Karate (1983)

Karate title

Karate is a terrible film, and yet I watched it. Another of my ‘if it’s under a dollar, I’ll buy it’ VCD collection, this adventure without subtitles was entertaining for all the wrong reasons. Mithun Chakraborty and Deb Mukherjee star as brothers separated well past the age at which they should remember their own names and that they have siblings. They are each out for revenge on Kader Khan. And there’s the Karate.

The film opens with the Karate boys, Desh and Vijay, and their Karate uncle Jai training on a beach under the watchful eye of their parents, Mr and Mrs Karate. There is a horrible family singalong and terrible child actors (Kajal and Tanisha are credited as junior artistes but I can’t say I noticed the unibrow). Thankfully, we soon discover that Mr Karate is in fact a Scientific Genius and has invented? a diamond that will focus a laser so powerfully it cuts through anything. He hides the diamond in a necklace but master criminal Kader Khan had the room under surveillance so he knows what to do. He kills Karate Dad and terrorises Karate Ma and children. Desh escapes on horseback and starts a whole new life with carnival folk about 2 kilometres away, where no one will ever find him or be able to trace his origins. Vijay is adopted by Uncle Karate who renames him Danny. Finally it is Kader Khan who sort of reunites the Karate Kids. He finds Karate Uncle Jai and threatens him so of course Jai stabs himself with a broken bottle and dies – after a long explanatory speech to Danny/Vijay.

Revenge, brooding, slomo acrobatics, disco and clumsy Bond homage round out the next couple of hours. And Karate. So much “Karate”.

In order to shield you from the worst and perhaps enliven the viewing experience, I propose a simple drinking game. Even if you stick to non-alcoholic beverages, at least you’ll be nicely hydrated by the end of the film. Here are some clues and the rules.

Take a drink when:

  • Deb Mukherjee brandishes nunchaku (take a double shot when he makes them himself mid fight)
  • Deb and his faux-bro hug (that one’s going to hurt you)
  • Mithun looks like he’d rather be elsewhere.
  • You witness Mac Mohan and Tun Tun cavorting poolside.

Karate -Mac Mohan and Tun Tun

  • You spot a direct rip-off of a Bond film.
  • You hear the word “Karate”.

Deb Mukherjee directed and tries to make himself look dashing and daring.  He lifted several scenes from Bond films, and I suspect even used footage from The Man With the Golden Gun. His character Desh is a thief (preferably diamonds) and a chancer, even stealing a statue from a temple. The ladies love him, and this is shown by a traditional gypsy mud-wrestle between two of his admirers.

Desh and his faux-bro Imran (Mazhar Khan) also perform a nightclub disco karate routine that is almost guaranteed to bring a tear to your eye.

Danny/Vijay (Mithun) is sulky for most of the film – maybe he just felt the burden of perfection. He crosses paths with Desh and his long lost Ma so many times that it is ridiculous even by filmi coincidence measures. Mithun does a lot of his signature ‘dancing’, including one excellent nightclub scene where the baddies don’t know the choreo and can’t anticipate the swings and kicks that block their way. He even survives an attack involving flaming kebabs.

Despite their roles being quite strong and motivated, the actresses are generally filmed in the sleaziest way possible (except for Karate Ma of course). I did like that Kaajal took on anyone who threated her man, extricating the fairly dim Desh from trouble even if it meant running him over and kidnapping him. Deb and Mithun are not exactly miscast (who else would have done this kind of film in 1983?), but don’t convince as martial arts heroes no matter how much you bling up their costumes.

There are some really quite remarkable plot twists. Desh tries to escape the police at a wedding he is robbing so he poses as the groom and ends up married to Kaajal Kiran. This doesn’t go down well with the very assertive Prema Narayan and the ladies have a karate catfight as well as a fight that is inspired by From Russia With Love. Luckily Danny turns up and starts shooting people and stops the skank off. There are fabulously ridiculous low budget stunts and effects, including some great Dukes of Hazzard driving skills. Even poor Yogita Bali ends up dangling from a conveniently placed rope ladder outside her apartment as she tries to protect the diamond necklace. People turn out to be related to key characters and there are a few moments when subtitles would have helped as I thought ‘dude … is she your sister?’ And what is not to like about a film that resolves major conflicts through disco Karate in a bizarre set?  Here is a snippet for your viewing pleasure.

The music is exactly what you expect when you combine Bappi Lahiri and Mithun. It is dire yet, when compared to Mithun’s endless speeches, a joy to hear. The costumes range from pedestrian to eye searing, and I would demand nothing less from an 80s B movie. It did confirm to me that my love for Chiru is not just about the silver go-go boots.

While Kader Khan’s lair looks rather spectacular, the spy gadgets and bombs are as realistic as if my nine year old self had made them from egg cartons and gaffer tape.

Karate is kind of fun although highly questionable. One for the Mithun completists, and anyone who has ever considered a career as a diamond thief/cabaret performer.  No stars. Wait! 2 stars! My inner Margaret and David cannot agree.  Maybe I’m a victim of my own drinking game.

