Nayakan (1987)

Posted on October 27, 2013 by Heather Wilson

This film has been on my ‘must see’ list for a while but it proved very difficult to track down a copy. Even then I ended up with a Telugu dub without subtitles, and when I did manage to download subs they were somewhat selective in the translation, declining to translate any of the Hindi, and a bit hit and miss with the rest. However they did at least provide translations of Ilaiyaraaja’s wonderful songs which are definitely high points of the film. Nayakan is one of Mani Ratnam’s earlier films, and is the movie that brought him to the attention of the cinematic world outside the Southern film industry. It’s based on the story of Varadarajan Mudaliar, aka Vardhabhai, one of the notorious gangsters who controlled the underworld in Mumbai during the 70’s and 80’s. There are also shades of Coppola’s The Godfather, but essentially Nayakan is a very Indian story, full of emotion and seeped in the violence and grime of the slums of the city. Kamal Hassan won a National Award for his performance as did P.C. Sriram for cinematography and Thotta Tharani for best art direction, all of which were very justly earned. The film also features Saranya Ponvannan in her screen début and a generally notable cast including Nasser, Janagaraj, Delhi Ganesh and Tinnu Anand. But above all this is Kamal Haasan’s film and he is riveting in a stand-out performance which sees him grow from a young man to an ageing don in the slums of Mumbai.

The film starts with the young Velu Nayakar being used by the police to track down and kill his father, a prominent anti-government unionist. It’s a brutal introduction and it’s certainly apt as the film doesn’t shy away from showing the violence associated with the underworld. The poignant refrain of Thenpaandi Cheemayile comes from the beating the young child suffers, and the song is reprised throughout the film to underscore the importance of pivotal scenes in Velu Nayakar’s life. This clip shows two of the versions and, although they both occur much later in the film it’s not really the song rather than the images I wanted to include. However it is worth noting the cinematography and the way P.C. Sriram uses light so effectively in these two snippets. The song is sung by Ilaiyaraaja and Kamal Haasan himself.

Velu arrives in Mumbai and is adopted by a small time smuggler who instils in Velu the concept that any slightly less than legal act isn’t wrong if it helps someone. Over time Velu starts to stand up for the rights of the Tamil people who live in the slums, but it is the murder of his adopted father by a police officer that tips the balance and sets him against the law as he takes his revenge. However even this act is tempered when Velu comes to understand that the dead police officer has a mentally retarded son and he gives Kelkar’s widow money to ensure that both she and her son will survive.

This dichotomy occurs throughout the film where Velu is shown as a very human character who smuggles and murders but also helps out when members of his community are arrested or when a child is seriously ill. He’s a man who makes mistakes and pays dearly for them, but he’s also someone who is trying to make life just a little better for the people around him. One such instance is when the slum is about to be bulldozed to make way for a factory. Velu organises a gang of the locals and goes to the developer’s house, tearing it apart to drive home the point that these are people’s homes which are being destroyed, not just a piece of land. It also looks like a lot of fun as the gang rips apart furnishings and throws furniture from the roof!

Velu isn’t a don who drives around in the cavalcades of vehicles more commonly seen in Southern Indian films, but instead he has a fleet of ambulances and lives in a house which is easily accessible for the people of the slum, making Velu Nayakan a more realistic and believable character. There are a few odd moments however, such as an item-style dance number on a boat, and an instance where Velu does appear to be channelling the Godfather given his choice of natty pin-striped suit.

More commonly however the dim lighting and traditional dress suit the more modest and unassuming Velu, who seems more embarrassed than anything by the adulation he receives.

Mani Ratnam’s screenplay is most effective in describing the relationships between Velu and the other characters, in particular those of his immediate family. His first meeting with Neela (Saranya Ponvannan), who becomes his wife, is beautifully acted and filmed as the two meet in a brothel. Velu and his friend Selvam (Janagaraj) end up at the brothel after smuggling success and while Selvam appears to have been there before, Velu looks a little more uncomfortable and out of place. He does manage to enjoy this great song though before heading upstairs for some more intimate amusement.

