“Zindagi Ek Juaa” Madhuri as drug fiend!

In honor of Maduri Dixit’s birthday, first I’d like to wish her one:Ardent Madhuri Dixit fan, Gaja Gamini, from Bollywood-ish Blog, declared it Magic of Madhuri Week.  My little contributions are some shocking images of Maduri from Zindagi Ek Juaa  (1992) (Life is a Gamble)

The first image of the film is of  ye olde Central Jail, so right off you know there’s trouble. Maybe one day I’ll make it Film City or whatever movie studio houses Central Jail.

Now a bit about the film:

After saving the life of his employer, Jagjit Singh alias JJ (Anupam Kher), Harikishan (Anil Kapoor) is promoted with a wage increase that he had only dreamt of.  Anxious to please his employer Harikishan agrees to have his name changed to Harry, and does anything that he is instructed to do.  Soon Harry realises that he has been aiding his employer in illegal activities.  When he tries to break away, he is told that his mom (Asha Sharma) is and will be held captive to guarantee his cooperation.  Harry must now come up with a scheme that will guarantee his safety as well as the freedom of his mom, and at the same time save himself from being arrested by the police. (source)

But there’s so much more, and that’s the part about Madhuri’s character Juhi, called Baby by family and friends. Anil Kapoor’s  Harikishan ends up falling for the boss’s daughter when she comes back from Europe and dazzles him with her carefree performance at her birthday party.

 

Very soon after her first meeting with Harikishan, Baby/Juhi becomes the aggressor and makes her lustful feelings very clear:Harikishan is puzzled by her romantic overtures, so the Bollywood cure of the tight slap to the face is used to bring him to understanding:Enjoy Maduhuri’s dance of seduction in  Dil To Dil Hai  featuring the music by Bappi Lahiri and playback singer Ahsa Bhosle:

One thing leads to another, Juhi ends up pregnant, they get married against her father’s wishes, but Harikishan has to handle some of the illegal drug business in Hong Kong, see  you can tell he’s in Hong Kong by the room itself, all oriental in its styling, with the bonus of the awesome cordless phone:Hari’s best friend (Shakti Kapoor) tries his best to watch over Juhi while Hari’s away, but please take special note of the Whitney Houston poster on the wall, as it serves as an ominous warning to what could happen to Juhi. In case you haven’t heard, Houston has fallen on the path of drug abuse, which is the same fate that awaits Madhuri’s Juhi. Eventually she finds out about Hari’s business dealings in illegal drugs, and sends him packing right after she gives birth to their son.  Of course after telling him off she has a huge headache and at that moment, she’ s offered some medicine by an evil friend, Mr. Lal:And just like THAT she’s hooked!

So Juhi has sent her husband packing and quickly becomes addicted to her nose candy.  A police inspector  played by Suresh Oberoi goes to Juhi to find out more about what she knows about Harikishan and  notices Juhi’s addiction, meanwhile, I ignored most of that scene and just noticed this great subtitle ripe for a screen capture:

Harikishan realizes his estranged biwi has pushed him out of her life, and decides to soothe his anguish with music, but he’s shocked even more when a drugged up Juhi makes an appearance.  Staggering and stoned Juhi plays the trumpet stopping only to smoke. What an entrance!  Watch Kabhi Kuchh Khoya with playback singer Kumar Sanu,who incidently I saw in concert with Akla Yagnick  a few yers back when I was too new of a Hindi cinema fan to fully appreciate.

Watch here and at about 1:40 the drug fiend Madhuri enters.  Pay special attention for her crazy drugged trumpet playing while smoking at 2:09. When Anil’s Harikishan sees that it’s a COMPLETE buzz kill and he realizes, “I married a drug whore! My dealing of drugs brought this all about! The mother of my son uses coke!”

I’d like to bring up Whitney Houston again, who just this week was banned from Prince concerts due to her drug using antics and trying to get on stage with Prince in her altered state. Houston  has since gone into rehab.  This makes me wonder if that’s how Harikishan felt when Juhi trid to play trumptet while he was jamming with his friend in  Kabhi Kuchh Khoya. Poor Juhi did not make it into rehab. She realized her problem, made arrangements to have her son cared for: Then she goes down the self-destructive path of drug abuse.But then there’s a knock at the door!Harikishan pleads with Juhi to stop her drug use.

He leaves, only to return another time…

to find an overdosing Juhi.

What happened to Juhi?  Watch the movie if you dare to see, or ask me in the comments and I’ll tell you.  Let this be a warning to you, don’t do drugs!  Thank you for reading this post, but now, with all due respect, all I have to say is…

 Report to  Bollywood-ish blog  for Magic of Madhuri Week‘s  FULL LIST BLOG POSTS.

Vikram-ji! Many happy returns of the day!

It’s Vikram’s birthday today, and Bollystalgia! put out a call for us to celebrate worldwide by posting about Chiyaan.When India is sweltering in heat and Chiyaan is working away at various locations across the globe or in some film studio in Chennai, many a cold climate dwelling filmi fan got through the brutal winter by imagining that south Indian heroes like Vikram did our chores; from the strenuous to the more simple things, like changing our clocks for daylight savings time.  Liz from My Year of Prakash Raj organized those images at Ayoo! South Indian Heroes Do Your Chores.  Vikram did many chores as evidenced by Liz’s site, one of which was wishing me happy birthday (and doing my snow shoveling), so it’s the least I could do to reciprocate, and wish him many happy returns of the day.
 
I first fell for Vikram when Apunbindaas, the Hmong Chick who loves Indian cinema, was kind enough to send me  Anniyan (2005)  all the way to Minnesota from Atlanta, Georgia, USA.

