Recalling the superb writing in ‘Khakee’, one of the great masala movies – it turned ten this year.
I wish I’d thought of this piece earlier, this January to be precise. That would have marked, exactly, ten years – a nice round figure – since the release of Rajkumar Santoshi’s Khakee, which has been coming up in discussions on my blog, after the recent crop of masala movies. The film was invoked, by me and others, as an example of how to do masala right, with dignity and integrity, instead of simply hiring a big hero and winking ironically at tired old masala tropes, and I watched it again, recently, to see if it still held up. The answer is a thumping yes. A few things haven’t aged well. Some of the supporting actors aren’t impressive. (I’m thinking about the stammering photographer early on.) I felt Atul Kulkarni’s flashback could have been meatier, less generic. I wish Amitabh Bachchan’s respiratory problem (asthma? wheezing?) had been referenced a little more – he’s afflicted by it only during the action scenes. And the songs – Dil dooba, Aisa jadoo dala re– look, today, like speed breakers. (Vaada raha, though, holds up well; it’s vital to what happens later.)
That’s it. We wouldn’t even be talking about these minor issues in another movie, and the only reason I bring them up is because the rest of Khakee works like gangbusters. And though the film is extremely well crafted and acted, its success is mainly due to the writing. I cannot think of a better-written masala movie that came after Khakee – namely, in a whole decade. Rajkumar Santoshi and Shridhar Raghavan share the writing credits, and you can sense from the writing their affection, their respect for the masala movie, their intimate knowledge of its inner workings, and their joy at the prospect of resurrecting it after it practically died from cliché and indifference and neglect. Khakee, too, is based on a cliché, but it’s a Hollywood masala cliché: a ragtag team comes together for a dangerous mission. And this template is fleshed out with flavourful Bollywood masala, the kind where the villain snaps his fingers and the lights reappear in a darkened house. And this isn’t larky masala but the serious kind, the Salim-Javed kind. (Go figure. The story is set in Chandangarh, which sounds like Ramgarh, and here too we have a senior and two juniors – one wisecracking, one dead-serious – trying to outwit a deadly villain, who even has a Kaalia-like sidekick named Kalwaa.)
Khakee knows that one of the most irresistible (and important) aspects of a good masala movie is the character introduction. When we first see Bachchan, he is sleeping on a stage where a gassy politician is giving a speech – and this instantly tells us that (a) he is old, and (b) he has little patience with bureaucracy. Akshay Kumar’s introduction – the actor, seen today, doesn’t seem to have aged at all in ten years; and in those ten years, he doesn’t seem to have gotten another role this good – sets up the character’s sleaziness, his corruptibility, his eye for women. Aishwarya Rai, at first, is mistaken for someone else – and how apt this intro is, given how she’s eventually revealed to be… someone else. And Ajay Devgan – he still had the “a” in his last name then – has a great “villain entry” scene, where he shows up with dark glasses in a photographer’s dark room, bathed in red light. The photographer has done something stupid, and he’s going to be punished. But not by a simple bullet through the head – that would be too easy, too un-masala-ic. So we’re introduced to the photographer’s family, a wife and a daughter who wants to become a singer. Asked to sing, she launches into Har ghadi badal rahi hai… But we don’t hear the last line of the mukhda. That’s left for Devgan, when he steps out and sets off the explosives he’s planted in the house, tunelessly completing the song: “Kal ho naa ho.”
Even better is how Santoshi and Raghavan shape the Atul Kulkarni character, who we think is a villain. He doesn’t say a word for almost half the running time, and then, during an intense verbal showdown between Bachchan and Akshay Kumar, when the tension is at an all-time high, he speaks. This is how you extract maximum mileage from your characters. Kulkarni’s mother, played by Tanuja, is also used beautifully, to emphasise the maxim that, in the masala universe, the mother is the supreme moral authority. Bachchan’s mission is important not because he promises his superior that he’ll bring Kulkarni to court but because he promises Kulkarni’s mother that he’ll bring her son to court, so that the law can take its course. But the writers don’t simply adhere slavishly to the masala tradition – they also tweak it. Bachchan is unable to keep his promise to Tanuja – and this is but inevitable in a story where nothing goes per plan. Compare this arc of the mother (even when she’s not on screen, we feel her presence) to the lazy way a distraught mother is used in Singham Returns, simply to amp up the melodrama.
