacuous slap-stick. I don’t find Jagdeep’s comedy amusing here, and the comedy scenes often seemed disjointed and out of step with the rest of the film, although part of that may be due to the lack of subtitles. However his character improves in the second half of the film when he romances the gypsy girl Jayshree T.  This also gives the film one of the best songs, when the gypsy girl and Anju team up for a comic dance to distract the gang and try to throw them off Agent Vinod’s trail.

There are yet more nods to the  James Bond films including an elaborate mirrored room on a rather small boat, and of course the identity of the shadowy figure behind the Scorpion organisation has to be revealed before Agent Vinod and Anju can sail away into the sunset. K.N.Singh makes an appearance as the Head of the Secret Service, Leena Das has a lovely dance number as one of the Scorpion agents and Pinchoo Kapoor is excellent as Vinod’s uncle/ mentor.  The cast all throw themselves into the general mayhem, with only Agent Vinod staying cool and calm throughout.  But with this selection of outfits, who can blame him for his air of suave sophistication?

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While the writing team of Khalid Narvi and Girish have borrowed heavily from 007, the underlying story is entertaining in its own right with a solid cast who all put in credible performances.  The music by Raam Laxman is excellent and Deepak Bahry has kept everything moving along.  It’s fun, engaging and definitely worth watching even if it’s just to count the number of Bond references. I really enjoyed this Agent Vinod and wish they had made a sequel!  3 ½ stars.

Lootera

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Lootera is a restrained and melancholy romance, a love story between two flawed adults set against turbulent times. Based on O Henry’s story ‘The Last Leaf’ it is a quiet and introspective film for the most part, with few false steps by writer/director Vikramaditya Motwane.

It’s the 1950s. A rich Zamindar and his consumptive daughter Pakhi live in their ancestral village and seem oblivious to the impending change to their legal status. Varun, an archaeologist, arrives to help excavate a site near the family temple. Love blooms between the daughter and outsider, and their wedding is arranged. But Varun is not what he seems, and betrayal and ruin intervene. Summer turns to winter and Pakhi’s life is torn apart. Time passes before she and Varun cross paths again and Pakhi wants some kind of justice, some reparation for all she has lost.

 

Prior to this I had only seen Sonakshi Sinha in Dabangg and an appearance in OMG Oh My God so I hadn’t seen a lot of her acting skills put to the test. She is exceptional as the indulged rich girl Pakhi. Her romance with Varun (Ranveer Singh) develops immediately but slowly as Pakhi finds ways for them to spend time together. There is very little dialogue and Sonakshi builds Pakhi’s character through her expressions and deportment. In one scene Varun is driving Pakhi home and in the space of seconds Sonaskhi’s sparkling eyes and smile conveys flirtatiousness, amusement at his reaction and quiet joy at her own happiness. Pakhi never hesitated to lie to get what she wanted, but she was not a truly bad person, just a girl whose father indulged her every whim. In the first half of the film Pakhi wears rich colours and pretty light cotton sarees with delicate decorations. She dreams of being a writer and can only see a future in which she is happy and fulfilled.

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Once things take a turn for the worse, she moves to Dalhousie. The cold bright mountain exteriors and the dim interiors frame her in darkness as do the dark maroons and blacks that she wears. Sonakshi seems weighed down and heavier in her tread, her eyes and her speech. Death is looming and Pakhi does nothing to prolong her own life. She can’t write, she can’t move past the loss of her father and home. She is just waiting.

 

Ranveer Singh is Varun. He is not exactly what he seems and nor is his friend Deb (Vikrant Massey). They are thieves and the Zamindar is their latest target. Based on his previous roles, I didn’t expect such restraint and internalised emotion from Ranveer. Varun comes across as someone who knows what he wants but is overwhelmed by fear and obligation. He tries to break things off with Pakhi in an effort to not make the eventual betrayal any worse but really, the damage had been done. He is a very modern creature and lives in a dog eat dog world, his sharp edges a contrast to Pakhi’s romantic softness. Varun is always wary, and Ranveer shows the struggle between heart and logic, and the ever present tension of being ready for things to go pear shaped. Varun’s character doesn’t transform as Pakhi’s does, but he reveals more of his true self over time. There is a definite sense that Varun could be a decent enough guy in all but his means of earning, but his ingrained drive for self-preservation would override any finer feelings.