Anniyan is the story of “Rules” Ramanujam Iyengar alias “Ambi” (Chiyaan Vikram), a lawyer who suffers from Multiple Personality Disorder. Ambi is an innocent and honest lawyer. If he comes across anyone not obeying the law, he files cases against them but all his efforts go in vain. (source)

Doesn’t reading Multiple Personality Disorder let you know already that this movie is a winner? 

It’s one of those multiple personalities that makes the film.  Once I saw Vikram’s Remo character (the crazy side of the multiple personality) that was it, I was in filmi love like never before!  Enjoy Vikram in his crazy Remo character here in the tune, Kadhal Yanai  with Nandhini (Sadha) playing the love interest and Yana Gupta as gori extra, (playback singers Nakul, Nelwyn & G. V. Prakash Kumar) and be sure to watch it all the way through so you can see Remo’s  love detector.

 Yes!

Arul (2004) also captured my attention when his passionate character went bilkul ballistic when he heard anyone engage in swearing or poor language, which he refered to as dirty talks.

Really makes you think doesn’t it?  Arul makes you want to be a better person, hai na? I liked Arul (2004) so much that I’ll write that up soon, but in the meantime head to Filmi Girl’s entertaining review of the movie HERE.

I also loved seeing Vikram in Mani Ratnam‘s Raavanan (2010) as a marvelous villain (misunderstood and surely with a heart of gold), but have yet to see him playing the good guy in Raavan, the Hindi version of the same film.  I saw  Raavanan on the big screen last year without subtitles, and now am fortunate to now be able to see it again in Minneapolis next week,  but this time WITH subtitles in English since it’s part of the 2011 Minneapolis-St.Paul International Film Festival.

Vikram speaks here about the process of filming Raavan (2010, Hindi)  and Ravaanan (2010, Tamil)  concurrently, playing separate roles, in different languages:

For more honors to Vikram on his birthday, head over to FilmiGirl in the USA, and click across the globe to New Zealand and read what Ness over at Shahrukh is Love  has to say about Bheemaa (2008).  Now head back to Bollystalgia, representing Boston, MA and Detroit, MI and every place in between to see her Happy Birthday Rampwalk Remo  post.  Huppy Burday to Chiyaan!  Now is simply the intermission until I see another Vikram film!   Until then, I feel like I’m behind bars!

What Vikram movies have you seen?  Tell me your favorites and your recommendations.  Check out Chiyaan Vikram’s website HERE.

Awaargi (1990)

Awaargi (1990) is a little tale about a prostitute with a heart of gold who is rescued from the brothel while she’s still chaste, by a goonda who also possesses  a heart of gold under his rough exterior.   This picture rolled at the film’s start and aren’t we all grateful to Hema for something?  Allow a moment to reflect…

The lead Meena (Meenakshi Shishandri) never actually becomes a full-fledged prostitute, but I like to write prostitute with a heart of gold, so let’s just leave it like that, instead of the more clumsy nearly became a prostitute with a heart of gold.  That sounds too awkward, doesn’t it?  Here’s a nice little collection of screen captures of Meenakshi/Meena as a nautch girl before the lovable scoundrel Azaad,  played by a well-mulletted Anil Kapoor, saves her from that fate.

I just loved Meenakshi and can’t believe I hadn’t seen her in more films.  I now would love to see her entire filmography and was able to find a mutual love for her at Nicki’s Hmong Chick Who Loves Indian Cinema’s blog and also at Bollywooddeewana.  Meena’s innocent past included singing at the mandir and studying music under the guidance of her music teacher father.  After a near miss at a prostitution career, Meena is catapulted toward super stardom and is half of the singing and dancing duo.  How does that happen you may wonder?  Well as it so happens, pop star Dhiren  (Govinda!) sees Meena performing in a hotel lounge singing gig that Azaad secured for her and is immediately enthralled by her.  Govinda is very luscious in this film.  How would YOU like to be the focus of Govinda’s gaze here?

Doesn’t that make your heart skip a beat? He invites her to become his song and dance partner and to go on tour with him.  She’s so nervous!  But look how he helps encourage her to go!I didn’t realize that Bollywood invented flamenco dancing until I saw this film and the song Ae Mere Saathiya featuring playback singers Lata Mangeshkar and Mohammed Aziz, with music by Anu Malik, and lyrics by Anand Bakshi.  This is proof:

This wonderful flamenco inspired number includes an impressive backdrop of chandeliers that Apni East India would covet.  It’s so hard to capture the fluid and graceful Govinda in the dance, but despite the blurred focus, these are still something to behold. Govinda and chandelier:

Meena stays with Azaad, and he begins to fall in love with her and dream of a life away from the one he’s lived as a goonda.

Ever since Azaad  has lost his drive for the goonda lifestyle,  his don, played by Anupam Kher, notices this change and tries to encourage Azaad to not lose his focus on crime.

And if this isn’t enough trouble for Azaad, now Meena realizes that she’s falling in love with Dhiren, and the Bollywood love triangle begins!Meena is aware that Azaad is the one who saved her from the fate of being a nautch girl/prostitute, so she is indebted to him and thus rejects Dhiren’s love to fulfill her perceived obligation to Azaad.   Eventually she lets Azaad know her feelings are conflicted.


Azaad finds out about the feelings Meena and Dhiren have for each other and to stop their love from blooming rushes ahead with a marriage proposal.  Dhiren falls into a sea of despair, thinking he’s lost his chance with  Meena.  Normally I see Govinda as a jolly good time guy, dancing and prancing about, but  behold the deliciously rare emo-Govinda!

At a party to announce his engagement to Meena, Azaad becomes drunk and decides to deal with his jealousy over Dhiren and Meena’s love by telling everyone that he bought Meena from a brothel.  Now that  somehow did not help smooth things over.

Dhiren is at the party, and witnesses Azaad humiliate Meena and can’t understand how she could agreed to marry Azaad.

