Tag Archives: Helen

Pagla Kahin Ka (1970)

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Pagla Kahin Ka poster

I was supposed to be posting a review of a Jayalalitha film but I feel she has had quite enough publicity about now, and I shan’t add to it. Then I thought I would swap in something more upbeat as the world has been quite a trying place, but I remembered Pagla Kahin Ka. It has the perfect 70s cast, some great songs, and Shakti Samanta at the helm. But it’s a mostly sad story about love, friendship, and loss. I discovered this via the excellent Memsaab, and if you follow that link to her review you will also find a link to a subtitled download of the film.

https://www.youtube.com/watch?v=ju9jVfWcgAo

Sujit (Shammi) and Shyam (Prem Chopra) are in a hotel nightclub band, and Jenny (Helen) is their featured artiste. Sujit and Jenny are madly in love and building plans for their future. Sujit proposes but Jenny is reluctant due to their different status. There are also rumours that Sujit is mad but Jenny doesn’t see his wildness as a problem.

Hotel boss Max (K.N Singh) is less enthusiastic about their union as he will lose his eyecandy and probably the associated income. Max and Shyam come to blows and Max is killed. Sujit takes the blame and pleads insanity, his sad past going a long way to convincing the judge despite his useless lawyer (Bhram Bardwaj). He goes to the asylum, leaving Shyam who is secretly in love with Jenny.

The asylum is full to the brim with overacting extras that make the place seem like a true Bedlam. Sujit is genuinely depressed and worried by his incarceration and his memories of his father who was committed following a breakdown. But that isn’t enough as he is meant to be an insane murderer and Shammi (over)indulges in some of his “crazy” acting. Shalu suspects he is faking and takes his case on.

https://www.youtube.com/watch?v=r3wZBdnamE0

Shalu asks him what would happen if Jenny had forgotten him. Oh the foreshadowing…

Meanwhile Shyam seems to be keeping things from Jenny and trying to make her doubt Sujit, and also keeping Sujit isolated. Things come to an emotional crescendo when Shalu hints at her feelings for Sujit, envying Jenny her love, at the same time Jenni is being raped by Shyam who has had enough of waiting. As if Prem Chopra was ever going to play a wholeheartedly good friend! Poor Sujit. He only has two real friends, and now things can never be the same.

https://www.youtube.com/watch?v=cOdPwcrOx0A

Sujit’s release coincides with Shyam and Jenny’s wedding. Jenny looks very pretty and utterly miserable and I was pleased to see the movie gives the “marry your rapist” solution the side eye. At the wedding reception Madhumati dances a love triangle themed song in a very Helen-y outfit. And Sujit, clueless about why or how or even what but still wishing his dearest friends happiness, has a multi instrumental breakdown.

Now genuinely losing it, he is unable to process the shock and betrayal he feels at losing the friendship and loyalty that had been his foundation. Shalu sees the shocking difference in Sujit this time and immediately grasps that something devastating has happened. The other inmates welcome him back, some gently chiding him and some seeing his return from a cruel and inhospitable world as inevitable. It’s a nice change of tone from the more comedic first stint and Shammi plays it beautifully. He is heartbreaking as Sujit tries but fails to grapple with the facts, knowing there is something seriously awry but unable to process it or do anything to help himself.

Jenny visits Shalu and tells her the truth, hoping that Shalu will help set things right with Sujit. Shalu is quite conflicted through all of this as she can now see her chance with Sujit but is bound to try and treat him. Asha Parekh smiles approximately three times through the film, but her chemistry with Shammi is spot on. She shows a gentle empathy and tenderness with him and despite some questionable doctor patient interactions, I was glad to see someone wholeheartedly for Sujit. And he does blossom under her care, eventually regaining his memories and feeling robust enough to deal with losing Jenny.

He is able to declare his love for Shalu. But he still sees Shyam as his great friend and Shalu decides she must dispel that illusion so he can really move on. And by move on, I mean move on to her.

Does anyone ever run up against Prem Chopra and survive unscathed? Not Helen, sadly. Sujit and Shalu appeared to need about, oh, a nanosecond to deal with Jenny’s fate. I understood the plot point needed to be resolved but that was callous. And without wanting to be too spoilery I was hoping that random tree was sturdy and her aim was good.

Anyway.