 

Ranveer and Sonakshi have great chemistry together. Their characters are sometimes confused, sometimes unpleasant but mostly just relatable in their uncertainty and hopes. The initial relationship between Pakhi and Varun is flirty but heartfelt and both actors show the deepening of feelings through small gestures and their gaze. When they met again I could believe Pakhi’s conflicted feelings towards Varun as she was also coming to terms with her own mortality. Varun saw a chance to do something right finally. It wouldn’t change how he had betrayed her before, but he could fight to let his better nature prevail this once. It’s an intense relationship, passionate and at times fuelled by anger as well as love. Sonakshi looked perfect as a beauty from the 50s and Ranveer was a modern wide boy, each visually representing the changing tide of society.

The story is dominated by Pakhi and Varun although there is a small and effective support cast. Shirin Guha and Arif Zakaria are very good in the summery first half. The charismatic Adil Hussain and ever reliable Divya Dutta make strong appearances in the dramatic conclusion.

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I saw this with a friend who hadn’t read the O Henry story and she asked if there was a clear link,  and there is albeit only a small part of the narrative. It is when the film is closest to the story that I think it shows weaknesses. A clumsy conversation along the lines of ‘Can you paint leaves?’ ‘Why yes I can’ occurs early on. There is a needless scene of Ranveer dangling from a tree branch after nearly falling that was surely only there to show him off as a ‘movie hero’. It was a momentary lapse from the beautifully internalised character based tone that made Lootera so engaging.

I’ve never been a big fan of Amit Trivedi and his emo guitar tweedling. The soundtrack works best in the first half where the music reflects a more optimistic and celebratory mood (e.g. Sawar Loon). Once things got more dramatic I found the songs a little intrusive and unnecessary.

The camera work (under Mahendra J Shetty) and set design is very beautiful yet not ostentatiously so. I rarely felt distracted from the central action yet the locations and scenery gave a richness and depth to the sense of place. I did find myself admiring the architecture and layout of Dalhousie in one pivotal scene but I can only watch a chase scene for so long before my attention wanders!

Lootera requires patience as the story is shown rather than told. There is minimal dialogue so there is nowhere for the actors to hide, and they deliver beautiful characterisations. That is not to say the characters are inarticulate – there are some excellent dialogue driven scenes. Motwane’s intelligent direction gives his actors the time and space they need to breathe life into the story. I thought his much lauded Udaan was a very average film that garnered praise more for the subject than the execution so I was hesitant about Lootera. But it is a beauty. Highly recommended, especially if you’ve been feeling the dearth of interesting adult lead characters in Hindi films and want a more layered and complex set of relationships.

Ek Shriman Ek Shrimati

Ek Shriman Ek Shrimati LP

Some films benefit from being firmly of the past. Ek Shriman Ek Shrimati is a 1969 ‘romance’ that relies on pestering and stalking to cement the main romantic pairing. Distance and the lens of ‘then’ make this less unpalatable for me than a modern film that still relies on these notions. Bhappi Sonie gathers a charming hero, a reprehensible villain, a great soundtrack, an appearance by Helen in an acting role, and a whole lot of ‘they did what?’ only in films logic, and somehow the result is fun and melodramatic.

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Deepali (Babita) enters and loses a beauty competition. Ajit (Prem Chopra) consoles her with a smooth line or two, and decides he might quite like a rich, pretty wife. Unfortunately for him he has a girlfriend, Sherry (Helen), who is pregnant. Nothing a short sharp shove off a cliff can’t solve, although there is time for a club number first.

