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Posts Tagged ‘Nirupa Roy’

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.

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I had originally tried to order Aaina (1977) from Netflix, but got the 1993 version of Aaina instead, which I reviewed HERE.  I eventually did get the 1977 version of Aaina that stars Mumtaz and Rajesh Khanna.  I would not be tricked by Bollywood’s duplicate titles and miss out on my original plan to see the 1977 version!

Shalini (Mumtaz)  is a poor yet happy brahmin girl who spends her time laughing and smiling, despite her  family’s poverty.  Ashok (Rajesh Khanna) and Shalini like each other but are from different castes.  They tease each other and have a lot of fun, but ultimately they come to understand that society’s norms will keep them apart.

When Ashok notes that Shalini’s only sari is worn to the point of having holes, he buys her a new one.  Shalini’s mother (Nirupa Roy) lets her daughter know that she can not accept this sort of gift from a man because it would be shameful for the entire family.  I love how this lesson of  family honor is filmed with the characters on either side of the worn sari:

Things continue to worsen for the family when the dad’s evil sister, Janki (Lalita Pawar) comes with her daughter to live with the already financially stressed family.   Janki doesn’t do a thing to help out, in fact she just spends time going to frivolous Bollywood  movies and gossiping.  When Janki finds one of her starving nephews begging for food she fails to understand that her taking money to go to the movies has caused the problem since that money would otherwise go for food for the children. Then Shalini finds her mother one night mixing poison in with the food so the she can poison the family out of their misery.

The next obstacle is that one of Shalini’s brothers wants to go to medical school, so in an attempt to get a recommendation to insure his entry to the program, Shalini travels to the big city. She stays with some friends of the family in the a home with a large central split staircase, so often seen in Bollywood films, hai na?

Shalini’s connection to try and get the recommendation for her brother’s entry to medical school is a fraud, and the situation ends with her being raped, as represented by a mirror aaina being broken.  She then hears of another person who can help her get the medical school recommendation, who invites her home to meet his wife.

But the wife is not there, only her picture is on the wall, and this powerful man has the same nefarious interests in Shalini as the man who first violated her.

So this is how Shalini, a young Brahmin girl, eventually turns to prostitution to support her family. One night she’s enjoying the company of a client, and he discovers that she’s Brahmin like him.  Note the symbolism of the mirror aaina on the wall saying hey, why don’t you look at yourself first yaar, before you point any fingers.

Shalini points out the ridiculousness of his hypocrisy and returns his tight slap to her face with one to his face.  Ironically, later in the movie when Shalini returns home to pay for and attend both her sister and brother’s weddings, who turns out to be the groom for her sister?  Not to spoil things, but it’s this creep here!

I learned from Suhan, a commenter on my 1992 Aaina post, that Laaga Chunari Mein Daag (2007) pulled from the 1977 Aaina.

This one comes out smelling of mothballs, like a wedding dress stored for decades in an attic trunk. Not surprising, since the plot is vintage 1977 from Aaina, and the 1995 Marathi film Doghi. (Hindustan Times).

If you’ve seen LCMD, perhaps like me you remember once Rani Mukerji became a high class call girl, she lived in a super deluxe apartment in Mumbai.  This was the only shot of that apartment I could find, but you get a general idea of its sleek, modern look.

Like Rani Mukerji’s character in Laaga Chunari Mein Daag,  Shalini also gets a fantastic place to live thanks to her profession.  I’m not saying it’s a good trade off, but it sure is a cool place.  One of my favorite parts of the film was when Shalini got a visitor, she would push a buzzer on the table and a curtain would automatically pull open, revealing the client behind the door. Check it out:

Sometimes it was a shock just who would stop by, like in this case, her friend Ashok from back home who told everyone he died in the war.  After knowing he could never be with Shalini, Ashok faked his own death, but eventually years later fate brought him right to her door!

Is that double lucky kismat at work or what?  Not only does he get a prostitute, but she’s also the woman he loves!   What are the odds of THAT happening!?  Alas, Shalini is shocked and ashamed.  Don’t you love that torpedo/bullet bra she must be wearing under her shirt?

Despite her circumstances, Ashok understands and more importantly accepts her as she is, and wonders what could have been between the two of them and life hadn’t taken them on different paths.

