Tag Archives: Hindi

Tere Bin Laden

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I have to admit the title of this film put me off for a while. I mean, Bin Laden and comedy? And I frequently find comedy in Indian films to be not very funny at all. But I’m glad I ignored the DVD shop guy’s bad review (‘too shouty’) and my initial reservations as this is one of the smartest and funniest films I’ve seen in ages.  I was so pleased to see it in the line up of this year’s Indian Film Festival and with the added attraction of a Q&A with the star, Ali Zafar.

Ali Zafar is a Pakistani pop star, and this is such an interesting choice of role for someone associated with romance and melody. What possessed a successful singer to tackle a comedy that might have fallen horribly flat? Sadly I didn’t get the chance to ask as the promised Q&A was dominated by a boy who wanted Ali to sign his guitar, sing for his girlfriend and probably pop around to his house after the film and wash the dishes. I admired Ali’s polite and respectful manner, his humour and his shimmery silver jacket –  and he did indeed sing for the lady in question.

Ali Hassan (Ali Zafar) desperately wants to go to America. His plans are thwarted by the heightened sense of fear post the World Trade Centre attacks and he resorts to working for a dodgy news channel in Karachi. Apart from making fun of the whole search for Bin Laden, the film also has some interesting things to say about the post September 11 world and, in Ali Zafar’s words, the explosion of Islamophobia. This could have been a tasteless exercise in other, less skillful, hands but I think this is some of the best comedy writing to make it onto a screen.

The premise is simple enough – ambitious Ali sets up hapless chicken farmer Noora (Pradhuman Singh) as a fake Bin Laden and then things spiral out of control as the world media and the CIA try to find the elusive character, stock markets plunge and the US bombs the crap out of Afghanistan in Operation Kickass. Ali and his friends then decide that as their video caused the war, another video can set things right. Meanwhile the US government is closing in, and the stakes become much more real and personal.

The cast of wannabes who use the Bin Laden hoax to parlay their way into successful lives are all great fun. Sugandha Garg is Zoya, a talented make up artist who transforms Noora to Bin Laden. She wants to set up her own business, and the money from this sting is all she needs. Rahul Singh is the charismatic communist Qureshi, a talented radio voice artist. He wants to shove it up the establishment and liberate the oppressed masses and the proceeds will keep his Freedom radio running. Nikhil Ratnaparkhi plays the sidekick, cameraman Gul, a simple man, who follows Ali’s lead in everything. Lateef (Chirag Vorha) is the news station scapegoat, whose talent for speechwriting in Arabic helps create the authentic flavour of the faked news tape. He is a quiet, frequently overlooked, man who meekly accepts his lot in life until given the chance to escape his routine. The pivotal role of Noora/Bin Laden is played to the hilt by Pradhuman Singh. He has a great line in slapstick and naïveté, and manages to give the ridiculous character a touch of sweetness that made me care about his plight (and that of his chickens). Ali Zafar is the star and he is a delight to watch which is good as he is on screen for almost all of the film. His facial expressions are brilliant and he has excellent eyebrow skills for those more cynical moments in the script. His rapport with the character of Gul seems really natural, and the actors bounce lines off each other with great timing and tongue in cheek style. This ensemble is so entertaining to watch – this is a film where lots of little interactions and gags are happening in the background or periphery of shots so it pays to keep your eyes peeled.

They play for laughs but not to the point that they become heartless caricatures. This group of characters learn from their mistakes and are aware of the price their fraud is exacting so the comedy isn’t without conscience.  And the humour is very even handed – Abhishek Sharma (writer/director) takes potshots at absolutely everyone and yet allows even the craziest characters a modicum of humanity and respect. Piyush Mishra and his wig play Majeed bhai, the horrible boss of the news channel, but even he gets some sympathetic moments (especially once his wife appears!). Barry John is great fun as Ted ji, the stereotypical American secret service guy with his entourage of men in black. I particularly enjoyed the physical comedy of local agent Usmaan, played heroically by Chinmay Mandlekar. There was a distinct ‘Get Smart’ kind of bumbling fool style to Usmaan and I just loved him.

