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.

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.

Ek Shriman Ek Shrimati-Shashi and Rajendranath

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.

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Sunehri Nagin (1963)

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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.

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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!