Tag Archives: Shammi Kapoor

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!

Rockstar

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Imtiaz Ali’s involvement persuaded me that Rockstar would be worth seeing despite my reservations about Ranbir Kapoor (I’m still bitter after enduring Saawariya and Bachna Ae Haseena). Plus I had a free pass, and a few hours to kill.

There are some things that are outstanding. The visual design, sets and locations are beautiful. I loved the scenes at the Hazrat Nizamuddin Dargah with their beautiful lighting and haunting music, and Ranbir shone in those introspective moments. The songs, which I didn’t particularly like before seeing the film, work a treat. The music and lyrics extend the story and characters, and so do the picturisations. I misted up a little seeing Shammi Kapoor on a cinema screen for my first time. He is Ustad Jameel Khan, a renowned musician who supports and mentors Ranbir’s character. There is a sweet scene as they ‘duet’ on ‘The Dichotomy of Fame’ and I don’t think Ranbir had to try hard to look like he was moved too.

There were even some ridiculous and some beautiful costumes so I was pleased on both counts.

But there are some significant problems, most of which stem from the writing and direction.

Ranbir is Janardhan aka JJ aka Jordan. He is supposed to be a simple innocent boy but comes across as socially retarded, he is a misfit in his slap-happy family, and drifting through college. He is a musician but is told that until he has suffered he can’t be great. JJ decides to fall for the college hot chick so she can break his heart. Despite the stupid premise that manufactured pain equals great art, the dialogue in these early scenes is quite funny and flows well. Eventually JJ and Heer (Nargis Fakhri) become friends. JJ is by turns clueless and a bit manipulative – on the one hand taking Heer too literally at times, but then admitting he fakes being drunk when he goes out partying. They sneak into a tacky soft porn flick, get drunk, and generally work through Heer’s idea of a bucket list before she marries and relocates to Prague.

Jordan, as he is now known, becomes increasingly famous and unhappy.

Ranbir tries, maybe too hard, to break from his usual lightweight charmer persona and is mostly surly. Imtiaz Ali wants us to find Jordan sympathetic but I couldn’t after a point. While I get that he is supposed to be inarticulate away from his music, Jordan is a self absorbed and often aggressive man. Jordan realises he is in love with Heer for real. Kicked out of his unhappy home, and down on his luck, he stays at the dargah. Thrown a life line by college canteen manager Mr Khatana and Ustad Jameel Khan, he is signed by Platinum Records boss Mr Dhingra (Piyush Mishra). With his success growing, Jordan negotiates a gig at a very fake looking Eurojam music festival in Prague – what a coincidence.

He pursues Heer and will not take no for an answer. To be fair, she is sending very mixed signals but it is all about what Jordan wants. He doesn’t exactly force her, but he refuses to accept her ‘No’ and is aggressive in his pursuit. He has no concern about her marriage other than how it gets in his way. Heer succumbs and they have an affair which doesn’t end well. His declarations of love were all about his feelings and desires, how he needed her to make him happy and complete.

 

 

 

 

 

 

 

 

 

Even his band was just a bunch of shadowy blokes up the back of the stage – there was no creative dynamic, no camaraderie. Separated from Heer, Jordan descends further into his morass of self pity and destructive behaviour.

Maybe his vile gold brocade dinner jacket was a sign. They certainly interpreted Rockstar as ‘someone with no dress sense’. JJ wears simple jeans and kurtas when he is with Heer, but gets a bit late era George Harrison meets Frank Zappa on his own. Was that meant to prove he needed her to be a good boy (and remember to wash his hair)? Ranbir did well with the physical transformation of Jordan and his best scenes were probably in the songs where he could just be the Rockstar, demanding the spotlight yet still showing ambivalence about fame and success.