The characters are from everywhere. There’s a man named Naidu. Bachchan’s wife speaks Tamil. And this diversity seeps into the story’s texture, when we see, for instance, that Bachchan has a personal side too, that his daughter is getting married, and he rues the fact that in the pursuit of duty he was rarely at home. Even the action scenes are textured. Not only are they painstakingly staged, like set pieces (the brilliant Saving Private Ryan-like early stretch comes to mind), we also get a sense of the cost of these exercises, when we learn, for instance, that the police armoury had defective guns and only four bulletproof vests. Unlike Singham Returns, this isn’t a one-note rah-rah ode to the police. Bachchan and his cohorts – a microcosm of the police force, comprising the spotless and the corrupt, the well-off and the middle-class – are constantly disillusioned. And yet, for every criticism of the police (“Yeh log lena jaante hain, dena nahin jaante”), there’s a moment that showcases their undervalued service to society. These “messages” aren’t cordoned off into a crude summing-up stretch at the end, but woven into the narrative throughout.
Most importantly, Khakee really lives up to that title – it’s really about these men in khakee. There are overt references to the uniform, in the numerous speeches delivered by Bachchan and others. (One of these speeches is addressed to another cop, reminding him of his duty.) And there are unstated references to the uniform as well. We see, through their blood-stained khakee shirts, the price these policemen pay, and in the film’s grandest masala moment – during the climactic fight – Bachchan whips out his belt (after showing us the IPS insignia in close-up) and uses it against the axe-wielding Devgan. The next time someone refers to a film as “just a masala movie,” or suggests that you “leave your brains at the door” because it’s a masala movie, you should point them to the entertaining, deeply affecting Khakee, which proves that good, textured, layered writing isn’t just for art films. Ten years later, it’s still a great reminder that masala doesn’t automatically mean “mindless.”
Lights, Camera, Conversation… is a weekly dose of cud-chewing over what Satyajit Ray called Our Films Their Films. An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Anu Warrier
September 5, 2014
Yes, oh yes! Every word that you have said rings true – I have no idea how many times I have had to remind people that masala does not have to mean ‘brain-dead’! I enjoyed Khakeethoroughly when I first watched it, and I rue the fact that there haven’t been others of its ilk. I honestly wish that someone would give Akshay Kumar (and Amitabh Bachchan) more films of the kind. Both have been woefully underutilised by the industry, and both ham it up regularly in the ‘leave-your-brains-behind’ sort of movies. It is a shame.
The one film that I did like, and is of the same vintage (I think) is Nihalani’s Dev.
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ramitbajaj01
September 5, 2014
And perhaps this write-up also tells us that analysis or engaged criticism is not just for art movies.
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ram murali
September 5, 2014
Very nice review…brings back to mind what u wrote in your Singam-2 review that the masala film template is just a clothesline…that the elements have to be pieced together properly and with sufficient tweaks to make it seem fresh…
In Tamil, I like Run and Dhil for sticking to the masala film template…yet introducing a sense of freshness and at least a teenie-weenie bit of intelligence…the shutter scene in run is a good example of a twist to a showdown…instead of bashing up the villains, maddy runs away…only to close the shutter…talk of a tweak that works…this one worked big time!
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venkatesh
September 5, 2014
Quality stuff this – but i do take umbrage that Dabang (the first one) is not considered a great Masala film. Yes its not _standard_ masala fare but its Masala movie making and its great.
Whatever happened to S. Raghavan he made 2 or 3 really really good movies (Ek Hasina thi, Johhny Gaddar) and sort of just disappeared.
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Drunken Monkey
September 5, 2014
Was curious to know what’s shridhar raghavan upto and surprising! He’s working with gautham menon for his next police story(‘..and another episode’ may be :-p ) This got me interested for a couple of reasons..
– Shridhar raghavan clearly has the capabilities to pull together a script without making it go whr vettaiyaadu villaiyaadu went in the second half.