What really made Tere Bin Laden for me was the fantastic ensemble cast, the snappy writing and the taut editing and direction. The dialogue is full of sly puns and is often juxtaposed with really funny sight gags, and I loved Abhishek Sharma’s attention to those details and great timing. It’s a fairly short film, but doesn’t skimp on the entertainment factor and manages to contain some nice satirical writing in a couple of the songs. Who says song and dance has to be meaningless fluff? Shankar Ehsan Loy have provided some fun songs and Jaideep Sahni’s lyrics are pointed and very clever. Here’s what the Melbourne audience missed thanks to the projectionist deciding to stop a bit early:

It’s thought provoking and it made me laugh out loud, even after repeated viewings. I give Tere Bin Laden 4 and ½ stars!

Suhaag (1979)

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Whatever you do, don’t confuse this classic Manmohan Desai masala treat with this.

(General Beverage Warning: We advise persons of a nervous disposition not to watch the clip and also warn anyone holding a beverage to put it down as we do not wish to be responsible for any damage to electronic devices.)

Suhaag opens on a dark and stormy night, as Durga (Nirupa Roy) gives birth to twin boys. Denied legitimacy by their father Vikram (Amjad Khan), Durga is forced onto the streets but not before vowing her sons will take revenge. In desperation Durga follows Jaggi (Kader Khan), the first man she meets straight to a brothel where he sells her to the madam. We don’t know why anyone would want a crying, knuckle-biting nahiiin-ing prostitute but they seem to. Her first client is an undercover (really!) police officer who bungles the arrest, allowing Jaggi to escape with one of the babies. So now we have a villainous father, virtuous mother and twins separated at birth!

Years go by, depicted in a neat montage. Amit was sold by Jaggi to a begging gang run by (according to the subtitles) Pascal (Jeevan) before becoming the chappal obsessed Amitabh. Kishan grows up with the support of his mother and the helpful Inspector Khan. After many years, the brothers clash in a fight sequence with lots of banter and silly choreography.  Jennifer Kapoor had fun playing dress-ups with her husband as Shashi models an excellent superfly pleather suit as well as his police uniform.  Amitabh wears his neck scarves and white flares with customary panache.

We learn that Kishan is a ranking police officer, while Amit is a hard drinking petty crim with a good heart but weak resolve. Amit is in love with Basanti (Rekha) and spends a lot of time disrupting her workplace – the local brothel. These two really do have some chemistry. Check out the expressions in this song as he reminds her she can’t dance forever so she may as well pick him.

In a raid to track down cop killers, Kishan  invades Basanti’s brothel, and rescues Amit into the bargain.  The men quickly become friends. Kishan is cranky and intolerant, used to giving the orders, and likes having another guy around to absorb some of his mother’s fussing. Amit is drawn to the warmth of a family and home, and sees what he might have had if not for his orphan’s fate. Durga does lots of pining over her lost son as she stuffs food into Amit and Kishan. There was no significant song, birthmark or locket to help identify the lost boy, so there was ample opportunity for the Coincidence Department to run amok before the truth came out.

Kishan goes undercover to a disco run by Gopal (Ranjeet in an eyepatch!) and there meets Annu (Parveen Babi). He takes his policing very seriously, even when Boney M’s Daddy Cool kicks in.

Many masala laced incidents ensure that Annu and Kishan are headed for marriage. Amit acts as go between and Amitabh gets to show his comic flair in these scenes as he tries to please Kishan and his adopted Ma. It wouldn’t be complete masala without another set of separated siblings – and guess who Annu’s sister is? Basanti!

The heroines are minor characters, but do have some important scenes. Parveen is the lightweight – she doesn’t do much other than fall for Shashi and play a fun but unconvincing drunk scene. Rekha’s Basanti is shown as a more complex woman and one who could be the perfect life partner for Amit. When he needs to clean up his act and stop drinking, he relies on her to help him through the first night of sobriety.

She isn’t a plaything for men despite her occupation and has her own very good reasons for working in the brothel. Nirupa Roy as Durga is a frustrating character. On the one hand she is strong enough to be a single mother and raise a successful son, and imposes her will on the impulsive Amit. But she is so spineless and wishy-washy when it comes to Vikram, it just beggars belief.

