Tag Archives: Saeed Jaffrey

Khoon Bhari Maang

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Ah the Eighties. When hair was big, shoulder pads were bigger and glitter eyeshadow was essential. Khoon Bhari Maang is a quintessential eighties movie that I love, despite its addiction to gore and systematic overuse of Khader Khan. I can’t say that it’s a good movie, or even that it falls into the ‘so-bad-it’s-good’ category we all know and love, but somehow once I start watching I’m hooked by Rekha’s transformation and quest for revenge.  It’s over the top, trashy and melodramatic, but for a nostalgic wallow in the swamp that was eighties drama, you can’t go past Khoon Bhari Maang!

The film is based on an Australian miniseries from 1983 called Return to Eden. I’ve never seen the show, but Wikipedia makes sound like Australia does Dallas, so it may be worth tracking down online too.

The story starts with Aarti (Rekha), a young widow with 2 young children, who is also the heir to her father’s huge business empire. In the first 5 minutes her father (Saeed Jaffrey) is murdered by his close friend Hiralal (Kader Khan) who then wastes no time in introducing Aarti to his wastrel nephew Sanjay (Kabir Bedi). Sanjay has a penchant for removing his shirt and a plan to marry Aarti to gain control of her millions, despite carrying on an affair with Aarti’s best friend Nandini (Sonu Walia).

Aarti’s husband Vikram (Rakesh Roshan) was killed in a car accident some years before and she lives for her children, so Sanjay befriends Kavita (Baby Shweta) and Bobby (Master Gaurav) as the way to Aarti’s heart. There are a few flashbacks to happier times with Aarti and her husband where Rakesh Rohan looks incredibly uncomfortable on the other side of the camera, as he frolics with a frumpily dressed Rekha. And for the first part of the movie, Rekha does look rather dreary. She’s still Rekha, but has dark shadows under her eyes, a large mole on her face and rather protuberant teeth. Sanjay describes her as ugly, but she just looks exhausted and in need of a brighter wardrobe, especially when compared to the dazzling Nandini.

Nandini is a model who is drawn into Sanjay’s machinations because of her love for a man who can look good in swimming trunks and very short shorts. It has to be noted that Kabir Bedi does look rather fine, and he makes the most of scenes at the pool and every other possible opportunity to remove his shirt. However, rather than his sleek chat up lines and body flaunting, it’s his attentions to her children that convinces Aarti she should marry Sanjay and provide them with a father figure. With the bonus of someone she trusts to run the business.  

It doesn’t take long after the wedding (actually the next day), for Sanjay to rid himself of his troublesome wife by throwing her to the jaws of a waiting crocodile. Queue screams, lots of fake blood and Sanjay threatening Nandini to keep schtum about her part in his devious plan. But Aarti escapes! After being rescued by an old man (Paidi Jairaj) she sells the jewellery she was wearing at the time of her attempted murder and heads off to the US for some needlessly graphic plastic surgery. The now apparently unrecognisable Aarti returns home as model Jyoti and is immediately picked up by Nandini’s photographer J.D. (Shatrughan Sinha). Naturally this doesn’t go down well with Nandini, and the rivalry between the two models culminates in a wonderfully crazy dance-off where attitude and sheer sass seem to be the criteria needed to win. After destroying Nandini’s professional career, with her new glamourous looks and the support of JD, Jyoti sets out for her next goal: revenge on her murderous husband.

The story builds slowly during the first half, but this is more than made up for by the drama and total fashion insanity of the second half. That’s not to say that there isn’t plenty of craziness in the first half, but it’s off set by the annoying presence of Khader Khan and Rekha’s irritatingly meek Aarti. Once Rekha transforms into Jyoti, everything gets bigger, bolder and much more dramatic – and that’s just the fashion! Jyoti is determined to get her revenge and she sets out to destroy Sanjay with the sort of bloody single-mindedness usually reserved for male heroes in Bollywood. I love that Rekha is given the opportunity to have her revenge without relying on anyone else, and that revenge is just as satisfyingly gruesome as could be expected. Despite all its faults, the saving grace of the film is that Aarti is quite capable of rescuing herself, saving her family and getting her revenge, all without any male assistance or even advice. You go girl!