– both these writers have a great interest in smaller things which are not actually smaller. Bachan’s wife-daughter-marriage situations. Kamal’s dining table conversations with the family in VV. Surya and devadharshini’s conversations in KK.
Always thought it would be better if gautham hired a writer to co-write but am still averse to his dialogues.. ‘jessi..jessi’ ‘daddy..daddy’ ‘raghavan’s instinct’ lighta i feel uneasy with his cheesiness.
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sanjayshankar
September 5, 2014
Venkatesh: Sridhar Raghavan, who directed Ek Hasina Thi, Johnny Gaddar & Agent Vinod is a different person (I think). Sridhar Raghavan is the writer who worked on Khakee.
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sanjayshankar
September 5, 2014
I am very happy to see a write up about a masala movie, but this one? I guess I’ll have to watch it again to see why I did not like it so much the first time. I only watched it on the small screen (on a good quality legal DVD). I guess my friend who wanted me to watched it had hyped it up (a lot). I know I can enjoy masala movies. I liked Dabbangg a lot.
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Rohan Nair
September 5, 2014
Hmm, I wonder if the Bollywood masala movie has acquired a certain cult (or camp or kitsch) value that the Tamil masala movie hasn’t. Could you envision feeling these feelings for a tamil masala movie and writing about it? Would be interesting to hear your reasoning.
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Hari Narayan
September 5, 2014
This was the kind of film we Bachchan fans used to yearn for — among the 10-12 he used to do every year.
A rather cynical, police officer, an underachiever, someone who could actually fail to live up to his promise: witness the resounding slap Tanuja’s character gives him after Atul Kulkarni dies. The very next scene has the ‘maula’ song with the policemen doing the doctor’s last rites.
Another character who caught my attention is the constable — the one at the lowest rung of the ladder — doing something that heroic.
And, for once, Tusshar Kapoor did not irritate.
Just for trivia sake: Khakee released on the same day as another Amitabh film — Aetbaar. Probably the first such occasion!
Were you into writing when this released? Any links?
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Santosh Kumar T K
September 5, 2014
Khakee (January’04) had a reference to a contemporary song woven into the narrative (and not an at-the-last-moment gimmicky addition to the end credits) that was from Kal Ho Naa Ho (November’03)?! I am not even looking at the release dates only considering that Hindi movies back then were months (years?) in making. I mean was Santoshi shooting up until the release date? Very trivial, but interesting. I wonder how! 🙂
(PS: what a year 2004 was! Shimit Amin’s brilliant and delicious first, Gowariker’s Swades, madras talkies’ Yuva/AE, Farah Khan’s very enjoyable Main Hoon Na, Kal Ho Naa Ho’s (the best from Dharma?) hangover from late 2003)
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brangan
September 5, 2014
Anu Warrier: “Dev” isn’t exactly a masala movie, IMO. It’s more an ideological drama.
venkatesh: Agreed about “Dabangg” — but I rate “Khakee” a few notches higher. Oh, and that’s Sriram Raghavan, the director, not Shridhar Raghavan, the writer.
sanjayshankar: ALL masala films lose something in their translation to TV/laptop. Dramas, on the other hand, don’t. That’s why a “Godfather” plays so well even on a laptop whereas a “Deewar” or a “Sholay” really belongs on the big screen. I think it has to do with the bigness of it all, from the characters to the emotions…
Rohan Nair: This isn’t about cult or camp or kitsch but about genuinely inspired mainstream movie-making, and yes, there are quite a few Tamil films that you could write about — “Dhool,” “Saamy,” and “Aboorva Sagotharargal,” which I did write about for the kamal blog and which is definitely not cult or camp or kitsch.
Hari Narayan: Yes, I was writing. I stole some of these points from my review 🙂
Santosh Kumar T K: Wow, now that you say it, it *is* amazing 🙂 I wonder how that happened.
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sameer
September 5, 2014
What are your thoughts about Mohra? It may not have aged well but I think it was a pulpy masala film done right. Suneil Shetty’s violent revenge backstory, Naseer’s terrific negative performance, his master plan and the reveal of the twist, Akshay’s action, Akki-Raveena-Suneil pseudo love triangle make it one of the most entertaining film of the 90s.