Sunehri Nagin (1963)

Sunehri Nagin_Movie title

Sunehri Nagin is a sword and sorcery fantasy featuring Helen in a lead role, so of course I had to see it. She stars opposite genre film stalwart Mahipal, along with Anwar Hussain as a flamboyant villain. Babubhai Mistry directs in a fairly pedestrian style, but the film has loads of charm. There are lovely songs (in colour), some very good dancers, a snake goddess delivering some divine assistance, ye olde fairytale elements, special effects and some enthusiastic visual design.

Sunehri Nagin_RajkumariSunehri Nagin_Vijay

The Rajkumari (Helen) is out on a hunting expedition with her handmaidens when her chariot horses are spooked by a nearby panther. Bolting off into the blue, she screams for help. Luckily her pleas are heard by Vijay (Mahipal) who has been languishing in the forest while wearing a splendid fur trimmed suit. Within minutes he has saved Helen and taken her home to meet his blind Ma (Sulochana Latkar) and comedy bro (Kamal Mehra). They are all on their way to a pooja at the snake temple so Princess Helen goes along. The ritual involves placing bowls of milk at the base of a statue and then dancing to invoke the Naag Devi. The owner of the milk the snake drinks will be blessed. That all leads to an excellent dance by Helen and some enthusiastic ‘tribal’ dudes.

Those backward leaning kneeling statues reappear a few times throughout the film so perhaps Mistry was really commited to recycling.

Of course the snake goddess chooses Helen. So does Anwar Hussain who is lurking in the crowd. He is an evil not quite magician who seems intent on taking as much power as he can – and he needs to marry the princess to do that. He is also involved with a sorceress, Sadhna, played by the lovely Preeti Bala. Sadhna supplies Anwar with a magical laddoo that will let him travel at will, and a flying carpet. Sadhna seems to be in love with Vijay but terribly naïve when it comes to believing an earthman in a gladiator outfit. The story then falls into a cycle of Helen and Vijay making eyes, Anwar kidnapping Helen, and Vijay and his comedy sidekick going to rescue her. Add some divine intervention thanks to Sulochana’s prayers and a magic sword. Overcome the King’s (DK Sapru) objections to Helen marrying a commoner. Repeat, rinse, repeat. Until everyone realises Anwar cannot be trusted and then things go a bit pear shaped (for him).

The plot elements are pure fairytale, sometimes even pantomime, inspired. The designs are sometimes lovely and sometimes a bit mystifying. Vijay and his Ma live in this carefully geometrical tumbledown shack. The royal palace interiors are sumptuous. But I don’t know why Helen and Anwar appear to fly over 1960s Marine Drive when he kidnaps her on a flying carpet.

Vijay and sidekick encounter many fabulous perils. I think my favourite would have to be the evil grasping trees on rolling platforms but the cannibal cat man in the secret caves is a close second. Or maybe the jousting. I’m indecisive, but so many fun things happen that maybe they’re all my favourite.

The special effects team kept busy with a number of nifty transitions. Sadhna transforms herself into Helen, and is later miniaturised and captured in a bottle. The ladies change places in an attempt to fit in another song steal a magical sword back from Anwar and there are lots of flying and disappearing effects. And when Anwar says look into his eyes – don’t!

Kalyanji-Anandji are credited with the soundtrack, and Laxmikant Pyarelal appear in the playback/recording credits so the songs have some serious pedigree. The playback singers include Lata and Usha Mangeshkar, Mohd Rafi, Mukesh, and Kamal Barot. I have to admit I did cheer when Helen stole Mahipal’s been in one song as I only have so much love for snake music but overall it is a pleasure to listen to this soundtrack. Babubhai Mistry switches from B&W to colour film for the song sequences and they are so pretty to look at. I had high expectations from Helen, of course. Mahipal doesn’t have such a natural flair for frolicking in meadows as his leading lady does. Apart from the lead actors,  there are other entertaining dances including this court piece performed by Bela Bose and Madhumati.

I watched this online and then bought the VCD. I haven’t seen a version with subtitles but most of the story was clear. I had a little moment of wondering who loved who when Sadhna and Anwar were bickering about a marriage but of course she loved the hero, everyone loves a hero, so I was not confused for long. Although I think the wardrobe team showed their love for Anwar Hussain in their own special way.

It’s quite a glamorous looking film. Helen was very pretty and princess like, and Preeti Bala and the featured dancers all looked lovely too.

This is not a film to watch for deep insights into the human condition, but it does have a pleasing internal order of justice and right. People can try and welch on their bets or lie their way out of trouble but they will have to face the consequences at some stage. And it isn’t just the bad guys who learn that. Some people are a bit more resistant to enlightenment than they should be. The final fight sequence takes place at the snake temple, mostly on and around a giant bell. Seeing the not very sprightly figures of Mahipal and Anwar Hussain clambering about added an extra, and maybe unintended, level of tension. But Anwar pushed his luck with the wrong deity. Perhaps the lesson here is don’t bite the hand that can bite you.