So *spoiler alert* Dhiren goes to comfort Meena after her public humiliation and ends up (as we say in the USA) going all the way with her during the time that Azaad is sleeping off his drunkness.  When Azaad wakes up, his friends tell him about what an idiot he was at the party and he goes to look for Meena to apologize.  Remember, Azaad is a goonda, savvy to the ways of the world, so when he sees a clue like this…

Now you are most likely not a goonda, and perhaps a bit more naive than Azaad, so I’ll help you out with a clue.  Look beyond that bottle of Johnnie Walker on the table, and take a closer look at what Azaad sees…

That’s right! Lipstick on the glass, a glass that is emptied of its Johnnie Walker red liable whiskey! Which can only mean *spoiler alert* that Meena and Dhiren went all the way! Meena tells a Azaad something like, yeah I slept with Dhiren, and!  Then of course the fight begins over her love and a love triangle Bollywood brawl begins.

How does it end?  I’ll let you guess!  The entire movie has been uploaded to YouTube with English subtitles HERE so if you need to know who ends up with who, give it a watch.  Have you already seen this film?  If so, tell me what you remember.  Now before I leave, I have to share with you that Awaargi had so many instances of Johnnie Walker bottles, that felt obliged to make a visual record of it.  Some bottles are red label, others are black label, but they all show up in scenes here that warn of trouble brewing. Let this be a lesson to you: When you see a Johnnie Walker bottle in a Bollywood film, trouble is not far behind.

Now just LOOK and how lucky this shot is!  It includes BOTH the Johnny Walker bottle and a threat of the tight slap in the same shot!  These of course are two of the things I track in all Bollywood films, so for this reason, I say Awaargi is a classic, because I really don’t take a Bollywood film seriously until I see a tight slap, or at least the threat of one, and a bottle of Johnnie Walker.

Lagaan: Elizabeth, More Than Just A Gori Extra

Elizabeth (Rachel Shelley), She’s more than just a gori extra.

With the encouragement of theBollywoodFan, I decided to contribute to his Lagaan Week to celebrate the 9th anniversary of the release of the epic film.  In order to develop something that would resemble a worthwhile blog post, I knew I had to re-watch Lagaan, since it had been a couple of years since I’d last seen it.  It was my third time seeing Lagaan, and I enjoyed it even more than I did the first 2 viewings, which I believe speaks to the quality of the film.  In case you don’t already know, Lagaan is about Indian villagers challenged by some British imperialists to a game of cricket, and if the villagers win they would not have to pay the Brits the unfair land taxes, known as Lagaan.   Captain Andrew Russell (Paul Blackthorne) is a one-dimensional scoundrel, and this cruel man offers a wager he believe the Indians will never win.  His naive, yet kind-hearted sister, Elizabeth (Rachel Shelley),  arrives to India and begins to take in the scenes with a curious and open mind.  I love seeing  white people pop up in Indian films, since I can pretend they are me!  I can also think  hey, I can one day break into the Indian Film Industry, see, there’s a white person too! So with this delusional thinking, naturally I was fascinated to see Elizabeth.

Despite not knowing Hindi, she quickly sizes things up and all too soon she witnesses her brother’s  maniacal ways.

I do enjoy seeing the word “Whitey” it the subtitles, so I show it to you a lot in this post, here’s a start:

Lagaan (2001) is the movie that taught me about cricket, a little game I’d previously called gilli danda back in my village in India.

Wait, sorry, no village, no India, I keep loosing track that I’m from America and am not Indian, please pardon me.  When I was in contact with theBollywoodFan about Lagaan week, I said I’d like to take the angle of writing about Elizabeth (Rachel Shelley), the gori extra since I’m always making note of my white sisters surfacing in Bollywood films;  theBollywoodFan, wise beyond his years, calmly replied, “She’s more than a gori extra,” and I realized he was right!  She is more than your typical gori extra, she not only plays a bigger role, but she also serves to bridge the cultural gap between the different groups, and helps us think, Hey, wait just one minute, not all these Britishers are so bad after all.  When the villagers are watching the game of cricket, Bhuvan ends up catching a ball out in the field which leads to a confrontation with some of the British players, that ultimately develops into the bet being made over the cricket game and the land tax.

Elizabeth realized this bet is unfair since the villagers are sure to lose a game they don’t know when pitted against people who have a full understanding and longtime experience with the game, not to mention endless leisure hours to play since the Indians are toiling away to make them rich.  She sets out to try to right her brother’s wrong by helping the villagers understand the finer points of the game.

So the teaching and leaning begins…

Recruitment: Initially Elizabeth teaches a small group the game, but there’s still the obstacle of establishing a full team who will be up for the extreme challenge.  Finally a diverse group of people are gathered from the village and surrounding areas since they have a common interest in eliminating the unfair tax by their common enemy, the British.

I learned all I need to know about cricket here:

Jealousy: Gauri (Gracy Singh) is a young village woman who has her eye on Bhuvan so it follows that she starts to get concerned about all the time he spends with the white memsahib.

Cultural exchange: Elizabeth helps to teach some of the finer points of cricket to the villagers, and in turn Bhuvan teaches her something about the Hindu legend of Radha & Krishna.


Elizabeth is enamoured by the festival and is even further taken in by Dandiya Raas number  Kaise Na Jale with music by A.R.  Rahman, playback singers Asha Bhonsle,  Udit Narayan, Vaishali.

Confession: As it turns out, Gauri wasn’t far off on her women’s intuition because Elizabeth, who has managed to learn Hindi in a few days, confesses her pyaar love for Bhuvan.  Luckily she’s able to save face since the part where she really lays it on the line is in English, so Bhuvan doesn’t understand, yet I think he may suspect it.

Fantasy: The tune O Rey Chori,  (playback singers Udit Narayan, Alka Yagnik, Vasundhara Das) includes Elizabeth’s fantasy of what it would be like if Bhuvan was in her British world, or if she was in his Hindustani duniya.