The soundtrack is a delight and Shankar Jaikishan run from rollicking cabaret numbers to songs of quiet yearning. Helen gets a couple of good dances in before marriage and sarees end her career, and I liked seeing Madhumati as a clear Helen substitute and dancing up a storm. Shammi has always had great musicality and while he sometimes overdoes the hairography he really sells the swooning romance of the ballads.

See this for a star cast in a not so typical story, and for the bonus of Helen in a substantial if thankless role. Despite the downbeat elements, ultimately this is a story about finding your happiness where you can and learning to trust (but not indiscriminately, and never Prem Chopra). 4 stars!

Bahu Begum (1967)

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Bahu Begum-title

M Sadiq’s Bahu Begum opens with a happy song, featuring prettily dressed girls playing on swings in a rain drenched courtyard. But it stars Meena Kumari so you know things won’t stay on the bright side for long.

https://www.youtube.com/watch?v=K2hr39IqH78

Melodramas are not always my cup of tea, but I like Ashok Kumar a lot and the lovely soundtrack has enduring appeal. And Bahu Begum places a heroine who lives a secluded and blameless life in a moral dilemma, and then pushes her out the door to see what might be. It’s not an uplifting girl power story at all, but there is a charm in the tone and the respect between key characters.

Yusuf (Pradeep Kumar) visits his friend Achchan (Johnny Walker) but his ulterior motive is to see the lovely Zeenat (Meena Kumari). Her family is not as wealthy as they once were and her father Nawab Mirza Sultan (D.K.Sapru) has rented half the house to Achchan. Achchan and Zeenat’s friend Bilqis (Zeb Rehman) help young love as much as they can. Bilqis is less theatrical than Achchan, but they both get results. Yusuf and Zeenat are flowery and poetic, and have more of an idealised love rather than a passionate attraction.

One fateful day Nawab Sikander Mirza (Ashok Kumar) accidentally sees Zeenat’s face and cannot help but look his fill. Sikander Mirza sends his man to present a proposal and at the same time Achchan asks Yusuf’s uncle to send a proposal. The uncle says yes but has no intention of surrendering his control over the estate or of marrying Yusuf off without a big dowry. He sends Yusuf away on a bogus business trip, timing his return for after Zeenat’s wedding. Zeenat only finds out about her wedding when her trousseau arrives, and no one thinks to mention the groom. All overheard conversations point to Yusuf so she assumes it has been fixed, and he himself is sure he is the one.

Bilqis breaks the news to Zeenat on her wedding day. Zeenat gets Bilqis to cover for her and slips away to where Yusuf should be waiting for her. The qawali sung in the dargah seems to be a direct challenge to her to face the tribulations but she cannot comprehend that her true love is not there. Zeenat passes out, regaining consciousness well after the wedding formalities have taken place. An empty palanquin was sent to the Nawab, and there is no bridge left unburned. Some time later Zeenat is found unconscious (again), this time by Naziranbai (Lalita Pawar) and one of her girls (Helen). They take her to the brothel (or whore house as my subtitles have it) as they would not abandon a stranger in need.

Zeenat hears Helen singing about straying from her intended path (the lyrics by Sahir Ludhianvi seem to be very well linked in with the drama) and is drawn to the sadness in the song. It is not until a male guest sees her and waves a fan of banknotes that the penny drops about her current abode. Naziranbai throws the vulgar fellow out and the ladies bond over their miserable histories and a good cry. Zeenat asks for shelter in the brothel and Naziranbai promises to protect her so at worst I guess she would be a virgin prostitute (you know, the ones who only ever dance).

Sikander Mirza asks Naziranbai to send him a plausible fake wife so he can get his little sister Suraiya (Naaz) engaged. Of course, Zeenat is the only girl who can pass for decent. She and her ‘husband’ finally talk about what happened and it is a genuine conversation. I liked that when he asked her why she went to the brothel, meaning why did she throw her honour away, she was firm but polite saying she didn’t take herself there but the brothel that offered her refuge when no one else would. Suraiya guilt trips her fake sister-in-law into staying longer but once she is married, there is no reason for Zeenat to stay. Except that the Nawab loves her, and asks her to remain in his house for their shared honour if not for mutual affection. So of course Yusuf turns up because it is very important that he tell her all about his feelings. What will she do?

