Tag Archives: Naaz

Sachaa Jhutha (1970)

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Written by Jeevanprabha M Desai and directed by her husband (Manmohan Desai), Sachaa Jhutha is a neat little tale of mistaken identity, thieves and honest men, and proves that dogs are smarter than most people.

Simple village musician Bhola (Rajesh Khanna) leaves home to seek his fortune in Bombay. His sister Belu (Naaz) had an accident in her childhood and has needed crutches since. He wants to get her married and having any kind of disability means she is expected to come with a hefty dowry. Through a series of unlikely but expected coincidences, he stumbles into a fancy masquerade party and the path of Ranjit Kumar (Rajesh Khanna) a cunning jewel thief. Ranjit sees the possibilities in having an exact duplicate of himself to parade around town so he dupes innocent to the point of being backward Bhola into perfecting his Ranjit act. Ranjit gets his minxy girlfriend Ruby (Faryal) to keep a watchful eye on Bhola, give him deportment lessons, and keep him from discovering his new BFF is a thief. Inspector Pradhan (Vinod Khanna) is determined to put Ranjit in jail but he can’t get the evidence he needs. He coopts a lovely young policewoman, Lina (Mumtaz), into playing a diamond heiress called Rita. It is well known that Ranjit cannot resist a pretty face or a sparkly rock. Bhola as Ranjit falls head over heels for Lina/Rita and his simplicity wins her over despite her misgivings. And then a flood devastates Belu’s village, killing her abusive stepmother too. She comes to the city with little other than her love for Bhola, a Significant Song, and the super smart and faithful dog, Moti. Will she find Bhola, or will she be found by Ranjit? What will become of these clueless bumpkins in the big city? Will Lina get her man? Will Inspector Pradhan get his?

Rajesh Khanna is quite enjoyable as Ranjit. He is suave, a narcissist, and wears some very snazzy outfits. He is never conflicted about his life of crime, and thoroughly enjoys his lifestyle funded by ill-gotten gains. As Bhola he overacts like there’s no tomorrow, grimacing and spouting proverbs to show he is pure and innocent. Bhola is a quick study though and it is amusing to see Ranjit getting a dose of his own medicine. Ranjit is a traditional filmi evil mastermind and he loves a needlessly complex plan so there are many silly hijinks to enjoy including a secret lair, tunnels, mysterious drugs that paralyse, disguises, and a gang of suited and booted henchmen. If you’ve ever wanted to see Rajesh Khanna fight a duel with himself, this is the film for you.

Mumtaz is gorgeous and bubbly as Lina/Rita. She seems like a competent young woman, and has a good head and a good heart. Question – were fancy chiffon sarees standard police issue? She is attracted to Bhola’s honesty and can’t reconcile her impression of him with her assignment of entrapping Ranjit the jewel thief. Lina doesn’t waste too much time sighing over her maybe potential slightly forbidden love, and just gets on with the job in the belief that the law will make her decision for her. She does get stuck with some silly “truth drug” shenanigans, but generally avoids the worst of the slapstick.

Vinod Khanna’s Inspector Pradhan is the driving force in the chase to get Ranjit. He is a little too good to be true. The perfect son to a doting mother, a genius police investigator, the golden boy. He has a strong sense of duty and what is right and he hates that Ranjit thumbs his nose at the law. There is nothing very real or interesting about the character but Vinod Khanna plays Pradhan with just the right degree of straight faced pomposity to make it funny yet still vaguely believable.

At first glance I expected to find Belu (Naaz) tiresome. But while people write Belu off as a cripple, and she herself would much rather not have a disability, she’s not completely passive. When a bunch of goons assaulted her she fought back with everything she had. When she came looking for her brother she made the most of the Desai coincidences that littered her path. Sure there was a lot of hobbling and crying but she isn’t pathetic, just overwhelmed. Naaz can handle the teary self-pity through to the more sparky repartee. She has a gentle presence that played well opposite the more extrovert characters in the ensemble.

But the real star and the brains in the family is Moti (Rexy). Moti protects Belu, fetches her crutches, fights off thugs, navigates Bombay traffic with heart stopping disregard for traffic lights, eludes gangs of armed assailants, and is generally a sound judge of what is going on. And when all else fails, trust Moti to sort the sheep from the goats.

The Kalyanji-Anandji soundtrack gives Mumtaz some opportunity to dance, but the duets are tailored to Rajesh Khanna’s awkward posturing so I felt there was an opportunity missed. And what lunatic casts Faryal and doesn’t include a dance number for her?

While the film is visually pleasing, it isn’t a blinged up special effects laden experience. The drama is generated by people, the confusion and near misses, the things we know that the characters don’t. It’s an undemanding and entertaining movie, stylish and fun. 3 ½ 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.

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.

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!