When Velu gets upstairs, Neela is waiting in the room and almost the first thing she does is ask if she can leave early to study for her exams. Velu’s reaction is as awkward and confused as would be expected and Kamal Haasan shows this in his indecision as to whether he should lie on the bed or sit on the chair as she studies. Even his hesitancy the next morning, when he’s not sure if he should wake Neela or not, nicely illustrates Velu’s more compassionate side and this is brought out again when the couple do eventually marry. Saranya is dignified as Neela, despite starting out in a brothel and she brings a very warm and sympathetic presence into the harsh reality of the slums.

P.C. Sriram makes good use of the set here as initially Velu stands in the light while the mirror shows a shadowy figure through the curtains of the bed in the darkness of the room beyond. It’s very effective and throughout the film there is a similar use of light and shadow with many shots framed by pillars, doorways or other architectural features.

The best scenes in the film are those between Velu’s son Surya (Nizhalgal Ravi) and daughter Charumati (Karthika). Surya hero worships his father just as much as do the local people in the slum, and he wants nothing more than to be like him. He stands in for his father when a member of the community comes to Velu for help and he sees nothing wrong with the life of a gangster. However Charu has a very different opinion and eventually she leaves her father after some very emotive scenes where Charu repudiates her father’s lifestyle. She feels that his style of life is entirely wrong no matter how many people he helps, and Velu is helpless in the face of her rejection. Kamal Haasan and Karthika are absolutely brilliant together in these scenes and also later on when Charu turns up later married to Velu’s new nemesis, the new Assistant Commissioner (Nasser). Charu refuses to allow her father to see his grandson in another tear jerker moment, although the most poignant scene in the film between Velu and his grandson is reserved for the end.

There are many small moments and clever touches in the film which make it so enthralling. From the joy seen at the Holi celebrations to the despair when Neela dies and her sari unravels in Velu’s hands, each scene is full of little details which add to the drama. Kamal Haasan provides much of the emotion and driving force in the film, but all the actors are excellent even in the minor roles. Tinnu Anand deserves special mention for his small but important role as Ajith Kelkar, the grown up mentally retarded son of the police officer, and Nasser is very effective in his short time on screen towards the end of the film.

Beautifully haunting music, gritty realistic scenes and an outstanding performance by Kamal Haasan make this a film well worth hunting down, and it really deserves to be restored and released with English subtitles. Nayakan is an absolute classic from Mani Ratnam, and it’s one I thoroughly recommend. A full 5 stars.

Tere Naal Love Ho Gaya

Posted on October 28, 2012 by Heather Wilson

Tere Naal Love Ho Gaya is the exception that proves the rule. You know – the one that says all real-life couples have absolutely no on-screen chemistry together. I know there are a few other exceptions out there (although mostly I’m thinking of Hema and Dharmendra films), but they’re few and far between. But here, Riteish and Genelia share an excellent rapport which makes the film much better than it sounds on paper. There isn’t anything too different in the way of plot, dialogue or even the characters but the excellent performances of the lead cast make up for a lot, with the end result of a light but entertaining romantic comedy.

Great disclaimer in the opening credits too – always good to see animal safety concerns addressed!

Viren (Riteish Deshmukh) is an auto-rickshaw driver who starts work early every morning in his attempt to save up enough money and realise his dream of running his own fleet of cars. But he makes two crucial mistakes. He keeps his savings under the seat of the auto, and he tells his boss Bhatti (Tinnu Anand) about his dream. So when Viren turns up for work and finds four cars instead of a rank of auto-rickshaws he’s understandably rather upset. In a weak moment, he drowns his sorrows in alcohol and turns up at Bhatti’s house demanding compensation for his loss just as Bhatti’s daughter Mini (Genelia Deshmukh) is getting engaged.

Mini makes the most of Viren’s drunken appearance and forces Viren to kidnap her at gunpoint in order to escape her rich but brainless suitor Sunny (Kartar Cheema). Mini is the driving force behind the abduction and much of the comedy in the first half comes from her ruthless manoeuvring of the hapless Viren to escape pursuit and demand a ransom from her father.

I’m sometimes a bit ambivalent about Genelia. I like her when she’s not in manic, hyperactive pixie-mode and there are times here where she veers dangerously close to that. But for most of the film she plays the ruthlessly selfish but bubbly and personable Mini with charm and vivacity and provides the perfect impetus to drive Viren relentlessly out of his comfort zone. I ended up liking her character more than I expected, particularly in the second half and I think that overall this is one of her better performances. She gets to pull some great faces and wear some lovely costumes, although my favourites are these pajamas covered in little flip flops.