Meena Kumari is the tragedy queen, and Zeenat is like the Typhoid Mary of Tears. The longer people are around her, the more they cry. Everyone, at some stage, turns into a soggy mess. Well, except Helen.

Zeenat’s father loses the plot after one of her teary fits, Suraiya goes from manic pixie to weeping wreck. Even pragmatic businesswoman Naziranbai has a sob when proximity to Zeenat finally wears her down. I admired Meena’s ability to cry prettily without getting blotchy or running at the nose, and her makeup artist must have been on call around the clock. She does have some chemistry with Ashok Kumar but I think he could portray rapport with a cabbage so I am not sure who deserves the credit.

Bahu Begum-Ashok Kumar

Ashok Kumar plays Sikander Mirza with regal poise and excellent eyeliner. While the character is obsessed with honour, it is mostly in relation to ensuring his little sister has the opportunity for a good marriage and a happy life. He is not so blinded by his own prestige that he fails to consider Zeenat’s position and desires. There is a bit going on under the surface and Kumar shows the inner turmoil through beautifully judged facial expressions and the pauses and beats in his dialogue delivery.

I liked that the film showed a small space between being married and not, between doing what was right and maybe doing what you wanted. Even though Zeenat was unlikely to deviate from the norms, she could have. And to see her and Nawab Sikander Mirza thoughtfully considering that she had options was quite lovely, especially in the midst of so much heightened emotion and melodrama.

Pradeep Kumar has the charisma of a limp lettuce leaf but since Yusuf, like Zeenat, is more likely to recite a couplet than actually do anything I suppose that is a good fit. Once he learns of Zeenat’s betrayal he goes a bit Devdas, wallowing in self-pity and dramatic eye shadow.  Zeb Rehman is delightful as Bilqis, Zeenat’s mildly rebellious friend. Naaz is afflicted with a character that is either giggling or sobbing so she must have been exhausted at the end of every days shooting. And any film that gives Helen some lovely songs and pretty costumes is doing something right. Johnny Walker has a significant role in the drama but still manages to drag in the comedy sideplot complete with cock jokes and pratfalls.

https://www.youtube.com/watch?v=XCUYmCJ3F1Q

The opulent sets and costumes give Bahu Begum a timeless quality as does the beautiful soundtrack by Roshan. I have no idea when the story is supposed to have taken place. I think Johnny Walker did slip into some Hinglish in one of his rants but other than that the dialogue is in Hindi and Urdu. I loved the house furnishings, the soft light streaming through draperies and screens and the measured way of life.

I have my issues with the way women are segregated and dismissed, but since this is a vintage film and possibly set in ye olden days I could step back from that a little. But if someone had just asked Zeenat if she wanted to get married and to who, the movie could have been over in one tear sodden hour and had room for a couple more songs. 3 stars!

Singapore (1960)

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Singapore

Singapore may not be one of Shakti Samanta’s best films, given the gaping plot holes and rather slow start, but his first film with Shammi Kapoor still entertains with plenty of good songs and a competent support cast. Like many of Samanta’s early films, Singapore is a mystery thriller with the usual assortment of criminals willing to kidnap and murder to get away with their loot. Where it falls down is in trying to spin together too many threads with the underlying story rather lost beneath the extra flourishes. The additions also defuse much of the tension, which isn’t helped by a distinct lack of chemistry between Shammi and his co-star, with the result that the film initially feels rather flat. However Shammi’s uncharacteristic restraint doesn’t last for too long and there is plenty of his trademark craziness to liven up the final scenes.  Add in a dash of Helen, Shashikala and Padmini, the gorgeous Maria Menada and the exotic locale, and Singapore is worth at least a one-time watch.

The film opens with Ramesh (Gautam Mukherjee) and his girlfriend Shoba (Shashikala) meeting in a club in Singapore. As Shoba happily learns that Ramesh plans to stay in Singapore, their conversation is being closely followed by local gangsters Chang (Madan Puri) and Kapoor (Rajan Kapoor) at a nearby table. Also listening in, by way of a hidden microphone in the lamp is Shoba’s uncle Shivadas (K.N. Singh), but despite all this effort the only information Ramesh gives out is that he has found a treasure map and as a result won’t go ahead with the sale of his boss’s rubber plantation. That boss is Shyam (Shammi Kapoor) and later that night Ramesh finally manages to contact him by phone. However his conversation is interrupted by two shady characters that kidnap Ramesh, although they don’t manage to get their hands on the treasure map. Left to wonder what has happened to his friend, Shyam boards the next plane to Singapore, and the hunt is on!