Elizabeth is caught: A double crossing villager with an ulterior motive  informs Captain Russell that his sister is helping the villagers to learn cricket.  With shame, I admit I did find Captain Russell quite handsome, despite his evil deeds. Do you?

If I can answer for Elizabeth here, I’d tell her brother that it would be the delicious food and the Indian Film Industry that would allow her to turn against her brother, but I suspect she may say something about the cool Dandiya Raas dances and doing the right thing in the face of injustice.
The BIG Game: The stakes are high, and Aamir Khan’s Bhuvan conveys this beautifully here.  I believe Khan is very talented and expressing emotion through his eye, and this is a perfect example. Dekh!  I bet you’re even crying looking at the photos.  I am.



Elizabeth watches the game, worried about the outcome, rooting all the while for the villagers.  I suppose in Indian English one would say she was chewing her brains and taking much tension isn’t it?  In case you haven’t seen Lagaan and don’t know the outcome of the game *SPOILER ALTER*

There are winners and losers. Elizabeth sees the joyful embrace between Bhuvan and Gauri at the end of the match, and instantly understands that her fantasy will never be a reality.

Bittersweet ending: She can’t have Bhuvan, but she can play Radha to his Krishna.

Finally, you may be wondering how all those gori cheerleaders made their way to India, and I’m here to tell you that  Bhuvan and Lagaan are the reason.  When Elizabeth returned to England, she started the  first cricket cheerleading squad, and there after tradition has held that all IPL cheerleaders are to be white only.

And speaking of Lagaan and the IPL, Did you see A. R. Rahman perform at the 2010 closing ceremonies?   

After exploring the part of Elizabeth in Laagan, I am tempted to do a series on the pantheon of gori extra patron saints of Bollywood.

My personal favorite is the character Christina ( Barbara Lindley) from  Purab Aur Paschim (1970).

Opps! sorry, she’s been objectified as only a gori cold be, let me get a better picture of her….Ah, here, that’s better!

And then there’s Katherine (Antonia Bernath) in  Kisna: The Warrior Poet (2005)-yeah, I admit I saw it! So WHAT!?!

Sue McKinley (Alice Patten) of Rang De Basanti (2006); and most recently Sarah (Sarah Thompson) of Raagneeti (2010).

And like all good Bollywood films, allow me to leave you with some inspiration, courtesy of Bhuvan…and the moral of the story is:

This post was so long, time to roll the credits…

For more on Third Annual Lagaan Week: Ninth Anniversary Special, click over to theBollywoodFan-ji’s blog.

Dayavan (1988) The Khanna-o-Rama that is Vinod

In honor of Beth Loves Bollywood’s international Khanna Family initiative to celebrate all film industry Khannas, Khanna-o-Rama, I would like to contribute a little write-up on Dayavan (1988).

 

It starts out with poor little orphan, Shakti Vellu, aka Dayavan (kid version of Vinod Khanna) ending up witnessing his dad being unjustly murdered by some corrupt police.  He has to flee his southern home and hide in Bombay for safety only to run into some punks on the seaside who try to beat and rob him.  During this fight, Dayavan runs into a little ruffian, Shanker (kid version of Feroz Khan), who is impressed by Dayavan’s fighting skills,  flair, generosity, piety, all that good stuff , which to me are the personality traits I want to believe the Khanna’s  (Rahul, Akshaye, and Vinod) posses in real life, don’t you?  OK, real life, whatever, back to the movie.  Dayavan sets Shankar straight about his true inner badass nature, for within the composed orphan, lies a heart capable of murderous rage with he witnesses injustice!

I am too lazy to get into retelling you the plot of the film, so here’s a synopsis to suffice and then I’ll skip to the parts I liked best.

After having witnessed his dad being killed by the local South Indian police, and being orphaned and homeless, Shakti Velhu develops a hate, and distrust of the police in India. He is befriended by another homeless boy named Shanker, who asks him to accompany him a slum in Bombay, where they live with a kind-hearted Muslim named Karim Baba, and his daughter, Shama. This is where Shakti and Shankar spend their childhood. When they mature, they take to petty crime. Here too, Shakti witnesses police brutality and atrocities, especially at the hands of sadistic, alcoholic, and womanizing Police Inspector Ratan Singh. When Karim Baba is arrested, jailed, and found hanging by his neck in police custody, Shakti hunts down Ratan Singh, and kills him in broad daylight in front of the several hundred people. An investigation is launched, but no one comes forward as a witness. Thus Shakti gets his reputation as a Don with a good heart viz. Dayavan. Shakti marries local prostitute, Neelu, and has two children, Suraj and Sarita. He becomes even more powerful and influential all over Bombay, and his working partners are powerful criminal dons who have ruled over Bombay for eons. Shakti eventually replaces these dons, and becomes Bombay’s only Don. This creates enemies for him and his family, but he believes since he has not really done any harm to anyone, he and his family will be safe. It is this belief that will take a heavy toll on his life and that of his family, when the truth dawns that he, himself, is responsible for being kind to a man, who will ultimately bring forward ruin to the Velhu family. (source)

Fast forward from their childhood to adulthood still in the slums, think Slumdog Millionaire, except in this case the two guys stick together and have a life long bromance.  Check out one of their bromantic escapades here:

There’s the supreme policeman villain there to push Dayavan’s buttons, talk about a corrupt dude!  Inspector Ratan Singh (Amrish Puri!)  harasses the slum dwellers, especially a spicy widow played by Aruna Irani.

As a spinster, I’ve managed quite well for very long without a husband, Amrish-ji, I mean Inspector Ratan Singh.  When the evil cop is not harassing widow Aruna, he  lies about with the courtesans of the slums drinking hooch.

