Spoilers ahead…
For a while now, pathetic fallacy hasn’t been a popular technique. In Hamari Adhuri Kahani, Mohit Suri brings it back with a vengeance. The heroine is named after the earth (Vasudha, played by Vidya Balan) and she’s a florist. But these flowers don’t always bring happiness. Vasudha speaks of her profession as a necessary evil – all this beauty has to be nipped from branches so that humans can express love and congratulations and regret. When taken to a stunning topiary by the tycoon hotelier Aarav (Emraan Hashmi), Vasudha says it’s beautiful but in a sterile way. Because there are no dead leaves. “Har khoobsoorat cheez mein daag hota hai. Chand mein bhi daag hai.” Aarav, too, is defined by flowers. “Mera dil kya kehta hai… phoolon ne jawab de diya.” Actually, in his very first scene – and you hopefully read the spoiler alert above – he looks at Vasudha arranging flowers and says, “Main inke liye jaan de sakta hoon.” You know what? He gets his wish. He dies in a field filled with these very flowers. This is that kind of movie.
There’s more pathetic fallacy with thunder, which is heard in scenes with each of the three main characters – when Vasudha is with her young son; when Aarav is in his hotel in Dubai (and we get ready for his flashback); and when Hari (Rajkummar Rao, as Vasudha’s husband who’s gone missing) is imprisoned by Naxals. Yes, I said Naxals. Thirty years ago, such a development would have been routine – our cinema, after all, was a boiling pot of outrageous contrivances. But then the multiplexes happened and things cooled down. We got more sophisticated. We got the Akhtar siblings. Farah Khan taught us that the only way to look at thirty-year-old cinema was to laugh at it, affectionately or otherwise. All of which is to wonder how Suri thought he could pull this movie off in the first place.
Because at times, he seems to be doing in all earnestness what Farah Khan does with a wink and a nudge. He’s built a movie around a series of seriously melodramatic tropes. The lamp-flame getting snuffed out when a loved one shuffles off his mortal coil. The insaan-ke-roop-mein-bhagwan line. An impoverished kid straying into a plush hotel and, upon being discovered, being dragged off by the scruff of his collar and thrown on the street. A flashback in the form of a diary entry. A woman who’s lost, facing a road lined with forlorn trees on either side, the way a lost Rajesh Khanna did during the Zindagi ke safar mein number in Aap Ki Kasam. Dialogues about Sita and Radha, parampara and the mangalsutra. A woman making a rangoli and, later, destroying it as she runs across it in distress. A man being asked to sing in a gathering, and settling down to do so… in front of a piano. Forget pathetic fallacy, when was the last time you saw a piano song in our cinema?
Rajesh Khanna… road lined with forlorn trees…
Can all this work today? I honestly don’t know. I know it worked some nine years ago in Gangster, which was also from the house of Mahesh Bhatt. But nine years, in today’s terms, could well be ninety. Then again, maybe you also need a certain kind of director, a certain kind of cast. Suri is certainly capable of quality melodrama. He’s a fine filmmaker too – though you wouldn’t know that based on Hamari Adhuri Kahani, which is filled with flat staging from start to finish. Only at the end do we get a Suri moment, when, during Durga Puja, the face of the goddess is seen around Vidya Balan – it’s a totally bogus scene, but a gorgeous-looking one.
Piano song…
But the actress is all wrong. She’s too polished. She looks like she’s trying really, really hard to dumb herself down for the part. I’m thinking of Gangster again, but maybe Kangana Ranaut is the only actress today who has the brazenness necessary for kitchen-sink melodrama. Emraan Hashmi stands around in natty suits. I can’t recall the last time he gave anything resembling a performance. Rajkummar Rao, on the other hand, digs deep. He does actorly things – he limps, he stammers. The performance isn’t wrong. It’s just in the wrong movie. The only actor who fits in is Narendra Jha, who plays a cop. He has a great voice, great stature. He delivers a spectacular line about god’s justice. It appears late in the movie, and you see what’s been missing all along.
A handful of lines have the juice you just don’t find in the fashionably dry writing these days. I loved one that went, Ek kamzor insaan ko sharm se marte hue dekha. There’s another one when Hari re-enters Vasudha’s life. She tells her young son, “Inke pair chhoo-o aur baahar jaao.” Part of the line speaks of her traditional side; the other part hints at how she’s changed. She doesn’t want the child to see what she’s about to say to her husband. But the other lines are so overwrought, they’re laughable. As are many of the developments. Get this. Vasudha decides she’s had enough of life in Dubai (Aarav has invited her to work for him there), so she sets out on the road, dragging a suitcase behind her. Ahead lie endless sand dunes. Did she hope to flag down a dune buggy? This one’s funnier. When she decides to accept Aarav’s proposal, she says she knows nothing about love. “Pyaar sikha sakte ho?” Doesn’t she know she’s talking to Emraan Hashmi? He promptly takes her to bed.
Yes. Apparently, she’s old enough to play Emraan Hashmi’s mom now…
Bhatt has rarely written such weak drama around events mined from his life. (This one’s supposedly based on the story of his parents and his stepmother.) There’s a lot of material to work with. The woman torn between a man who doesn’t really love her but treats her like chattel, and one who loves her so much he’s willing to let her go. The man who falls for a single mother because she reminds him of his own mother (Amala; yes, that Amala), who sang in a hotel and stole bottles of liquor for her lover. This is explosive stuff. We keep waiting for someone to light the fuse.
KEY:
- “Har khoobsoorat cheez mein daag hota hai. Chand mein bhi daag hai.” = Every thing of beauty, even the moon, has a blemish.)