Samanta does seem to delight in giving his characters rather ridiculous names, and Shyam is met at the airport by his company secretary Cha Choo (Agha) and in the office by the typist Chin Chin Choo (Lilian), which at least does invoke memories of Howrah Bridge. Shyam also meets Lata (Padmini) and initially confuses her with Shoba since he has been told that Ramesh’s girlfriend dances at the New India Club and naturally assumes that the dancer she sees is Shoba.  I’m not sure what the point of the confusion is, other than as an introduction to the family and as a way to ensure Padmini gets to dance. However it’s worth the convoluted storyline as Padmini does look absolutely gorgeous here and really shines when she is dancing.

https://www.youtube.com/watch?v=tb49Ifbjf8A

While in Singapore, Shyam is also pursued by the beautiful Maria (Maria Menada) who met him on the flight from India. Maria seems overly interested in Shyam’s affairs, and since it’s revealed almost from the start that she is involved in the plot to steal the treasure I expected a little more from their relationship. However mostly this is just another complicating plot thread that has a lot of potential that is never fully realised, although Maria Menada is excellent as a villainess.

There has to be a love story of course, and Shyam and Lata fall for each other on their first meeting. There isn’t great chemistry between Padmini and Shammi, but they do have a couple of good songs together where there seems more empathy and at least they seem to be enjoying themselves. I love this one where they dance through a number of shops before Padmini pushes the dancers into the pool at the end, seeming totally delighted as each one drops into the water while Shammi prances along behind her. Oh My indeed!

https://www.youtube.com/watch?v=-tEIUmy7iWk

Meanwhile, Shyam is still trying to find Ramesh and uses the tape recording of their last phone conversation to track down a musical cigarette case which may have the answer. This part of the plot is perfect – naturally Ramesh records all his phone calls, and why wouldn’t a cigarette case in the shape of a Vat 69 bottle also be musical – but once Shyam finds the map things start to get unnecessarily complicated. This slows down the action and the film starts to drag while various embellishments are added to the plot.

Shyam uses the map as bait to try to lure out the kidnappers, and in the ensuing chase has to hide out from some of the gang in a village. Obviously he has to escape their notice and what better way to remain inconspicuous than to dance and sing with Helen? Naturally this is the best way to escape detection!

https://www.youtube.com/watch?v=XBE0DAJj448

Shoba is kidnapped too and there is a convoluted thread involving Shivadas who may or may not be dead, although it doesn’t really seem to matter in the end.  Eventually Shyam infiltrates the gang as an assassin from Kabul, which gives Shammi licence to unleash the crazy and the pace of the film finally picks up. I wish the energy in the last scenes could have been present for the whole film, but at least  the film ends on a suitably chaotic note with the inconsistencies in the plot swiftly swept aside to concentrate on the final action sequences.

The main reason to watch Singapore is of course Shammi, who looks fantastic throughout whether he’s romancing Lata, cavorting around the dance floor in disguise or fighting off numerous villains as required. His Shyam is suave and sophisticated, romancing the ladies while out and about in Singapore and easily charming Lata on one hand while elegantly turning down Maria on the other. At least until his disguise kicks in, when he becomes totally OTT Shammi and revels in his persona as a gun for hire. My favourite kind of Shammi!

The support cast are all solid, despite the erratic storyline and gaping plot holes, and Agha is impressively competent as Shyam’s sidekick.  I can’t remember noticing him much in other films of the era, but here he provides some gentle comedy without disrupting the flow or resorting to slapstick. Padmini looks gorgeous and at least has a couple of good dance numbers even though disappointingly her character has very little to do in the second half. Although Singapore isn’t a film I will watch over and over again like Chinatown, I do like the songs from Shankar-Jaikishan, particularly those included here along with Tum Lakh Chhoopana Chahoge, Tu Kahan Kho Gaya and Dhoka Khayegi Na Yaron Ki Nazar for some classic Shammi dance-floor magic. As I said at the start, not one of Samanta or Shammi’s best films, but there is still enough to enjoy to make Singapore worth a watch. 3 stars.