South Indian fantasy films from the same time seem more technically accomplished but I am guessing that this was probably not a big budget production so the comparison is probably unfair. It is obvious where some corners were cut in Sunehri Nagin, but it doesn’t really detract from the enjoyment of watching. See this for a good old ripping yarn of love and heroics, a likeable and competent cast (especially Helen) and the array of visual delights on offer. 3 ½  stars!

Mirchi

Mirchi-Movie-PosterMirchi is a mass action romance revenge saga, offering few surprises in the story but with great casting and some solid performances. Writer/director Koratala Siva gets bogged down in a long flashback and loses the momentum a bit towards the second half, but generally moves along at a reasonable clip from fight to song to romance to fight and back again. Like many mass films, it starts light and fluffy but then the body count starts to rise so you do need to be a bit gore tolerant to fully enjoy Mirchi.

Jai (Prabhas) is an architect in Milan. He meets Manasa (Richa Gangopadhyay) and saves her from some thugs. They become friendly and he learns of her family – dominated by a violent assortment of men living in a big old house – and Jai decides to fix her life. Of course, Jai has an ulterior motive for wanting to reform her family, and that is revealed through a very long and detailed flashback. Jai is the son of Manasa’s family’s enemy, Deva (Sathyaraj). How can Jai reform her family, reclaim his place with his own estranged family, eliminate any enemies who refuse to comply and oh yes – what will happen to Manasa when he is reunited with his first love, Vennela (Anushka Shetty)?

mirchi_movie_prabhas dancersprabhas-mirchi

Prabhas is made for this kind of role. Jai is a nice guy, although of course he can kill evil doers with a single blow. Prabhas has such a likeable screen persona and the action scenes are well within his capability. He has nice chemistry with both leading ladies although as the story unfurls there is little ambiguity about who he would choose.  There is not a lot of complexity or nuance, but the role contains enough variety to give Prabhas a bit to work with. Jai does have to find a way that doesn’t totally rely on revenge and violence so there is a clear before and after in his character. One of the highlights is the slightly more prominent roles given to some supporting actors, and those scenes give Prabhas more scope for lighter moments. Jai’s relationship with his father is played out nicely too, showing the slightly more sympathetic side of the feud.

Favourite That Guy Subbaraju is Manasa’s brother. He is first seen pursuing some unfortunate bloke through college and delivering a serious beating. But Jai can see that apparently all he needed to give up his bullying ways was … discovering girls. Yes, Subbaraju got in touch with his sensitive side after dancing to Moves Like Jagger with the girl who fancied him. Who knew Maroon 5 was good for anything? But if that’s what it takes to get a good looking bloke to eschew dismemberment and take up flirting, well then I suppose that is not a bad thing. This dance outbreak also had the effect of making him dress better, pay his rent on time and generally improve his manners.  From then on he spends the rest of the film on the phone to the girl, very coy and giggly as he mouths what I can only assume are dialogues along the line of ‘no you hang up…no you…no you hang up first’ and the like. Silly but amusing, and nice to see him in a slightly different role.

Mirchi-Jai and Manasa

Richa has a one note character so there isn’t much she can do with Manasa, although she and Prabhas have nice rapport and that helps make the growing friendship between the characters more credible. Once the terribly long flashback starts, she is sidelined and pretty much disappears until the last couple of minutes. Anushka gets more investment from the screenplay as the feisty village belle Vennela. She sets her cap at Jai and he happily succumbs, colourful dance numbers and all. Until disaster strikes on their wedding day.

Sampath Raj has a prominent role as Manasa’s uncle, a nasty piece of work who bullies the entire household and believes he can heal his paralysed father by despatching selected enemies in front of him. Another That Guy, Adithya, plays Jai’s uncle, an old school type who believes in sorting out issues with a machete. Adithya doesn’t get the same opportunity to show off his acting range but he does get ample chance to flash a bit of leg. Supreet and Ajay make an appearance in the second half as muscle for Manasa’s family and the violence escalates towards a fairly brutal ending.

Sathyaraj and Nadhiya are good as Jai’s estranged parents and there are lots of other familiar faces. Brahmanandam does his usual thing and luckily has minimal screen time in the latter section of the film where comedy would have been misplaced. His scenes had the audience howling with laughter, but as this was another Adventure Without Subtitles that all went over my head. Satyam Rajesh, Raghu Babu and others do what they do in a film that relies on ‘types’ more than on characters.

The soundtrack is fun and the picturisations are sometimes spectacular (Darlingey and Mirchi in particular). Devi Sri Prasad seems to know his audience, and the crowd response to the songs was great. The choreographers generally concentrate on the possibilities afforded by Prabhas’ lanky frame and enormous wingspan.

Despite what you may think based on that selection of images, Prabhas largely escaped the worst efforts of the blind costume designer, apart from one inexplicable t-shirt with braces attached. And there is an unwavering commitment to ugly acid wash denim throughout. But I do have to ask – the Keytar? Really design team? What were you thinking.

Mirchi is a good formulaic timepass. It has a good cast delivering the minimal requirements of the script, along with well structured action and song sequences. If you’re a fan of Prabhas or the mass action genre, it’s well worth a watch.  Plus  if you like medical moments only possible in Indian films, then this is for you.