The film plays with many masala conventions (read this excellent post by Beth at Beth Loves Bollywood). Amitabh and Rekha appear as Annu’s Punjabi brother-in-law and sister and no one recognises them, Amit directs dialogue at the audience, Shashi flashes a smile at the camera after meeting Annu. There are lots of teasing references to family in the dialogue – Amit calling Durga Ma, Vikram calling to threaten the zealous policeman and identifying himself to Kishan as ‘tumhara baap’, and a whole lot of bromance. Vikram has a very ornate lair replete with design features like a dragon wall decoration and a stuffed tiger – although it suffers from some serious design flaws including being above ground and having abundant natural light which isn’t really lair-like. He has a kind of ticket booth in the middle of the lair, and retires behind the smoked glass to deliver his edicts. Who thought that one up? And there’s even some extremely dubious Bollywood Medicine.

Things accelerate once Vikram decides to eliminate the pesky policeman Kishan , and hires Amit to kill him. Jaggi is back on the scene, and it turns out Gopal is his son so we  have the whole gamut of family drama. There is a pivotal incident at the Navratri celebration which results in Kishan suffering chandelier related blindness, and demanding Amit avenge him.

Kishan refuses to give up despite his injury, although we did wonder how helpful Amit’s hand signals would be to a blind man:

All the tangled threads start to draw into one gigantic ball of string as the film nears its end. Why Durga would be so complaisant about taking Vikram back into her life is beyond us, but that is truly not the strangest thing that happens. Amit and Kishan discover their relationship, and Durga cries. We learn how Gopal lost his eye, Annu and Basanti are reunited, helicopters, explosions, Vikram reveals his true colours before repenting, Durga cries, Pascal schemes, and Amit and Kishan kick some villainous butt. And don’t forget the dubious medical procedures. Did we mention Durga cries?

There is a pleasing symmetry in the love stories of Amit and Basanti, who might represent the better versions of Vikram and Durga if things had been different, and of Kishan and Annu who are every filmi Ma’s aspiration. The ending of the film resolves most of the loose ends and there is a sense that some justice has been served even if there are questions as to how and why and WTF?

The soundtrack is vintage Laxmikant Pyarelal and their lush big band sound is perfect for both the rollercoaster plot twists and the more intimate moments. The songs are excellent and serve to further the story so are an integral part of the film, and the stars all seemed to have a great time performing them.  The set design and costumes reflect a big budget and minimal restraint, which is very pleasing to see!

Temple says: The first time I watched Suhaag I was mildly annoyed by what seemed to be excessive coincidences. Once I thought about it further I have come around to thinking those coincidences help give the film a satisfying internal logic and structure as things link together. As I wrote that I pictured a helix…Good heavens! It may be Masala DNA! It does actually make sense to me that if you live and work in one area all your life then you do know everyone or at least cross paths with the same people over and over. Coincidences in this film arise from people and what they know rather than lockets and birthmarks, and I enjoyed seeing the minor characters having their own stories going on throughout the film. Most of the characters behave in ways that are consistent with their earlier actions and so they have a whiff of credibility, albeit in bizarre circumstances. Even Durga behaved consistently, although I do think she was stupid about a few things. If I have a disappointment it is that Parveen’s character was dull but there was so much going on, I don’t think there was room for more complexity. I liked the Amit/Basanti relationship as the writers gave Rekha a lot more to work with than they might have, Amitabh was in his element and they got a couple of great songs into the bargain. Rafi’s voice was perfect for Amit’s mix of sentiment and cheek. I am a fan of Shashi Kapoor and his pairing with Amitabh (aka the Shashitabh) is a delight. It’s strange to think that this frothy entertainment released in the same year as the much darker and also amazing Kaala Patthar. The heroes get some snappy dialogue (Amit and his chappals is just classic), and the humour is actually funny. That’s reason enough to praise Manmohan Desai! I have to admit that I didn’t think twice about the ‘only in Bollywood’ medicine, or villains escaping a blazing warehouse in a boat…on dry land… so perhaps my masala consumption has had a lasting effect. Nevertheless, I have watched this film so many times and I always enjoy it and never fast forward. I give Suhaag 5 stars!