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venkatesh
September 5, 2014
sanjayshankar and BR : I stand corrected , 2 completely different persons clearly.
Hari Narayan: “Just for trivia sake: Khakee released on the same day as another Amitabh film — Aetbaar. Probably the first such occasion!”
– Oh yes in recent times but in the earlier days when Bachchan was coming up – he (and a lot many others) had multiple films releasing on the same day – and sometimes even in the same centre. Those were the days.
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Jitaditya
September 6, 2014
Also the end scene with Tushar/Ajay… That was one of the best as I din’t see that coming…
Overall I think it had a pretty elaborate story/plot compared to what is served by other films of that genre nowadays. We either have extremely straightforward ones like Singham or supposedly clever ones that are actually ripped off from other movies (eg. Ghajini)…
As for the “leave your brains behind” stuff, they have also managed to cultivate fan base that consider it their patriotic duty to defend such films (against worshipers of vile western culture and films)
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Paresh Palicha
September 6, 2014
There are two nuggets about this film (don’t know if they are relevant here, but still); one is that that Big B agreed to wear half sleeved uniform shirt & shave off his goatee for the first time after his comeback to get authentic look for the role.
The other thing is that this film was planned all “A” stars in the main roles, but, Arjun Rampal opted before the shooting started and Tushar Kapoor came in.
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Shantanu
September 6, 2014
Fantastic piece! Agree with most of what you have stated. Loved the movie and have watched it many times over the years. Excellent writing, effective dialogue, restrained and impactful direction, fantastic chemistry between the characters, and delicious performances by the entire cast – this is one of the best Santoshi movies, right up there with Damini, Andaz Apna Apna and The Legend of Bhagat Singh. Masala done really well and right. Excluding the scene at the end where cars fly (a bit compared to the leaps they take in Rohit Shetty films), everything was done with restraint and to the maximum effect.
@KHNH song : Although the movie released in November 2003, the soundtrack was out a couple months earlier and the song was very popular right away. In spite of that, Santoshi must have had only 2-3 months of time to rework this so well into the script. Master craftsman!
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Infrequent Ranter
September 6, 2014
I was really young when this movie came out and I remember loving it. It’s now that I see the brilliance of it.
And I concur with Santosh Kumar T K, 2004 was a good year for hindi movies. Also 2003 a little bit, with Maqbool, Gangajal and Jhankaar Beats.
http://infrequentranter.wordpress.com/
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MANK
September 6, 2014
Brangan,The usual suspect sholay aside,- is there any film you consider the first definite masala movie in hindi\indian cinema?.Would you consider Mother india, Mughal-e-azam, Ganga jamuna as masala . they contain all the ingredients of masala movie -High drama, romance, songs, action , dashing hero\anti hero-but one does feel a level of sophistication and classiness that was missing in the 70\s era masala movies.Or may be we could go as far back as the 1943 Kismet which was the first legitimate blockbuster.It would be fun to recount the evolution of masala film culture in our cinema- which is – for good or bad – our indigenous cinema – and which separates our cinema from the rest of the world cinema and prevented the encroachment of hollywwod – which has devoured much of the film ind. all around the world. Would love to hear your views about this
As for the 2 separate category of masala movies that you mentioned – the Khakhi kind and the Dabbang kind, where the hero is strutting his stuff and constantly winking at the audience.Correct me if I am wrong- I think that Amitabh in Amar Akbar Anthony was the first instance of the latter in Hindi films. So manmohan desai could be credited with being the father of this kind of Superstar driven masala which is the norm of today IMO. he continued this with paravrish – where there is a scene in which AB directly (and literally) winks at the audience to show that he is acting as blind, Followed by suhaag, where AB is named Amit (instead of regular Vijay)- and he always throws the punchline at the audience that ‘agar maine aisa nahin kar diya toh mera naam – and look towards the audience to finish the line.Of course ,MGR and NTR had started to do this in tamil and telugu films before that I guess?.