Heer is self absorbed and indecisive, creating most of her own problems. She not only jeopardises her marriage, she is also afflicted with a blood disorder and told she will die. Of course the only cure is Jordan’s Magical Healing Cock. Yes, a doctor may despair but shagging Jordan is all it takes to restore her vitality. Well, until she is further punished for her transgressions by being separated from Jordan (and his MHC) and being made dangerously ill by the resulting pregnancy. Ah the wages of sin. When she collapses, her mother’s reaction is to scream for someone to call Jordan! Yes – like a quickie in the emergency ward would cure Heer. Nargis Fakhri was out of her depth once the love story took centre stage, although her scene joking about eloping with JJ before her wedding was funny and poignant. Heer needed a bit more oomph, less shrieking in place of emoting, and better writing. I’m trying not to mention her collagen plumped lips but they do arrive in shot before the rest of her face a few times, and may contribute to her inability to articulate the dialogue.

Filmi clichés abound, and some are quite clumsy.  If you’re going to hire someone who can’t dance, why introduce them as college hot chick by staging a dance show? There was another misstep with a ’tribute’ to Shammi in Kashmir where Ranbir showed he really doesn’t have any of the panache of his uncle.

The arena style gigs looked good even if Ranbir’s guitar was never plugged in, and the audiences were too well behaved. But then there was no sense of how Jordan created – we see him listening attentively to all these influences and then songs just emerge fully formed.  I would have liked to see more attention given to the musician rather than just worshipping the performer. It might have made Jordan more interesting or likeable.

Had it been a study of the effects of fame on an artist, this might have been compelling. The love story that is supposed to be the core of this film left me cold. I don’t feel I have enough understanding of Rumi to make an informed comment, but my gut reaction was that Imtiaz Ali has missed the point of the quotes he used in his film. I don’t recall Rumi defining love as possession, and that is what this story does. The early friendship is enjoyable, if very unlikely, but just when I should have been wanting them to get together I started to think the opposite. And there are so few other characters in the film to give any relief from this pair. Even the end credits bunch people into his family, her friends, his band…it is all about Jordan and to a lesser extent, Heer. So if you don’t care for their grand romance what else do you have?

The audience I saw the film with was small – maybe 50 people. Several didn’t come back after intermission, and another dozen or so crept out during the second half. Their only cheers were reserved for Shammi-ji and AR Rahman and I think that was about right. Rockstar had a lot of great ingredients, but I was left thinking that with less indulgent writing, a different focus and a bit more editing, it could have been so much better.

Junglee

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Junglee is quite simply my favourite Shammi Kapoor film. It was a big hit when first released in 1961, and featured not only Shammi but also Saira Banu in her debut performance. In fact she netted a Best Actress Filmfare award for her role in the film. Junglee features some great performances, an engaging story, beautiful scenery, fantastic songs and even a snippet of Helen – just perfect!

The film opens with Chandra Shekhar (Shammi) returning home after 3 years overseas in a wonderfully decorated plane. Via a voice over and a series of scowls and grimaces from Shekhar and his mother, we learn that the family disapproves of laughter and believes that it is something only indulged in by the lower classes.

While Shekhar and his mother seem to firmly believe in these sober and unsmiling principles, Shekhar’s  sister Mala (Shashikala) has somehow managed to escape the family  affliction. She is in love with Jeevan, the son of the family’s business manager and is quite the rebel. She smuggles her lover into the house, successfully hiding him from both her mother and Shekhar, although she doesn’t seem quite as adept at smuggling herself out.

In due course, Mala and Jeevan’s secret affair is discovered, quite appropriately in secret and confidential discussions. We can tell this as there is a helpful sign with accompanying illuminated red light to let us know that there is a top-secret meeting going on and  for extra top-secret authenticity, the room is red-lit .

Luckily for his father and Jeevan, his identity  is not disclosed and to resolve the problem Shekhar is ordered by his mother to take Mala with him to Kashmir on his business trip. Shekhar has his own romantic issues to deal with as  his mother has arranged his marriage to a Princess. However she is not aware that the royal family are impoverished and are banking on the marriage to ease their monetary woes, waiting only for Shekhar’s return to Bombayto go ahead and tie the knot.