Viren is totally over whelmed by the phenomena that is Mini and Riteish is excellent as the poor but principled auto driver whose life has been completely turned upside down. I do really like Riteish. His presence ensures that I will watch a film, no matter how dire it sounds and he’s always worth watching. I’m very impressed that he has a second career as an architect but he’s a good actor, especially in comedic roles, and, perhaps rather worryingly, he frequently looks much better than he should in a dress. As much as I love him though, he’s not really my idea of leading man material so I was very impressed that he did so well with his role here – despite a few fashion faux pas and a tendency to try to imitate SRK in the songs.

Unsurprisingly Mini and Viren end up falling in love during a rather strange drunken night at a wedding. While it’s totally predictable that the two get together, the romance isn’t well developed at all and it’s just assumed that being forced together by the circumstances is enough of a reason for a relationship. However the chemistry between Mini and Viren is convincing enough to give some plausibility to the proceedings and it’s hard to complain when they do look so good together.

The second half of the film moves to Viren’s family home where his father is the notorious kidnapper Chowdhary (Om Puri) – a man so well-known for his criminal proclivities that his mansion is called Agwaha house. But despite this clue he appears to live there quite unmolested by police or other persons of authority and is free to pursue his chosen profession as and when he wishes. Om Puri is always good value and I liked his curmudgeonly and testy Chowdhary. His scenes with Genelia are some of my favourites as she gradually wins his affection and as a result he continually increases her ransom price.

Smita Jayakar is also good as Viren’s mother and the looming presence of the silent Gurmeet Saajan as Viren’s uncle who keeps popping up in the background made me laugh more than it really should. Viren also has a sister played by Chitrashi Rawat who was better than I expected given the few brief times I’ve seen her since her debut in Chak De India. The rest of the cast are all good in their stereotypical roles but generally they don’t have much to do.

Apart from the excellent performances from Genelia and Riteish there are other good points about the film. The cinematography is excellent and Chirantan Das makes the countryside look incredibly beautiful. The interior shots around Chowdhary’s house are also well shot and there is good use of light and colour throughout. The songs by Sachin-Jigar are enjoyable, although the item number suffers from poor choreography and rather too much of Veena Malik but the music is good. The other songs are better pictured although neither Riteish nor Genelia are particularly good dancers but what they lack in technique, they make up for in enthusiasm and since they’re both supposed to be drunk in this song the lack of co-ordination may even be deliberate.

Tere Naal Love Ho Gaya is the debut film by director Mandeep Kumar and writer Abhijeet Sandhu. It isn’t brilliant, but it does have it’s moments and I found it an enjoyable watch with a very likeable cast. The whole film has a feel-good flavour and it’s a good lazy afternoon movie for when you don’t want to have to think too much. Worth watching for the excellent performances by the main leads and Om Puri’s scenes with Genelia. 3 ½ stars.

Duniya Meri Jeb Mein

Posted on June 15, 2011 by masalaaddict

Duniya Meri Jeb Mein is kind of insane. But it sneaks up on you. It starts out all about family and brotherly love and then it drags in the circus, deception, murder, amputations and revenge. God knows what inspired Tinnu Anand who directed it. It’s also another Kapoor Khazana delight as it stars Shashi and Rishi Kapoor, plus Neetu Singh.

Beth wrote this film up some time ago, and I strongly recommend the LolBolly masterpiece she created.

Karan (Shashi) lives in a spectacular house run by Mrs Robins (Nadira), the mother of his dead friend Johnny. She looks after Karan as a means of keeping her son’s memory alive, and seems to be Shashi’s only friend. He is the sole financial support for his little brother, Vishal (Rishi), who is at a fancy college and believes that Shashi is a successful businessman (he pretends he owns the house Mrs Robins works in, and borrows fancy suits).

Karan is poor but honest only not really honest but he is dishonest for the right reasons so that’s OK isn’t it?