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MANK
September 6, 2014
Speaking of Khakhee,i think it was the fastest film that RKS made . it was something like 6 months from start to release, which is a miracle coming from him – RKS took about 6 years to complete ghatak and pukar and 5 years to complete barsaat and andaz apna apna.But Legend 0BS and Khakhee were completed very fast and hence the inclusion of KHNH song makes sense.Khakhee , inspite of being a masala film , is a very lean and mean film – without many sub plots or comedy tracks and very hollywoodish – in the sense that that almost every scene propels the plot forward.The basic plot is similar or very inspired from the Anthony mann film Narrow margin which was remade by Peter hyams with gene Hackman in the 90’s.the all star cast is terrific and Ajay devgan is extraordinary as the super cool villain- That slapping scene with AB is mindblowing. It brings out the very best in both AD and AB as well as the supporting players.
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brangan
September 6, 2014
sameer: My “Mohra” story goes like this. When to it with an office colleague and we both walked out at some point. Don’t think I have the stomach to revisit it and see if my position has changed, but you’re almost convincing me 🙂
MANK: As you said, there’s the light masala and the heavy masala (or the “mythic” masala). “Gunga Jumna” is a great instance of the latter. “Mother India” and “Mughal-e-Azam” I’m not too sure about… but yes, they do have mythic themes, but I think they veer more towards solid melodrama.
Actually, Rohan Nair’s question above got me thinking. Is the mythic masala found in other languages? Take Tamil, for instance.
Till the 1970s, the dominant mode of filmmaking — the MGR-style movies and the odd comedies apart — was the melodrama (either romantic melodrama or family melodrama) — so not really masala in the mythic sense, in the Salim-Javed sense.
Then we got a new mode of filmmaking via Bharathiraja etc., which were also in the humanistic drama mode. And these aren’t really masalas either, because mythic masala is about ARCHETYPES, not characters. (That these archetypes could be fleshed out with good characterization is another matter.)
And then, the dominant mode became the kind of film engendered by the success of “Murattu Kaalai” and “Sakalakalavallavan,” which were both light masala (not mythic). This light masala, of course, goes back to the MGR films like “Malaikallan” etc. (“Kudiyirundha Kovil” is a particular favourite of mine)
So I’m really curious if this mythic mode of masala exists in other languages. I mean, I’m sure there shouldn’t be a problem, as it’s a very INDIAN style of storytelling. But off the top of my head, cannot think of one.
Maybe “Aboorva Sagotharargal” — which despite mythic themes, wasn’t really a “serious” movie. But then it isn’t mere “light” masala either, because the dwarf-Kamal’s vengeance mode is quite “non-light”. It’s a really fascinating film that way.
Can others come up with examples of the mythic masala — in Telugu films too, which seem to be most in the “light masala” mode? I’m not talking about the remakes like “Thee”… which, of course, fit the bill.
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Gradwolf
September 6, 2014
As for mythic masala, what about Inaindha Kaigal (ok, don’t contort your face) and Sathriyan. Kshatriyan? Or Chatriyan?!
Amar Akbar Anthony is so overrated. Trishul is where it is at.
PS
Please write that Saamy article. What a film!
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Alpesh Patel
September 6, 2014
I’ve always thought Khakee was a great Amitabh Bachchan film. Before Khakee released I had been generally disappointed with the kind of roles Bachchan was doing. K3G he played a horrible character. Black smacked of pretentiousness (dare I say it, but his performance was one of those “Look Ma, I’m acting!” that you hate).
Khakee just like a return to the “angry young man” films that I loved watching. Seeing this scene https://m.youtube.com/watch?v=ZG6oliInmxY was the icing on the cake.
I do agree this is not a perfect film. My bug bears with the film are the editing (it’s all of the place, some scenes seem out of place in terms of the order they appear), askhay kumar (I don’t rate him as an actor, his performance was too loud), aishwarya (again, I don’t rate her as an actress).
I remember being heavily disappointed after watching Buddha Hoga Tera Baap, and what made me angry was that it was promoted as watching an old Amitabh Bachchan movie, they were so wrong! For me it was Khakee, and shortly after I watched it again, and boy that scene
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topgunalways
September 6, 2014
I still think this still remains a under appreciated and an under performing film.