Heather says: Suhaag isn’t one of my favourite Shashitabh films, nor do I think it’s one of Manmohan Desai’s best. This is despite the fact that it has every single Masala plot point possible, which really should ensure a great film. Perhaps it’s the sheer number of co-incidences which litter the story at every turn, or that occasionally it feels as if the actors have played these roles so often that I’ve seen it all before. But it just doesn’t work as well for me as many of Manmohan Desai’s other excellent films. My biggest problem with Suhaag however is the very dodgy medicine when Kishan is blinded. Now normally I can just brush this off and treat the absurdness of typical Bollywood medicine with the disregard it deserves, but I just can’t in this case. It really annoys me! My subtitles call Kishan’s problem cortical blindness, which should mean that the part of the brain that sees is not working. In which case an eye transplant, even if that were possible, would do no good whatsoever. Temple has told me that her copy calls it corneal blindness which is just as ridiculous for a whole heap of different reasons. Even with careful listening I can’t work out what the doctor says but since his other pronouncements which follow are also totally anatomically and physiologically incorrect it doesn’t really make any difference. I’m not sure why this particular Bollywood medicine irritates me so much but it really does taint the whole film for me, no matter how many times I’ve watched and tried to ignore it.

Despite the problems I have with the second half of the film, there is still plenty that I do like. The costumes are fab and I love the interactions between Amit and Basanti. For me Rekha is the standout in Suhaag with spot on characterisation. She is as dazzling as ever, and the film comes alive whenever she is on screen. Shashi and Amitabh are always watchable together and make the most of their partnership particularly in the comedy scenes. The inclusion of more than one bad guy and so many threads to the story ensures plenty of Masala mayhem and I do enjoy the first half of this film. I just skip the rest. 3 ½ stars from me.

Kasam Paida Karne Wale Ki

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I was meant to review another film this week, but I misplaced the DVD before I completely finished my post and it all just got too hard. As a result, you’ll have to wait for a sensible review. And it might be a very long wait. Looking for a substitute film, I decided I wanted something I wouldn’t feel obliged to think hard about, something with some sparkle and a lot of dancing. But I watched this instead.

The super groovy psychedelic titles seemed quite promising! Also, Amrish Puri.

The story opens with a child, the orphaned Prince Satish, being bullied by his uncle. The kid is the heir to an estate held in trust until he turns 20, but guess who has other plans? Evil Uncle Amrish Puri in some jaunty neckwear! I have to say the water torture was mild in comparison to any day at the pool for me and my brothers so I didn’t have immediate sympathy for the young fellow. Then the use of snakes as training aids turned the tide.

Satish is reduced to a snivelling wreck under all this duress, and is not improved by turning into Mithun Chakraborty. Years have gone by but still Uday Bhan Singh is terrorising his nephew. I really would have expected more efficient villainy from Amrish, but then the whole film would have been mercifully brief. Still, Satish is widely regarded as a drunken, insane rapist by the time he is in his teens.

I found the Uday Bhan family conferences of evil quite amusing:

Knowing that no good girl is likely to marry her Prince, his faithful maid tees up a wedding with the first likely orphan they meet. Sadly, the orphaned Aarti (Smita Patil) is a thief and intends to steal away before the wedding is consummated and take all the cash and jewels she can carry. This is not such a bad thing considering the helpful advice Satish receives about women:

WTF?

It’s obvious that we are supposed to believe Satish is such a halfwit that he has no idea his wife really might not want him pouncing on her, but it’s just so badly acted and written that I felt a bit queasy. She….well , I suggest you fast forward past the ‘rape or is it romance?’ montage, bypass blossoming True Love,  continue past the revelations and betrayal and rejoin the film when Satish is long dead (Amrish Puri has knife skills), leaving Aarti with a son who looks eerily as though he will soon be played by Mithun.  Although, you would then miss an excellent attempt by Smita to use her own Eyeballs of Hate (TM PPCC) against Amrish Puri – go girl!