Enter Khanna hero, Vinod, who witnesses the harassment of the widow and breaks into a justice fueled fury, and executes a beat down on the inspector.

Haughtiness intact!  Yet another trait I image the Khanna’s have in real life: intact haughtiness under adverse circumstances.  Then after the severe police brutality takes its toll on Dayavan’s body, enter Shankar, to comfort him. Take in the splendor of the bromance:

How do you cheer up your buddy after an assault from a crooked cop?  A night out at the local brothel of course!

The tune I liked most from the film was Kahe Saiyan Teri Meri Baat with playback singers Ahsa Bhosle and Kavita Krishnamurthy (music by Laxmikant-Pyarelal, lyrics Aziz Qaisi). I couldn’t find the video separate from the film, so to see it go to 2:30 in the clip below to see the greatness.

Shankar teases Dayavan about his lack of experience with women and arranges for him to have an overnight stay in a room at the brothel, if you know what I mean.  Dayavan uses the room to sleep off his night of drinking and is awakened, as is so commonly the case, by the innocent prostitute, who is quietly, yet intensely studying for her exams.  He gives her money to continue her studies, and leaves her untouched.  Now doesn’t this remind you of the class and flair of what you’d imagine the Khanna’s to be like in real life?   Anyway, I suppose I mentioned just then that Madhuri Dixit was in the film  and I found it a waste of her talent  since she really didn’t dance too much and her role was too brief.  Kya waste hai! Here’s a taste of her dancing in a Holi number.

I don’t like seeing other people kissing, since it’s so private, so Hindi movies are perfect for me.  Dayavan has a famous kissing scene between Madhuri and Vinood,  in fact if you google videos for the film, the kissing scene is most prominent and you can see it here if you’re inclined.  If you watch it please make note of how unconvincing Madhuri’s hands are in the scene, which reveals to me she was not comfortable filming it. I mean wouldn’t most women have more gusto in their grasp if sharing a moment with Vinod Khanna?

Let’s end with a few more memorable screen captures & subtitles from Dayavan:

Double point for me here, since the screen cap includes a subtitle with dacoity (which is even better than dacoitery in my book) and a lone bottle of Johnnie Walker black label, which is obviously better than red label, isn’t it?  Look at Vinod Khanna’s intensity here when someone comes to him to get justice: Did I mention that Feroz Khan is in the movie?  Seems like I’ve ignored him, but here he is, handling business!

And handing out a little vigilante justice, which I know chandelier connoisseur Shweta will enjoy:

During the course of the film, Dayavan’s daughter  (Amala)avoids him due to his illegal work, and ironically she marries a police officer  played by Aditya Pancholi,  who is cheated, since she declared herself an orphan.

I don’t think there’s anything wrong with declaring ourselves orphans now and again. Dayavan is a remake of the Tamil film called Nayagan (1987).  Have you seen the movie in its original Tamilian form? I want to see it now in its pure form!  Since I’ve  focused on Vinood Khanna here,  I must throw a bit of attention on his sons, Rahul and Akshaye, to balance out my Khanna-o-Rama contribution.  I will ask you the ask the  timeless question that Briyanshu posed: Rahul or Akshaye? HERE’S THE ANSWER.  Now I command you to click on this feast of Khanna-o-Rama blog posts to fulfill all of your Khanna Family desires.

Ram Jaane (1995) featuring a mini SRK tribute.

I love a good orphan film, and there’s not much more I can say about Ram Jaane than hasn’t already been said so well by Fortune City and Post Punk Cinema Club, but I can show you some of the parts that I really enjoyed.  Just look at the cool movie poster from the film with bloody fisted, red headband wearing SRK and I think there’s ample evidence that this is a good film.

Ram Jaane (1995) translation: “Ram Knows” or “God Knows”) is a 1995 Indian Bollywood movie directed by Rajiv Mehra about an unnamed kid (portrayed by Shahrukh Khan) who grows up to become a gangster. He uses the name Ram Jaane after meeting with a priest who in response to the kid asking about his name said “Ram Jaane” (God knows). The movie ranks the 8th highest grossing Hindi movie of 1995 and is also the fourth time Shahrukh Khan is playing a negative role after BaazigarDarr and Anjaam. (source)

So here we start with a feisty young street lad, Ram, who meets his childhood companions who he continues to befriend into adulthood.  Prior to being named Ram, short for Ram Jaane, he was known as Footpath.

Eventually he becomes officially known as Ram Jaane.

He’s a small time hustler with lots of style, the bad boy you can’t help but love.

Sometimes his goonda living and dacoitery catches up with him and he lands in the clinker, and he suffers and bleeds from the mouth, which is something that I firmly belive King Khan does better than any actor!  Dekh:

One day I’ll do a post on a collection of SRK screen captures from various films where he bleeds from the mouth. Devdas would have some good mouth bleeding  material, na?  The story has the love triangle plot between the 3 life long friends.  After a bit of jail time, Ram reunites with his childhood pals Murli (Vivek Mushram) who helps the street kids, and Bela (Juhi Chawla).

Ram falls for Bela, but realizes that his pal Murli also loves Bela, or is it Bela who loves Murli, details.  Either way, Ram Jaane becomes a tad jealous and insecure as a result of this situation.  He begins to question his self worth.

Ram eventually is overtaken by what the viewer may think is blind rage and he roughs up Bela, and eventually gives her a tight slap to the face, which he immediately regrets.

BUT, but, but did he hit her out of a jealous rage? Did he hit her because of his inability to soothe his own psyche independently of his love object?  Nahin!  As it turns out he hit her out of love, because he knew his friend loved her and by hitting Bela she would turn to Murli for love.  Problem solved!  Hey, I’m not saying it’s a good idea, but it worked.  Now clear your mind from the disturbing image of SRK’s character being violent with his love interest, and enjoy the title track from the film Ram Jaane with playback singers,  Alka Yagnik,  Sonu NigamUdit Narayan, and music by Anu Malik.