Having seen Khakee when it came out in Jan 2004, I still like to consider it as an action film instead of police drama which it actually is. Its because of the way the action is staged and seamlessly integrated in the narrative. Not a single scene is extraneous as against movies now which cannot at all justify the need for them. Also I cannot think of better hindi action film after this one. Other films with better stunts, I can agree but one where the action serves the story so well, I struggle to recollect.
From few actions films I admire with Akshay in it where the action seems so integral are Khiladiyon ka Khiladi and to some extent, Mohra.
Secondly, there is always tension in the action in Khakee where we are not sure who would survive and who wouldn’t. Throughout the film, I thought of one major character who might get killed but I was surprised with what happened. This reminds me of the Dark Knight, where again we do wonder if few characters might survive the ordeal. How many of our films can lay claim to this lately?
Also one minor plot point. Akshay’s character points out that Mahalakshmi is quite an unusual name for Aish. Maybe he was right all the way since how that story thread turns out in the end.
Maybe now to watch so many actors in meaty roles in one film looks like a distant dream. Back then. we had so many of such multi-starers.
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brangan
September 8, 2014
Gradwolf: “Inaindha Kaigal”? Hmmm… Been a while, but this is still in the action-entertainer mode, right? Didn’t see a huge moral dimension to it. But yes, must watch some of these Abaavaanan films again. At the very least, the man had respect for his craft, which is more than what can be said for many filmmakers today.
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Raghav
September 8, 2014
@BR,In Telugu, Gunashekar’s ‘Okkadu’ has a ‘mythic masala’ to it ( as Qalandar had written about here :http://qalandari.blogspot.in/2006/11/pokiri-telugu-2006.html).Gunashekar’s 2 subsequent movies had the heroine getting kidnapped(Sainikudu,Varudu).Also,Trivikram Srinivas manages to blend mythology n masala well in most of his movies(his hero intro almost always is a product of panchabhootalu-Athadu,Khaleja,Jalsa).
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chhote saab
September 8, 2014
Agree with a lot of comments – an underrated movie which deserves this write up – sure it has some holes, but it was a great gripping entertainer. Worth an hour we had to drive to watch it here in US !
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Anant
September 8, 2014
All this discussion about masala movies brought back fond memories of what I considered A,B,C of entertainment in Hindi films, a wonderful trio of Vijay Anand directed ‘Teesari Manzil’, ‘Jewel Thief’ and ‘Johny meraa naam’. I am not sure what younger generation thinks about them but for anybody growing up in 70’s, would probably never get tired of watching them again and again even after all these years. When we talk about them, we think about songs, small but great scenes scattered all over the movie and then climax, pure story telling without any social message etc. Absolutely unadulterated entertainment.
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Srinivas R
September 9, 2014
BR, One tamil movie which I remember had a moral play to it was Kuruthipunal, though one probably wouldn’t call it masala( main stream it definitely was). The senior police officer who is idolised by Kamal turns out be a rat and Kamal hates him for that, later he himself is forced to compromise on his ideals.
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MANK
September 9, 2014
Anant, i dont know we could call those vijay anand films you mentioned as masala. TM and JT could be called musical thrillers.They were made more in the mode of those cary grant-hitchcock films like To catch a thief or North by northwest. Yeah JMN is more of our conventional masala film, eventhough its done in a similair vein. This has more of our desi ingredients mixed in right proportion.
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Raj Balakrishnan
September 10, 2014
Wow, that was a great read! Khakhee was probably one of the few instances where a mainstream leading actor went completely bad. I enjoyed Ajay Devgan’s over the top bad guy act.
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brangan
September 12, 2014
Wanted feedback/opinion on two things:
(1) What do you guys think about the YouTube links I’ve started embedding in the reviews and columns? The idea is to “enhance” the essay(s) with appropriate visuals — but does this hurt the continuous flow while reading? Are the YouTube links better off in a Key-type list, lumped at the bottom of the piece?