Shalini returns home to give her family money and pay for her siblings weddings. A cute part of the movie was the film within the film where the village  watched stars Dharmendra and Neetu Singh film a song sequence to Jaane Kya Ho Jaye with playback singers Mohammed Rafi and Lata Mangeshkar.  This is scene cuts back and forth being picturized on filmi film stars and the “real” young couple in the film, Shalini’s sister and that scoundrel she’s engaged to, Shalini’s former client:

Shalini sacrifices herself to fund her family and is disgusted to return home only to  find her mother pregnant again!  There are already about 8 kids in the family. Of course her mother has no idea just what Shalini has done to earn money.

Seems word has gotten out around town about Shalini’s new job and her little sister points out how her music teacher (paid for by Shalini) was staring at her. Shalini flirts with idea of suicide to answer the question of her eternal suffering, but when she’s about to jump, she hears the sounds of her siblings calling to her.

So how do you think it all ends? If you’d like to know more, please go to see the plot summary by rAjOo.

I’d love to hear your impressions of Aaina too.

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amarakbar25rishi.jpg Dosto, today I present you with the songPardah Hai Pardah from the 1977 film, Amar Akbar Anthony. I enjoyed this song so much I added 4 versions for you. At the Bollywood Food Club, we don’t really do true film reviews; why bother when there are already so many great bloggers out there doing it so well? So I refer you to Bollywood 501, Filmiholic, Filmi Geek, and Philip’sfil-ums for some great insights into Amar Akbar Anthony. I will simply deal with the more superfical and say that any movie that starts out with Pran and a suffering Nirupa Roy instantly wins my heart. I have to add that I liked the patches Anthony wore on his clothing and Akbar’s array of sheer colorful shirts. Amitabh’s Anthony made me proud to be a Catholic, and Vinood’s Amar made me yearn to be a Hindu, while Rishi’s Akbar had me praising Allah. I LOVED this movie. And in particular I loved Rishi Kapoor‘s performance in Pardah Hai Pardahas well as the voice of its playback singer, Mohammed Rafi.

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This is the kind of suffering I’m talking about! A blinded mother, not realizing she’s touching her very own son! Nirupa Roy suffers so well.

 

amarakbaranthony.jpgAmar Akbar Anthony (Devnagari: अमर अकबर एन्थोनी) is a 1977 Bollywood film about three brothers separated during their childhood who grew up in three different homes, adopting three different religions. The film was directed by Manmohan Desai and starred three actors, of them included Amitabh Bachchan (as Anthony Gonsalves), Vinod Khanna and Rishi Kapoor. Each of the three heroes had an affilitian with a heroine, which included Parveen Babi, Shabana Azmi and Neetu Singh. Nirupa Roy, Pran and Jeevan were supporting actors. The music was written by Laxmikant-Pyarelal. Kishore Kumar sang for Amitabh Bachchan, and Mohammed Rafi sang for Rishi Kapoor. The soundtrack was one of Mukesh‘s last soundtracks with Laxmikant-Pyarelal. Anand Bakshi was the was the lyricist. A ex-convict must flee his mob boss, leaving his family to fend for themselves. The ex-convicts wife in a fit of bad luck turns blind and inevitably his children are abandoned. They are adopted by a Hindu policeman (Amar), a Muslim tailor (Akbar), and a Catholic priest (Anthony). The Hindu raised son becomes a policeman in his turn; his Muslim-raised brother becomes a singer; and the last brother, played by Amitabh Bachchan, becomes a happy-go-lucky Catholic who lives on the edge of law. The boys meet again and their lives become entangled in an incredible twist of unlikely coincidences and furious action sequences interspersed with songs. (wikipedia)

So here are the video clips of the addicting tune, Pardah Hai Pardah:

 

1. Original version starring Rishi Kapoor, with playback singer Mohammed Rafi. It’s fun to know that he’s singing to Neetu Singh, who he married a couple years after this movie. I mean who wouldn’t marry him after this performance, hain na?:

Thanks to sikkbreman for the video. Makes me want to rush to a mosque!

 

2. Here’s a crowd favorite, from SaReGaMaPa Challenge, Amanat Ali. I especially like how he substitutes his own name in the “Akbar” part of the song:

I’ve already posted about my favoritism for the Indian singing talent search shows, so click here to see that and some more of Amanat. Thanks to shesthebest for the YouTube video.

3. Here’s Vinit Singh, another contestant from SaReGaMaPa Challenge:

Thanks to sachinscs for the YouTube video.

4. Here’s Irfan, from Star Voice of India. Not only is he great but how fun to see the movie’s real stars, Rishi Kapoor & Neetu Singh (I think that’s her) judging along with playback singers Alka Yagnik & Abhijeet:

Thanks to AmulStarVoiceOfIndia for the video.

 

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