A ’70s Hindi film called Do Bachche Dus Haath with a poster that looks like this, and a ‘For the first time, Junior Mehmood as James Bond’ sales pitch. What do you do? Watch it, of course. Its kitschiness and kookiness aside, the film makes an impression for a whole different reason altogether. But more
Of James Bond and other vintage foreign spy films – Flashback Bollywood Read More »
Bandie seems to have been the last in a trio of bilingual films that, starting with Amanush (1975), were meant to promote Uttam Kumar as a Hindi film hero. Compared to Amanush or to Anand Ashram (1977), it’s a much more earnest attempt to transplant a Bengali star into the narrative and stylistic world of
Bandie (1978) – Rekha’s Sousaphone Read More »
Ujala is constructed on the model of the classic ’50s social film a la Shree 420 or Jagte Raho. Unfortunately—aside from the fundamental disgrace of marooning Shammi Kapoor in what clearly wants to be a Raj Kapoor movie—it lacks both the heart and the political heft that lend such films their capacity to move. Left
Ujala (1959) – Rekha’s Sousaphone Read More »
Apart from the Three Aces that emblematize its resident den of sin, Aarop reveals its cards exceedingly slowly. It took some faith to make it to the end. The first half is undoubtedly enjoyable, both in its development of the various romance tracks and in the glamorous fun to be had with Bindu’s character. After
Aarop (1974) – Rekha’s Sousaphone Read More »
Asha Bhosle (Born on 8th Sep 1933) made her Hindi film debut when she sang the song “Saawan Aaya” for Hansraj Behl‘s Chunariya (1948) but before that she sang her first film song ‘”Chala Chala Nav Bala” for the Marathi film Majha Bal (1943). She had sung over 12,000 songs, she was officially acknowledged by the Guinness Book of World Records as the most recorded
Asha Bhonsle- The World’s Most Recorded Artist. Read More »
I watched ‘Forrest Gump’ (1994) probably about twenty years ago. It was one of the films that were part of my initiation into Hollywood movies. I was deeply impressed with the concept of a man’s journey in life, through the changing scenes of American history. Many years later, Karan Johar made a film called ‘My
‘Laal Singh Chaddha’ (2022) Review – The Cinemawala Read More »
b. 26 February 1937, Bombay, British Indiad. 1 March 1994, Bombay, India ‘No event of any importance in India is complete without a goof-up’– Ramachandra Guha1 Prologue It is one of the most famous moments in Indian film. Superstar Amitabh Bachchan is in Coolie (1983), pacing through one of the many stylised fight sequences he
the unsettling cinema of Manmohan Desai – Senses of Cinema Read More »
Chandni kuch kaha/raat ne kuch suna. [The moon said something, which the night heard]. Soft blue moonlight enters a room awaft in billowing curtains, the full moon’s face gently pushes aside a sheer covering of clouds, and the camera cuts to a mid-level close-up shot of Pooja (Madhuri Dixit) looking dreamily, knowingly at the moon.
The Hidden Melancholy of Yash Chopra Films – Senses of Cinema Read More »
Violence plays an integral role for post-colonial nations. However, violence is not always as explicit as a revolution or military intervention. Its manifestation can be slower and more ideologically charged. The interwoven politics of the central Government of India (hereby, GoI) and Bollywood, the world’s largest popular cinema industry, epitomises this. Bollywood uses soft power,1
Racialisation of the Northeastern Region – Senses of Cinema Read More »
On April 16, 2022, violence broke out between the Hindu and Muslim communities on the outskirts of the northern Indian city Roorkee. The Hindus claimed that a procession to celebrate their festival Hanuman Jayanti, marking the birth of their deity Hanuman, had been pelted with stones by Muslims.1 The incident was not isolated – throughout
How ‘Social Message’ Films Amplify the Indian Government’s Policies – Senses of Cinema Read More »
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