Needless to say Shekahr’s cantankerous disposition is not improved at all by his relocation and he just becomes grumpy in the snow instead of grumpy in the city. He meets the charming Rajkumari (Saira Banu) who delights in tormenting Shekhar just because she can.

Rajkumari’s father is the local doctor who soon diagnoses Mala’s sudden ‘illness’ as pregnancy. Knowing what Shekhar’s likely reaction will be, Rajkumari hatches a plot to lure him away until after the baby is born. However Shekhar discovers the deception and the two end up marooned in a cottage as a violent snow storm isolates then for an undisclosed amount of time. Long enough however for Shekhar to fall in love with Rajkumari and inspired by the transformed snowy landscape and his own evolution he bursts out with an exuberant Yahoo!

This is probably the most famous song from this film and deservedly so – Shammi’s high spirited cavorting around in the snow is brilliant and it’s a song always guaranteed to make me smile even after the worst day at work. There is so much energy and enthusiasm, and it’s a great contrast to the previous scenes where the two are stuck in close proximity in a small cabin.

Now that Shekhar is in love he wants to marry his Rajkumari and heads back to Mumbai with his sister. But he still has to get rid of the other Rajkumari, the Princess he is betrothed to and there is also the dilemma of Mala’s baby to resolve. And Shekhar has to win his mother’s approval of his new happy personality which is probably the biggest challenge of all. He falls back on the favourite Bollywood excuse of insanity, which gives Shammi the chance to ham it up and make full use of his range of facial expressions. A visit to the princess and her family gives us a wonderful dance with Helen complete with giant-sized artist palette backdrop.

 

There is plenty more drama as Rajkumari and her father arrive with Mala’s baby and the brother of the ‘real’ princess gets more and more desperate before a suitably heroic ending. It’s not all about Shammi’s antics pretending to be crazy though as there are a number of beautifully romantic scenes as well. This is my favourite song from the film and I find Shammi totally adorable in this.

I love the many faces of Shammi in this. His mad twitches and grimaces are limited to when he is pretending to be crazy and in the rest of the film he is much more restrained.

The character of Rajkumari is also well developed and shows a gradual transition from her initial childish persona to a young women determined to do what is right. Saira Banu displays charming innocence and naivety and it’s clear to see that she was only 17 when she made this film.

Junglee has some of the most romantic scenes I have seen with Shammi and he is at his absolute best in these. He can be guilty of some scenery chewing at times, but here he is restrained and convincing as a man in his first throes of love. His eyes are very expressive and he does have some excellent chemistry with Saira Banu. The song Din Sara Guzara is another gem which is beautifully pictured. In fact, all of the songs are excellent and both Lata Mangeshkar and Mohammad Rafi do excellent justice to the music by Jaikishan and Shankar. The beautiful Ja Ja Ja Mere Bachpan is wonderful as well, and it really is worth checking both of these songs out.

 Although the story starts with a rather ridiculous premise, Lalita Pawar makes the character of the inflexible family matriarch strong enough to keep the idea of a woman bound by her duty to her late husband credible.  While the ‘no laughter’ idea may not be very realistic, it is easy to believe in Shekhar as a man bound to rigid work principles who is uncompromising and ill-tempered. The mood lightens considerably when we get to Kashmir – not the least because of N. V. Srinivas excellent cinematography. The hills and flowers are beautifully shot and the songs make the most of the scenery.  There are also some wonderful sixties décor on the sets. I particularly like the clocks and it’s a shame that my copy of this film has suffered from colour degradation with aging.

The support actors are all good in their roles too. Anoop Kumar provides some light relief as Jeevan and although Mala and her lover are only a peripheral part of the story, they both make an impact when they need to. While I do end up feeling a little sorry for the rejected princess, her brother and father aren’t quite evil enough to be convincing villains and I think they appear more pitiful and desperate.

Junglee is at heart a love story and as such it works really well. Excellent performances and fabulous songs plus Shammi at his best make this a 5 star film for me.