Rekha is awesome throughout. She nails the meek and mild-mannered Aarti, but is so much better as the stunning model out for revenge. Her Jyoti is stardom personified with attitude that simply sizzles off the screen with a sneer sharp enough to draw blood. Rekha takes ownership of all the ridiculous outfits and outlandish hairstyles too, so that when she ends up in black leather and wielding a whip, it seems less an erotic fantasy and more a practical outfit for revenge – easier to get blood off leather I imagine.  Kabir Bedi is excellent too in this negative role where he hams it up as a seductive suitor who quickly shows his true colours once the knot is tied. It’s a great performance and who can complain if he spends most of his time by the pool in various stages of undress. I do draw the line though at the needless appropriation of Vangelis Chariots of Fire theme into a tacky song visualising a romp in the pool between Kabir Bedi and Sonu Walia. But for the rest, Kabir is nicely wicked and appropriately charming as he woos Aarti and then Jyoti. Poor Sonu Walia doesn’t have anything like as good a time as her Nandini is a bit of a wet blanket who falls over herself to do whatever Sanjay wants.

One of the best parts of the film for me is right near the end when Jyoti removes her green contact lenses. A move that makes her INSTANTLY RECOGNISABLE!!! Who knew just changing the colour of your eyes could have such an effect? Also worth looking out for are Aarti’s heroic dog Jumbo and smart horse Raja, who know what is going on well before any of the human characters, and the various servants and supporters of Aarti who add more drama to the proceedings whenever possible.

Khoon Bhari Maang is not a good film, but Rekha makes it worth watching for her crazy outfits, huge eighties hairstyles and bloodthirsty quest for revenge. I know most people skip straight to the second half, but I like the slow build-up through the first half and the gradual monsterisation of Kabir Bedi as his true colours start to show through. For fans of 80’s Bollywood, big hair, crocodiles and revenge, this is surely as good as it gets. 4 stars.

Chashme Buddoor (1981)

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There is a joyful goodness in Chashme Buddoor that I don’t think would seem commercial enough nowadays when film comedy about female/male relationships seems to be mostly titillating or sleazy. Writer director Sai Paranjape has an eye for facets of speech and behaviour that she layers cleverly to make a slight story into a satisfying film. I can relate to the characters, their dilemmas and their sense of humour. There are filmi jokes, parodies and genuinely funny moments galore, plus a really nice love story.

Two clueless friends, Omi (Rakesh Bedi) and Jai (Ravi Baswani) think that romance happens just like it does in the films, and remain resolutely impractical in their approach to love. Their misadventures and air of genial cluelessness is a foil for the more serious Siddharth (Farooq Shaikh). And the filmi tropes they swear by – stalking, harassment, loitering in parks –  all fail. It is genuine interest and getting to know another person that might just win the girl. Eventually.

The three men share a small apartment, with all the usual trappings of bachelordom – a big empty kitchen, wall ‘art’ and the bare minimum in comforts. There are many enjoyable details in how they share cigarettes, their routine and schedules, their reliance on Siddharth to start the sole motorcycle. The male actors work beautifully in the ensemble scenes and each has a distinct style that suits their characters. It’s such a typical student household and they are each other’s family. Most of their experience with women is derived from ogling the rare female passerby from the balcony. Constantly in debt to Lalan Mian (Saeed Jaffrey) for their smokes, they alternate between bluff and avoidance as they try and get on with the important things. Like girls.

Neha (Deepti Naval) is one of the few real girls the boys meet. Omi and Jai set out to woo her, and despite having brilliantly scripted plans based on current best practice from the movies, both are sent packing.

Omi fancies himself a poet and Jai pretends to be the younger brother of a film producer. Each gets a song showing their version of events, and I am especially fond of this parody medley.

Quiet studious Siddharth meets Neha when she is working in door to door marketing, demonstrating Chamko washing powder. They have a shy stilted conversation in which Neha carefully tells Siddharth where she can be found in the evenings and he just as carefully listens and remembers. Obviously this is a fantasy.