Aarti is not a soft mother figure – she is a tigress. She tells Avinash that if he ever loses a fight, he won’t be able to call her Ma. She really is a vengeful woman. Aarti is struggling financially so Avinash takes a job as a drummer (it is never really explained) to start earning. It is a bizarre career move but it is lucky in one way as it means lots of dodgy songs.

It’s at this point my DVD seemed to be possessed. You might remember that it took multiple DVDs and wily tactics when Heather and I watched Surakksha and it really seems that the universe is determined to protect me from Mithun. I eventually got to see the rest but couldn’t screencap, and the picture quality was woeful. However – the disco part of the revenge psychodrama kicks in from here so you can have some lurid songs to keep up the pictorial content.

Naina (Salma Agha) is your part time Disco Diva and full time student. She and Avinash bond after he saves her from a gang of drunken would-be rapists. Perhaps he is repaying the universe for his father’s misdeed? I doubt it’s anything that meaningful.

Mithun’s dancing highlights just how talented Michael Jackson was!

Avinash and Naina fall in love, of course, perhaps because they both have hideous fashion sense and share a love of white pants. Aarti hasn’t raised her son to be a loverboy and opposes the match until such time as Avinash settles the score with evil uncle Amrish, although she hasn’t told him about his family yet. But the past can never remain buried, and the truth comes out and then of course vengeance is sworn.

I’ve mentioned before that I like it when screeds of argy-bargy can be condensed into a song, and apart from the threats this also has scary outfits. I get the impression that there were different people directing sections of the extras who were supposed to be party guests. Some are having a toe tapping good time while others maintain the traditional glaze of boredom. And what better way to alert Uday Bhan Singh of his imminent doom than this?

After a court scene full of shouting, staring and more swearing of vengeance, Uday Bhan and his horrible son, Chandra Bhan get horribly drunk and sing. Then junior rapes a local girl as his father shoots the girl’s brother. It’s perfectly obvious they are vile people, and I don’t think all this was needed. I do feel B Subhash thought he was making a much more worthy film than this turned out to be, but struggled to interpret the story into an original film format and fell back on badly used clichés.

By this time, my DVD had only sparse subtitles and Naina’s name changed to Neena. She has been hanging around, adoring Avinash from afar, and goes undercover to get the information he needs (whatever that is) to crush the enemy. I‘m not recommending the sailor suit for potential Bond girls among you – it’s a hard look to carry off. She also has a ridiculously flat clutch purse that somehow contains a gun and a tape recorder and some kind of truth drug.

Chandra Bhan is a stupid as he is horrible, and falls for her tricks. The women then get together to map out the final revenge. All of a sudden Aarti seems to like her prospective daughter in law!

The evil Singhs get their come-uppance starting in a neat replay of the fake rape stunt that ruined Satish’s name. The film is effectively over now despite all attempts to add more drama, but it drags on for another 30 minutes and two more songs and a few explosions.  The final scenes are are most notable for the wardrobe, the Michael Jackson inspiration, the crappy effects and a chance to take one last look at some of the fab sets. Salma Agha is supposed to turn into a kickarse heroine but looks disoriented and more concerned about her lipgloss most of the time. Smita Patil gives this film a lot more than it deserves, and maintains her rage right til the end.

There was lots of significant symbolism, more injustices that had to be avenged, recurring motifs, but I stopped caring as soon as Mithun tried to ‘Thriller’ Chandra Bhan into madness. I can understand why the undead backing dancers were a bit messy, but really the choreography is terrible!

See this film if you really have to see every Mithun film ever made, have a penchant for horrible 70s/80s fashion, can tolerate Bappi Lahiri’s misuse of Billy Jean, or want to see Amrish Puri in a bowtie. Can I even give this a star rating? I don’t want to mislead anyone into seeing this film because it really is dire, and not So Bad It’s Good; it’s just Bad. And not in a Michael Jackson Bad way. There are too many men in tight white pants. Maybe 2 stars –for Smita Patil, Amrish Puri, and their duelling Eyeballs of Hate.