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Sherry is saved by Preetam (Shashi Kapoor) and his friends. After a spot of mistaken identity Preetam also meets and falls for Deepali but she is in love with Ajit. Preetam decides to irritate her into loving him. Normally I would find this objectionable but when the alternative is Prem Chopra, I think stalking is the lesser evil. Preetam and Deepali eventually get together but fate and Ajit intervene. Multiple mothers and the whiff of incest or faux-cest add another layer of complexity. And there is more Drama and Act!Ing!  in the last 15 minutes than many films contain in their full running time.

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The denouement is interesting. Most of the deception is justified by referring to a mother’s feelings or a woman’s duty to another woman. Even Sherry forgives Ajit because, you know, that’s what women are meant to do. Sigh. No one seems overly concerned with common sense or with the fallout from their decisions. Rama and Kaushaliya did what they did because of their superior sensitivity and feminine intuition and are beyond criticism. Just as well Preetam was a bit of an airhead and unlikely to sustain lasting damage.  But I did appreciate the explicit endorsement of the mother who raised a child being as much a mother as the one who gave birth to the child.

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Confession: I don’t particularly care for Babita. She is in many films I have enjoyed immensely but she is never the reason for liking a movie. Deepali is a spirited girl yet she doesn’t really do much apart from snipe at Preetam and simper at Ajit so she isn’t any more than The Heroine. I liked her forthright style when putting Preetam back in his place though Deepali doesn’t seem spiteful.

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When Preetam behaves himself she is happy enough to have a conversation or accept his help, but she is clear that her love is for Ajit. Until it isn’t. Babita’s performance is hampered somewhat by the vast amount of frosty blue eyeshadow she wears, and she was at the mercy of a vengeful yet slapdash hairdresser.

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Shashi is perfect casting for Preetam. He ranges from lovelorn swooning to silly pranks and gets more Ma drama than you can poke a stick at. Preetam struck me as a more of a manchild than a determined stalker. He just couldn’t quite see how anyone could find him resistible and also wanted to assure himself he had tried all he could to get the girl.

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That he knew nothing about her to inspire this except what she looked like is beside the point. Shashi’s charm carries a lot of the story so if you don’t buy that, the first half of the film would be a struggle. Once things get more dramatic, Shashi emotes fiercely and often hilariously, and the pace accelerates towards the final showdown.

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An urban middle class stalker romance doesn’t immediately hint at tribal shenanigans but since almost everyone is a keen hunter, we get a bonus comedy jungle interlude.

The gorgeous Laxmi Chhaya appears as a tribal princess, and is hooked up with Preetam’s bestie, perennial bachelor Ram Bharose (the sweetly daft Rajendranath) for her troubles. The support cast is rich with excellent character actors. Om Prakash is Deepali’s uncle who seems to be more in love with Preetam than she is, Dhumal plays the king of the jungle, Sudhir and Snehlata get substantial screen time despite having little to do with the main plot, Sulochana and Kamini Kaushal play Preetam’s mothers. Babita’s father, Hari Shivdasani, has a small role as a filmi doctor too.

I love everything about that song. I really like Kalyanji-Anandji’s tongue in cheek dramatic sensibility that plays beautifully with this very filmi drama. And Shashi’s muppety style works a treat with the bouncy Western infused dance music. I also like that we see Laxmi’s transformation into a groovy city chick in that song.

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Ek Shriman Ek Shrimati is a dated but entertaining muddle of romance and drama. The visuals are retro and stylish without being exceptional, and the performances are on a similar scale. See it if you like the appealing cast or have an interest in filmi medical ethics and philosophy. And if you don’t like regressive attitudes to the role of women, have a drink handy and warm up your eyerolling muscles. 3 ½ stars, mostly for Shashi and Helen.

Here, have a bonus screencap of Prem Chopra with a teacosy on his head.

Ek Shriman Ek Shrimati-Prem Chopra in a teacosy