Their relationship grows through conversation and vast amounts of ice cream. Siddharth occasionally tries to act like his friends tell him to, but Neha challenges him and he immediately drops the posturing and admits he has no clue. It’s a nice unremarkable romance that grows unnoticed by friends and family. Until Siddharth gets his money order and decides to splurge on some fancy clothes. Blue velour? I know it was the 80s but still!

He is pleasant, abstracted but not anti-social and seems content to be the butt of his friends’ jokes. Unlike many other filmi heroes he can, and does, change course when he realises he needs to think of Neha as well himself. Farooq Shaikh is perfectly cast as the introverted and essentially good natured Siddharth, and also delivers the broad comedic scenes with playfulness.

Neha isn’t just sitting around waiting for a husband – she wants to study, has notions about her future and raises the subject of Siddharth with her dad to prevent him arranging an unwanted marriage. She is also quite clear on telling Siddharth that being a wife is not her immediate priority. Deepti plays her as a nice girl-next-door with a good amount of common sense, a dash of fun, and a smile that lights up the screen. She has a nice chemistry with Farooq too.

When the couple have the inevitable setback, Neha goes on despite her sadness and confusion. Siddharth is the one who loses his motivation, and unfortunately his friends decide to help him. And you will have to see the film to find out if they succeeded.

All the actors look right for their roles. There is no excess of glamour, or inappropriate wardrobe as far as I can tell. Saeed Jaffrey is lots of fun as Lalan Mian, the local paan stall owner and father figure. He can switch from berating Jai to lending him a bike so he can go chase a girl without pausing for a breath.

I loved his philosophical ruminations on debt and love, and he has such a twinkle in his eye. Leela Mishra as Neha’s grandmother seems to have a filmi streak like the boys, and has some very funny scenes. Vinod Doshi and Ranjan Grewal play Neha’s father and brother, and help show her as a girl with a sense of self worth and a warm and loving home. Even the waiter at Neha and Siddharth’s regular cafe approves with a smile. It’s all so likeable.

I mentioned the sly filmi references and tricks Sai Paranjape includes in her script. Whether she is having a character announce a flashback or using snippets of famous songs, she has a great instinct for comedy. I really enjoyed the special appearance by Amitabh in a demonstration of how to be suave as he sweeps Rekha off her feet.

I like the soundtrack by Raj Kamal a lot. The songs ‘Kali Ghodi Dwar Khadi’ and ‘Kahan Se Aaye Badra’ are used beautifully to show hope and disappointment, and Yesudas’ vocals are very expressive. There is also a song in which Neha and Siddharth sing in a park about people who sing songs in parks. And the onlookers actually do react as though the couple are a bit mad. Although I think these kids may have been given conflicting instructions.

The upbeat love songs are not really remarkable, but I enjoy seeing ordinary people act in filmi ways and how that would play out in a real environment. Another thing that made me oddly nostalgic was a very silly kidnapping subplot. Thinking on all the news from Delhi of late about women being abducted and assaulted, it did make me wonder about whether the 80s were really more innocent times. There was certainly a lot less traffic.

I’ll tell you now I am horrified by the idea of David Dhawan remaking Chashme Buddoor. I cannot imagine him making a scene with an overweight grandma accidentally flicking through Playboy seem funny. I can certainly imagine him believing he can, but the execution is the key. I don’t think it is just because Sai Paranjape is female that I can relate more to this story. After all, a woman wrote the recent Ranbir Kapoor vehicle, Bachna Ae Haseeno, and I thought that was mostly male wish fulfilment rubbish. But I do think she has an understanding of the internal emotional life of her characters that makes for a more interesting film, especially when the people are the focus.

Sai Paranjape is smart without being too clever, makes fun of her characters but doesn’t humiliate them, and as befits a romantic comedy, there is a lot of affection and happiness. The actors are charming, and I laughed all the way through the film.

A full 5 stars!

Katherine at Totally Filmi is coordinating a month long celebration of women in Indian cinema. Links will be collated at Delicious so keep an eye on that page for lots of other articles and blog posts to be added throughout March.