(2) Now that we are in this instant-gratification age, where things turn ‘old news’ in a matter of hours, would you be interested in reading columns about things that happened a month or two earlier? I’m thinking of this because I read about the passing of [Bond villain] Richard Kiel, and since he was huge when I was a kid (yes, I’m really that old 🙂 ), I want to write something about him. But I won’t get around to it for maybe a month or so. Will that kinda make the piece ‘too late’?
I know (2) is kind of a rhetorical question, as no one’s going to haul me up and say ‘how dare you write about old news?’ and my column is mine to do pretty much what I please — but just was curious about what readers feel…
Thanks.
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brangan
September 12, 2014
Srinivas R: Oh, yes, “Kurudhipunal.” Very strong morality play, plus good-versus-evil angle (and the lovely “good becoming evil but only pretending to do so” angle as well)… Should check it out again and see if it fits the bill…
On a side note, I prefer “Drohkaal” as drama, and I prefer “Kurudhupunal” as a purer kind of masala movie. One of the complains I have about the latter is with the casting of Nasser, who was older than the equivalent Ashish Vidyarthi character and didn’t embody the “I want to change the world my way” fire the way Vidyarthyi did… But as a masala movie, this film is tops. I really enjoyed the Kamal-Arjun dynamic…
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CL
September 12, 2014
brangan: 1) Please continue embedding the YouTube videos. They really enhance the reading experience. This is especially true for the ‘Master of Arts’ series.
2) Don’t bother about topics being old or new. We are interested in reading anything written by you. Just write. 🙂
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ramitbajaj01
September 12, 2014
Youtube videos never hinder the essay flow for me. In fact, at times, it does help in giving a better idea, e.g. when you were talking about Jigarthanda, that video of ‘a friend’ really helped gave us, non-Tamilians, a feel of the mass appeal. Also, the videos in keys have less chances of getting played than the ones within tthe article. Not sure how it would be to give hyperlinks for ‘key phrases’ within the essay than in the key.
Regarding old news, your views are always interesting and different. So, I am all up for reading them whenever you publish. Even Robin Williams article came, I guess, a week later, so that wasn’t exactly new. And we had already read 20 odd articles on the same before we read yours. But still you managed to give it a fresh angle- seeking more visibility/respect for comic actors. As far as, Bond movies are concerned, I have watched only the Craig ones (I am that new 😊), so it would be interesting to read your take on retro era and how it was part of the cult. Talking about past, your views on Jaws and Incredibles made me watch these movies, and also, your articles introduced me to the 70s Hollywood movies and the movie making.
please continue giving us old news in between the latest ones. Thanks.
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Srinivas R
September 12, 2014
1) Personally I don’t mind the you tube videos embedded in the columns. It provides break in the text and I like it
2) As long what you write strikes a chord , it doesn’t matter if its ‘old’ or ‘new’. I have seen a lot comments in your columns where people have asked for your review of Hey Ram , so I don’t think ‘old’ news is really a problem.
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Abhirup
September 15, 2014
With a lot of trepidation, Mr. Rangan, I am sharing with you my own take on ‘Khakee’, if only because I hold it in a similarly high regard. I hope you won’t mind. And I would be very grateful if you give me a feedback, however brief.
https://www.facebook.com/notes/abhirup-mascharak/a-belated-tribute-to-khakee/852211448131855?notif_t=like
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brangan
September 17, 2014
Abhirup: Nice. Especially liked the para that begins… “Which brings me to the figure of Srivastav and the actor who plays him. Khakee has the distinction of being one of the few, if not the only, ‘masala’ film ever to have an old man as the hero.”
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Abhirup
September 17, 2014
Thank you so much for the feedback, Mr. Rangan.
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the brangan fan
July 16, 2017
please write reviews of old movies
and also, i’ve been searching the web for your reviews of aayutha ezhuthu, endhiran, dasavatharam,and a lot more
please see if you can post them.
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Balaji
February 11, 2018
Lagta hai toofan aane wala says an inspector and Ajay Devgan is shown, with his terrifying theme music. Certain things remain etched in our memory forever and this movie, with its vignettes, stay forever.
Chanced upon this piece – what a read!!
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