A while back I did a post on B.Rohrer’s SRK Fantasies in which the artist pays tribute to SRK in a series of creative pieces.  Recently I was lucky to run across another such creative fan on youtube and Breaking Free of the Box has taken things to a whole new level with this video tribute to Ram Jaane.  How can my humble collection of screen captures from the films measure up to the devotional nature of Breaking Free of the Box‘s work? It can’t, so now, I’ve saved the best for last so sit down and get ready to be entertained.  In the words of Breaking Free of the Box:

Here’s a miniature tribute to Shahrukh and Juhi . . . Let’s hope that someday they make another romantic film as intense as their earlier ones. . . Enjoy!! (source)

Did you notice the Central Jail on the mini set?

To wrap things up neatly as Bollywood so often does,  let’s take a moment to empathize with our film’s orphan:

Let’s now go on to be uplifted by the orphan, who has been enlightened through his suffering, only to go on to inspire us all!  Jai Bollywood wisdom:

P. S.  Due to heavy international pressure from the blogging community, and to avoid further mutiny from blog commenters, I must make mention of SRK’s style of wearing a suit jacket without any shirt underneath (think of the ring around the collar!) in the film and link in the song Pump Up the Bhangra.  Thanks readers for keeping me on my toes! Now pump up some bhangra!

Fiza (2000)

Fiza (2000) is concisely described at IMDB here: In 1993 Fiza’s brother disappears during the riots in Mumbai. In 1999 Fiza is tired of waiting and goes looking for him. But there’s a little more to it than this, since when he’s gone he becomes a TERRORIST!  And this makes me think, can I write the word terrorist without being put on some kind of a watch list?  I’ll let you know.  I suppose the movie’s poster hints at what happened to the lost brother.

Fiza (Hindi: फ़िज़, Urdu: ﻓﻀﺎ) is a 2000 Indian film written and directed by Khalid Mohammed.  The film stars Karisma Kapoor, Hrithik Roshan and Jaya Bachchan. Although the film failed at the box office, it was well acclaimed by critics. Originally Amitabh Bachchan and Shahrukh Khan were supposed to have cameo appearances, but their scenes were removed due to considerations about the length of the running time. The film is about Fiza (Karisma Kapoor), whose brother, Amaan (Hrithik Roshan), disappears during the 1993 Mumbai riots. Fiza and her mother Nishatbi (Jaya Bachchan) desperately hold on to the hope that one day he will return. However, six years after his disappearance, Fiza, fed up with living with uncertainty, resolves to go in search of her brother. Driven by her mother Nishatbi’s fervent hope and her own determination, Fiza decides to use whatever means she can—the law, media, even politicians—to find her brother, which brings her into contact with various characters and situations.  When she does find him, to her horror she sees that he has joined a terrorist group!!!!! (source)

One of the first gorgeous songs in the film is Piya Haji Ali by A.R. Rahman (who will be embarking on a world tour this year) which plays as we see the stunning views of  Haji Ali Dargah Mosque in Mumbai. All the music from the film is composed by Anu Malik.

The Filmfare for Best Actress went to Karisma Kapoor, and Best Supporting Actress went to Jaya Bachchan for their performances in Fiza. I always enjoy the intensity Karisma Kapoor brings to her characters, and for my tastes, the more hysterical the better!  Kapoor has plenty of opportunities to be her most animated and outraged best in portraying Fiza.

Fiza is fietsy and surly as it is, but she’s put on edge even more than usual since the ’93 bombings, and the fact that her brother has mysteriously vanished.  Her mother (Jaya) processes her grief over her missing son differently than Fiza and she’s trapped somewhere between denial and faith, but Fiza’s frustrations are manifested in her acting out more than is acceptable for a nice Muslim girl.  Her mom gently warns her about this…

Fiza sometimes goes out to the club and on one occasion she seems to attempt to pick a fight through a dance. It’s been a while since I’ve seen the film, but I’m sorry to report that I think this was a girl fight over a guy.  I hate to see the ladies stoop so low, but hota hai.

Here she is in the club about to show her dance/fight moves. It’s like she’s a hybrid Capoeira master, Bollywood style. It’s one of those item numbers that makes you think What on earth am I watching and why? In other words the type I love most! Not a lot of people know this, but I choreographed this number:

Fiza has a fiery personality as it is, but too often she is pushed to the limit and her very sharp tongue and tantrums are justified.  There are some scoundrels who follow her making lewd comments and generally sexually harass her;  as they say in India they are eve teasing. Isn’t that a crazy term, twisting the fault back to the woman?

Idiots!  They go to a further level at  taunt her with threats of throwing some acid at her.   Look how casually these n’er do wells toss up the acid bottle here:Well, boys will be boys afterall, (kidding) and nobody messes with the Fiza, and she just snatches the  bottle of acid, taking control of the situation!

If Fiza can speak her mind in the face of extreme harassment, have cool nightclub dance challenges, can’t she go to infiltrate some top-secret terrorist group to try to find her missing brother? YES SHE CAN! So she sheds her salwar kameez and puts on her polar fleece jacket, some acid wash jeans, and her backpack and heads Kashmir or where ever they train terrorists, to handle things! Does she have time to buy a puppet?  NO!

After slipping on her high waisted, acid wash jeans, Fiza happens upon Shusmita Sen grooving out to Mehboob Mere, with playback singers Sunidhi Chauhan and Karsan Sargathia.  I was listening to  Curry Smuggler’s podcast last week, and they made reference to the film, which reminded me that in my ever-growing backlog of movie screen caps, I had several images from Fiza.  This was reminder enough to help get to posting about it. It’s the eclectic mash-up of  Mehboob Mere with Slave 4 U by Britney Spears (which was based on Nasty Girl by Vanity 6 ) that reminded me to do this post.  You can find that HERE: episode 2 track 4.