Heather says: Chashme Buddoor is a very sweet film with realistic, likeable characters and a simple but effective story. I found it amusing rather than flat-out funny, but it did make me smile almost all the way through. The three flatmates are all well cast and it was great to see actors that I tend to associate more with smaller character roles get the screen-time they deserve.  I particularly liked Rakesh Bedi in this and his expressions alone were enough to make me start smiling before he even said anything. I think it’s the relaxed nature of the conversations between the friends and the way they interact with each other, but in many ways this film reminds me of the old British sitcoms of the seventies. I grew up watching (and loving) these and I got the same sort of ‘comfortable comedy’ feeling here.

As Temple has mentioned, a lot of the humour comes from the way many classic Bollywood conventions are parodied and there are many references to other films, although I’m quite sure that I didn’t catch them all. The parody song with Neha and Jai is just brilliant and I did enjoy playing’ spot the song’ as it went along. The main characters are all allowed to develop at their own pace and each has little quirks that make them seem like real people rather than conventional ‘filmi’ characters.  They’re also not at all glamorous and the guys either shop in the same store or seem to share shirts, which again falls in well with the whole student lifestyle portrayed. The splitting up of their room into three distinct areas by the various pictures on the wall was also something I remembered from my own days as a student in a shared room and was another very realistic touch.

I enjoyed all the music, especially the more classically based songs Kahan Se Aaye Badra and Kali Ghodi Dwar Khadi and agree that Yesudas’ voice works perfectly for these. The songs are all very well pictured as well, although there is a rather disturbing appearance by a bear in the song in the park which I really didn’t enjoy. All the actors were uniformly excellent and I particularly loved Deepti Naval as Neha. I was perhaps a little disappointed that she didn’t take more umbrage to Siddharth’s suggestion that she give up her washing powder job when they got married, but I could also see his point of view – it was a very good way to meet him after all! Chahsme Budoor is a very well made film with clever comedy and excellent performances. I cannot imagine a remake by David Dhawan being anywhere near the same quality or have any of the same subtlety. Much better to watch the original and step back to a simpler time. 4 stars from me.

Ajooba (1991)

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Ajooba is always near the top of my list of favourite So Bad It’s Good films. Before we get started, I must share with you the very enticing blurb from the back of my DVD (click on it to enlarge the image):

Irresistible!

What better way to start some Christmas entertainment than with a mysterious star in the East?

And some wise men.

And a baby boy.

Surely this outfit just screams ‘Christmas Bauble’ (or according to Beth, ‘Mughal beach ball’).

Ajooba is a masala film masquerading as a magical sword and sandal romp. It is replete with a masked hero, a devil worshipping usurper, a good magician and his feisty daughter, sea monsters and so much more, made with enthusiasm rather than skill. While it may not be the story of Christmas, it is a miracle that Amitabh Bachchan and Rishi Kapoor agreed to grace this film by Shashi Kapoor. I think it shows how much they loved him. Ajooba was quite a venture; expensive and a Russian co-production, so it seems like something Shashi felt strongly about making.

Once upon a time in Baharistan, the Sultan (Shammi Kapoor) and his wife (Ariadna Shengelaya) had everything they could want … except a son. Finally, after some magical intervention to protect the unborn child, an heir was born. Hurrah! The people rejoiced with a fun Laxmikant-Pyarelal number. There’s lots of colour and movement including a display of dazzling (ahem) magic, and a dance-off between a kind of skanky snakey dance and some Kathak-ish guys.

Amir Khan (Saeed Jaffrey) is a good magician. I use ‘good’ in the sense of not using his powers for evil, not as an endorsement of his skills.

The most impressive thing about his elephant trick is that the elephant looks like it is wearing dark glasses (perhaps it knew this film was not a great career move and was in disguise).

The evil Vizier (Amrish Puri) attacks the toy boat of the Sultan and Malika. The royal family is scattered, each believing they are alone in the world. Malika is blind, the Sultan loses his memory, and their baby is presumed drowned.