Vishal is a top student. He turns down a scholarship as he believes his big brother will provide for him and so wants someone less fortunate to benefit. That’s a nice gesture, but it puts the pressure on Karan to deliver a scholarship to the USA. Vishal falls in love with Neeta (Neetu) in the course of a chance meeting, and they spend a lot of time sneaking in and out of each other’s hostel rooms.

For most of the first half, Neeta and Vishal occupy the romantic comedy track with support from Paintal and assorted college personnel. It wasn’t my favourite element of the film, as I found Vishal bordering on the sleazy and entitled rather than boyishly charming. He never really considered the damage to Neeta’s reputation or that he may get her expelled. It was about what he wanted and the tricks he employed to get his hands on her. Neeta didn’t have to do much apart from chase Vishal around. Rishi got a spectacular spotty shirt which I did applaud.

Karan scrambles to keep up the deception about his finances as Vishal and Neetu are engaged and her family come to meet him. In an alcohol fuelled meltdown, he tries to tell the truth but the guests, including the house owner Diwanchand (Agha), just think he has a knack for metaphors.

Yes it is all a bit complicated. Perhaps they’re all stunned by the architecture. It must have been like living inside an Easter egg with all the curved walls, and I can’t begin to describe the art collection.

Karan has been funding Vishal’s lifestyle by working in a circus. He and Rawat (Ranjeet) are trapeze artists so be warned, there will be leotards (although Shashi looks more like he dressed for cricket).

Ranjeet is hired to break into a wealthy criminals abode. His employer thinks of everything, right down to detailed building models and a training course, and it becomes clear Ranjeet needs more assistance. Or possibly a bit less Ranjeet as he isn’t terribly nimble.

Karan believes that they are breaking into the apartment to rescue a little girl. Sigh. I suppose that can be put down to being a good person, but the matching pleather pants are never explained. My DVD is terrible quality so it’s almost impossible to screencap the trapeze sequence between the buildings but it is great, especially with the cheesy disco soundtrack (thanks Rajesh Roshan!).

Shashi is betrayed and his life ruined in one swoop.

Ranjeet is hired to finish Karan off so he cannot testify, and he does seem to take to the dark side with ease. There is lurking and suspense, enhanced by dramatic lighting and camera angles. But Ranjeet isn’t a very skilful assassin, and the bed-ridden man with no legs manages to fight him off. It’s clear by now that Karan is hard to kill.

Karan sets out for justice and vengeance, which are sort of interchangeable in this film. There is a token police presence, Inspector Yadav (Sudhir), who is also out to solve the crimes. He doesn’t really add a lot of menace or suspense, but there is a law and order message in amongst all the shenanigans.

Some men might give up when faced with double leg amputation and the destruction of their dreams, but Karan is made of sterner stuff. Vishal decides to feel very hard done by. Yes, clearly he is suffering the most. In fact, everything is always about Vishal and he is quite tiresome as he feels sorry for himself, and then weepily apologises. I was especially irritated by a scene when he berated Karan for secretly working in a circus which meant that of course he was also a thief and a murderer. Not Rishi’s finest character choice. Shashi and Rishi have great rapport, and their brotherly relationship played out really well in the less fraught scenes.

Diwanchand sort of adopts the boys. While Vishal and Mrs Robins believe he is tucked up in his very stylish bedroom, Karan is really honing his sneaky carpentry skills (but how did he get the materials?). The last 45 minutes is where it gets crazy. Karan takes to the streets on his wheely board, searching for Rawat. Helen does her thing! Karan demonstrates an impressive near-vertical take-off which I put down to his circus training. Or something.

There are lingering doubts about some things. Things like why, when on the Conveyor Belt of Death, Shashi didn’t just roll backwards but you know, it doesn’t pay to overthink.

Neetu more or less disappears in the second half of the film. It’s all about the manly angst as the brothers fight about who will do the revenging, but then Neetu comes back as Ranjeet bait. There are more disguises and complicated scheming and…

The finale should be seen rather than described but naturally, evil cannot withstand a double Kapoor onslaught even if evil has a helicopter. Especially once the Kapoors stop arguing with each other.

I can’t help but enjoy this very silly film, and love that Shashi still gives a committed performance. I also enjoy seeing Vishal cop a tight slap from Mrs Robins. I would have liked a better soundtrack, especially as Neetu was underutilised and more songs might have given her more to do. 3 stars!