Fast forward to find that Fiza locates her radicalized brother outside of a gift shop.

Fiza brings her brother back to Mumbai, but he’s different, sort of stressed out and tense since he’s an undercover terrorist! Mom tries to help him out by taking him to a relaxation/friendship group in the park called the Ha Hi Hi club, lead by Johnny Lever. I think a better naam for the club would have been The LOL club.

I hope you’ve enjoyed some of the more peculiar screen caps I found from Fiza and I’d love to hear about your impressions and memories of the film.  I will always take a screen cap when I see the word melodious, so I’ll leave you with this one from Fiza:

Mera Gaon Mera Desh (1971) or Sholay Lite

As part of Beth Loves Bollywood‘s international mandate,  7 days of 70’s, a week-long festival of any and all things 70’s from Bollywood, I offer to you my readers, Mera Gaon Mera Desh (1970) somehing I like to call Sholay Lite!  
 


This film is a delightful mix of  some of the 70’s most delicious masala staples: orphans, dacoits, bandits, dancers, damsels in distress, amputated limbs, music by Laxmikant-PyarelalAnand Bakshi as lyricist,  playback singing by Lata Mangeshkar and Mohammad Rafi, and starring Dharmendra, Asha ParekhVinod Khanna, Laxmi Chhaya, and Jayant.

Now let me take you on a visual walk through Mera Gaon Mera Desh.  We start with Ajit (Dharmendra) as a pick pocket, caught and put on the stand, explaining his fate to the judge and jury…

Ajit gets a chance after serving a light sentance to start over in a small village to where he’s been summoned by  a one armed Hawaldaar-Major Jaswant Singh (Jayant).  Ajit carries a coin that he flips to help him make major life decisions, and it flipped to the side that made him agree to go to the little town. But why?  Why would the one armed man want orphan?

Maybe to help him with some farm work.  That seems to be the reason. Then Ajit hangs out partying with the villagers, and Jayant’s character doesn’t like this and dekh what happens:

Such ugliness! Such mean words!  That’s the limit!  So he tells Ajit to leave, but then has to change his mind:

Enter bad guy, dacoit, and bandit extrodinaire, Thakur gone bad, Jabbar Singh! I’m telling you Vinod Khanna was delicious in this part.  Look at the sideburns and the scoul on his face. Hot!

So as it turns out, the one armed guy sought Ajit for the village (gaon) not for farming alone, but instead to take the lead in fighting off the band of dacoits who have long been terrorizing the villagers. Luckily Ajit finds a double agent in Munnibai (Laxmi Chhaya) who was sent by Jabbar to find out about Ajit, but ends up falling for him instead.

Munni does her spy duty, finds out what’s going on in Jabbar Singh’s dacoit camp and reports back to Ajit.

Ajit informs the authorities, Munni’s mom get’s upset at her indiscretion because like all villagers she rears the wrath Jabbar Singh and his bandits.

In the song, Hai SharmaonLaxmi Chhaya‘s character alerts Ajit to what disguises the bandits are wearing to the fair so that he can catch them.


After some of his men are captured by police at the full moon fair, Jabbar Singh suspects a traitor among his flock and conducts a threatenging interrogation fitting a bandit.

Thing get a wee bit misogynistic.


Meanwhile, back in town, Asha Parekh’s character, Anju, freaks out when Hawaldaar-Major Jaswant Singh (one armed guy) is killed by the bandits. I love it when Asha breaks down. She of course needs a tight slap to the face in order to get a hold of herself.  To make matters worse, now poor munni is thought by Ajit to be responsible for the bandits’ attack on the gaon village.  So she’s once again subject to some man handling, and once again, things get just a tad mysoginistic.

Oh no he didn’t!  Ajit can verbally abuse her, choke her, shake her, and shove her down into the river two times, but what sets her over the edge is that he doesn’t understand that she did not betray him, and that she loves him!  He pushed her over the edge in so many ways, and now look at the face of a woman scorned! DEKH! LOOK AT IT!

Jabbar Singh cointinues with his dacoitery and kidnaps Anju to lure Ajit into his evil den, where he proceeds to tie them up for torture.  Any chance I get to screen cap a scene with the word enmity in it I do, so here:

NOW here is the scene and song that compelled me to see this film in the first place: Maar Diya Jaaye Ya Chhod Diya Jaaye, Bol Tere Saath Kya Sulook Kiya JaayeRaj and Pablo, the charming and lovely radio hosts of BBC Asian Network’s Love Bollywood,  posted this video from the film on their Facebook page. It starts off with Dharmendra tied to a pole getting slapped in the face, and that was only the beginning of this outlandish number, featuring him, Laxmi Chayya and Asha Parekh.

Spoiler moral message ending alert! In the end the lesson is learned: The village must take responsibility to self govern and not rely so heavily on the government, meaning it’s a joint effort, but this effort must first begins at the grassroots level.  As it’s said it takes a village to raise a child, and in this movie, it takes a village to eliminate a dacoit. So now that title makes more sense: Mera Gaon Mera Desh = My Village My Country.

EXTRA CREDIT:  Here’s why Mera Gaon Mera Desh can be called Sholay Lite

Since Asha freaks out so beautifully, I shall end on this note:

Check out all the other groovy 70’s week posts HERE and HERE.

Happy Birthday Pran!!!

Happy Birthday Pran!

What a perfect time for you to stop over to:

PRAN – The legend of Hindi Cinema: A Glowing Tribute to the “Villain of the Millenium.”