Rescued by a dolphin, raised by a kindly blacksmith, unaware of his real parentage, Ali (Amitabh Bachchan) undergoes years and years and years of training to become the hero who can free his people. Well, those people who are still left after 30 odd years of brutal oppression. Maybe it was the costume that held him up, especially creating a cunning disguise for both Ajooba and horse.

Why something as silly as a tin mask will be so detailed and finished with little flourishes when so much else is left half-baked is part of the charm. It doesn’t save the idea from being daft, but it is fun to look at. There is a serious design flaw. Did you spot it?

With the Vizier in power, life is tough for the simple folk of Baharistan. They still have their picturesque outfits but Amrish Puri and his brother-in-law Shah Rukh (Dalip Tahil) pillage and plunder as the mood seizes them.

With all of his evil deeds to draw on I expected the Vizier to have better material for his catch phrase, but he sticks to ‘Shaitan Zindabad!’. It is clear that he is bad and so are all his associates.

The evil shtick gets a little monotonous despite Amrish Puri’s eyeballs giving it their all.

When Amir Khan is imprisoned, he sends messages back to his family in Hind by talking to birds. Luckily his daughter Rukhsana (Dimple Kapadia) can communicate with animals so she sets off on a rescue mission, leaving her mother (Sushma Seth) behind. Rukhsana works as a puppeteer in the bazaar and I liked that she had a plan to both support herself and give a cover story as she was searching for her dad.

Baharistan is not the place for a single lady, and it doesn’t take long before she needs rescuing. Repeated rescuing. Ajooba becomes somewhat tired of this damsel in distress, but she sees through his flimsy disguise (amazing!) and of course that means true love.

Rishi Kapoor is Hassan, the local Romeo who falls for the Princess Henna (Sonam). That’s about as much character development as you get. I liked Rishi and Amitabh together, and they have a fun song as the romantic Hassan tries to get repressed Ali to talk about love.

But I lost interest as Rishi detours into drag and sleazy antics and Sonam does little more than this:

The romances play out as you would expect, and Dimple and Amitabh make the more interesting couple (though that is not saying much). Ali does wrestle a tiger to rescue Rukhsana and Amir Khan from the dungeons so that added a level of commitment.

Of course in a fairytale there are trials and tribulations before good can triumph and that means special effects! If only someone had told Shashi Kapoor. The visual effects are quite poor and while it is part of the cheesy fun, I do wish they had done a little better. Beth did ask why a flying gondola was employed in one scene and I think it is because the maximum passenger load for a flying carpet would have been exceeded.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

And there are some odd lapses and inconsistencies. When Ali’s sister needs to give him an urgent message, she wends her way through dim corridors and finally  a concealed passage which opens into Ali’s secret training ground. It’s an open field next door that anyone could see. And when Ali and Hassan are chained up with Malika and the blacksmith awaiting Certain Death they are rescued by a sea monster…or are they? Four people in chains, three sets of chains are cut. What about your foster dad Ali????

I recognised so many faces in the background. Memsaab as usual provides a more rigorous acknowledgement of the supporting artists so you should go read her post. But just think – Dara Singh, Sushma Seth, Rajendranath, Narendranath, Tej Sapru, Bob Christo just to name a few!  The locations and sets are delightful, and enhance the fantasy and poetic flavour. The art direction is batty at times, but this is a pleasure to watch.

The streets of Baharistan are always full of colourful locals ready for a backflip or bellydance. The fight scenes are OK without being amazing, flying carpets or no. But there is a brilliant episode in a temple with Amitabh swinging from bell to bell to dishoom Bob Christo and rescue Shammi – it is epic and silly and I love it. The final battle gets everyone to Baharistan and there are reunions and expositions all over the place.

I absolutely love that in the climax fight, once people realise Ajooba is Ali is the long lost prince, everything pauses briefly so the onlookers can have a chat amongst themselves about how he is related to everyone and what his title is. Never mind the big glowing sword, or the evil sorcerer – is he your cousin? And is he married?

Ajooba’s heart is pure masala gold and I have enormous affection for it. 4 stars for entertainment alone!

Merry Christmas!