Born on 12th. February,1920 at Delhi, Pran is endowed with a super intellect and equipped with the natural gift of an artist. He is generous, noble, emotional and a sensitive soul. Refined and cultured in his outlook and habits. he commands the highest respect and is loved and admired by everyone. (source)

The site is a shrine to the  extrodinary  villain and has a lot of great information and a comprehensive photo gallery of Pran.  I am particularly fond of the paintings of Pran.

To honor Pran on his birthday, I offer my visual gift of screen caps of the villain, a little something I like to call…

Pran aur Flask

I first fell for Pran in Zanjeer (1973), but since he was a nice guy in that it doesn’t quite count.  I also loved him abandoning /losing his children, toting that box of gold around,washing shoes with whiskey, etc. in Amar Akbar Anthony (1977).  It is as the pure villain where Pran really shines, innit?  I adored his arrogance in Brahmchari (1968) and his cold, cold heart in Purab Aur Paschim (1970). Now duniya, tell me, what are your favorite Pran films? When did you first fall in love with Pran and why?

Pran’s website states:

Send letters to your favourite Actor on this address

Mr. Pran Sikand
7th Floor, ‘Eden Roc’ Building
25, Union Park, Khar
Mumbai 400 052

It’s too late to get him a birthday card on time, but I may just send him a little greeting telling him how much I adore his work.  Maybe you will want to as well.   Now let’s party with Pran for his birthday:

Yes Pran, it’s me Suzy (aka Sita-ji) and I do really love you!

Read a bit more about Pran HERE and watch a video of him in his home from 2008 where he’s looking fantastic, feeding his dogs some biscuits.

Ram Aur Shyam (1967) and the Dramatic Birthday Party!

Let me start off by announcing it is my birthday today so it’s fitting to share with you my favorite birthday scene (so far) in a Bollywood movie.

Ram Aur Shyam (1967) stars Dilip Kumar in a double role-playing identical twins separated at birth who know not of each other until they unwittingly switch parts and their worlds collide. Kumar’s Ram is  a  timid dimwit, reminding me a lot Anil Kapoor’s  parts in Beta (1992), and  Yuvvraaj (2008); and Shah Rukh Khan’s part in Koyla (1997). Here’s Dilip playing his special needs Ram part.  Can you tell he’s slow here?

Ah, they’re all confused by Shayam acting so much unlike Ram, and we all know the cure for this, the tight slap, as suggested by Mumtaz here:

OK, let’s get the synopsis out of the way so I can get to the good stuff.

 Ram Aur Shyam is a 1967 Indian Hindi feature film, directed by Tapi Chanakya. Its producer B. Nagi Reddy previously produced Ramudu Bheemudu, a Telugu film starring N.T. Rama Rao, in 1964; Ram Aur Shyam is Nagi Reddi’s Hindi version. Ram Aur Shyam has music by Naushad and lyrics by Shakeel Badayuni, it stars Dilip Kumar (in his first dual role), Pran, Waheeda Rehman, and Mumtaz. The theme owes its origins to Alexandre Dumas, père’s story The Corsican Brothers: twins separated at birth who grow up with very different temperaments and then exchange places, leading to the villain being taught a lesson. Like The Corsican Brothers, which has been adapted into several feature films, Ram Aur Shyam has inspired remakes in Hindi movies too, with Seeta Aur Geeta (featuring female twins, played by Hema Malini) in 1972; Chaalbaaz (starring Sridevi) in 1989; and Kishen Kanhaiya (starring Anil Kapoor) in 1990. (source)

I have a filmi friend who jokes about Hindi movies saying, “and there was a wedding,” which is funny because isn’t there a wedding in 75% or more of all Indian films?  The Indian social system is glued together by marriage,  from the joint family system, to the industries that profit from the actual wedding functions themselves, so of course weddings are part of the movies because they’re so much a part of the culture. Yet nearly as often as the weddings are part of the films, I’ve noticed there are a lot of parties in general, and in particular birthday parties, the singing of  huppy burdhay tew ewe, and birthday cakes!  I love a good birthday cake!  Since it’s my birthday today, please indulge me and allow me to focus on the birthday section of this film, complete with some Bollywood balloons.

The Dramatic Birthday Party of Ram Aur Shyam go like this: The party for Shyam’s  niece, Kuku (Baby Farinda) begins, (except it’s Ram pretending to be Shyam): giant birthday card, huge cake, many guests…

Enter deliciously evil daddy of birthday girl, Pran, demanding silence. Khamosh!

Cute daughter approaches him and offers him some of her birthday cake:

It’s Pran, so you can guess what he does, right?  He slaps that plate right out of her hand on her birthday, in front of everyone! Look at her cry!

Oh no he didn’t!  Oh yes he DID!  Enter fake docile Shyam, lekin it’s really badass Ram:

Ram/Shyam picks up the cake from the floor…



then shoves it in Pran’s mouth! Can it get anymore dramatic and filmy than that? YES IT CAN! Because DEKH!  In this photo there is a Bollywood hat trick of:

  • a chandelier
  • grand central staircase
  • Bollywood balloons

Technically it’s even better than the hat trick, since it’s also a birthday party, with Pran, and a cake. Start watching at the 6 minute mark in order to see this wild scene take place.

Is the birthday ruined from this drama? Nahin!!! Enter Ram/Shyam with some more balloons and a happy song.

All is saved by a fantastic song and all the kids dancing to Aaye Hain Baharen Mite Zulmo Sitam by Mohammed Rafi.

Here’s one more Bollywood chandelier from the film for chandelier specialist, Shweta at Apni East India Company:

OK, the party is over, so I’ll just add that all the wacky mix ups and drama end with a double wedding ceremony for Ram aur Shyam, but this isn’t quite a spoiler alert, because I bet you can’t tell Ram from Shyam in these photos.

Wandering around the web, I found this great blog review of the film at Ranranbolly as well as one by the intellectual gold standard of all things filmy HERE at Philip’sfilums.