- “Mera dil kya kehta hai… phoolon ne jawab de diya.” = These flowers have said what my heart wants to say.
- “Main inke liye jaan de sakta hoon.” = I could die for them
- insaan-ke-roop-mein-bhagwan = a man whose acts are those of a god
- Zindagi ke safar mein number in Aap Ki Kasam = see here
- parampara = tradition
- mangalsutra = if you don’t know this, you shouldn’t be watching Hindi movies
- Ek kamzor insaan ko sharm se marte hue dekha. = I saw a weak man die of shame.
- “Inke pair chhoo-o aur baahar jaao.” = Pay him your respects and step outside.
- “Pyaar sikha sakte ho?” = Can you teach me [about] love?
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
naina
June 18, 2015
wait, what? amala is in this!
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Hansda Sowvendra Shekhar
June 18, 2015
Useful links! Rajesh Khanna and the forlorn trees, and a piano song from the black & white era. 🙂
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fiteyaal
June 18, 2015
Not a fan of Suri’s work, but i found HAK was made with earnest efforts as we can see shades of Aawarapan and gangster in it and i remember you have appreciated both of them and they bombed at box office.
Just because time has changed and movie has a consistent depressing tone does it mean that we as an audience have no appetite for such stuff ?, there were so many good things in the movie except the troubled past sequence and poor supporting cast. i came out of the theatre feeling that the story was meaty enough but i have read 10-15 negative reviews till now, why is it that an out and out sad story with no light moments has no acceptance, even after having big stars especially hashmi who is not playing to the gallery here.
I seriously feel that somewhere the industry as well as the critics doesnt want to be kind when it comes to Bhatts’
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Utkal
June 18, 2015
This was a post on piano songs that I made on my Facebook page sometime back:
Piano songs in Bollywood films. Remember? A palatial living room with chandeliers. And a grand piano. The hero singing the sad song, pouring his heart out.The villain pouring out a drink perhaps. Or the parallel hero looking, also vying for the heroine’s heart, looking on with mixed feeling. And the heroine dressed in here resplendent best giving those pensive expressions.
They have gone out of fashion.
Our audiences perhaps don’t fantasize about rich men with grand pianos anymore.
But they were good while they lasted. And we got some fabulous sad songs. I picked up the ten best that I could remember. Rafi and Mukesh dominate. But there are two by Kishore too. And Talat Mehmood joins Rafi in one. As for actors, no one does the piano song as well as Dlip Kumar. So he is right there on top. But Shammi Kappor out of all people does not do too bad a job with Dil Ki Jharoke Mien. ( The only piano song done by a heroine I can remember is Madhuri in ‘Saajan’. Anyone knows of any other?)
Well here are my top dozen piano songs of Bollywood. Have I missed anything of note?
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Deepak
June 18, 2015
“Pyaar sikha sakte ho?” Doesn’t she know she’s talking to Emraan Hashmi? He promptly takes her to bed.
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uniquebluerose
June 18, 2015
“Pyaar sikha sakte ho?” Doesn’t she know she’s talking to Emraan Hashmi? He promptly takes her to bed…….
lol!!!!!
Thought this one would be more in the lines of Aashiqui 2… but then from what you say should I take… its an entirely different dosage altogether… glorifying marriage…. role of husband yada yada… mangalsutra… etc etc???? Purity of woman…etc
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gvsafamily
June 18, 2015
Law of averages fast catching up with Vidya Balan – her fourth turkey in a row 😦
For her sake, I really hope she is not relegated soon to the has-been category by Bollywood
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brangan
June 18, 2015
fiteyaal: I don’t think it’s a question of being… kind. I am still interested in what Suri makes next. But movies don’t work for one sometimes, and a review is an attempt to get at the reasons for that feeling.
Like I said in the review, I did like some lines and I found the plot lines strong. But a few nice things don’t quite add up to a nice movie.
Some films, you like or dislike strongly. Those reviews are easy to write. Others are midway — and for me, if there are more things to like than dislike, then I guess the review ends up coming out positive-sounding, and vice versa.
uniquebluerose: glorifying marriage…. role of husband yada yada… mangalsutra… etc etc???? Purity of woman…etc
Not at all. Like I say in the last para, there’s some strong stuff here. But the execution is very tame and it’s all lost.
Utkal: Am rather fond of this one….
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Anuja
June 18, 2015
“Emraan Hashmi stands around in natty suits. I can’t recall the last time he gave anything resembling a performance.”
BR: You seem to be biased as far as Emraan Hashmi is concerned. C’mon now, he has turned in some pretty decent performances and the serial kisser tag does not do him justice. I especially liked his performances in Gangster, Once Upon a Time in Mumbai, Dirty Picture and even Murder. He has a certain intensity about him which lends weight to his characters. For some reason, he seems to rub you the wrong way… I wonder why?
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aandthirtyeights
June 18, 2015
It’s hilarious that this movie uses the “Chand mein bhi daag hai” line. This was made fun of long long years ago in Chupke Chupke when Dharmendra (as the shudhh-Hindi speaking Pyare Mohan Ilahabadi) mockingly says, of himself, “Chandrama mein bhi to kalank hoti hai.”
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Utkal
June 18, 2015
‘Aap ke haseen rukh pe’ is among my absolute favourite Rafi songs. But strangely enough I had never seen the video clip, So I never thought of it as a piano song. Now, this will have to go into the top dozen pushing someone out.
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olemisstarana
June 18, 2015
@Anuja: I thought he was unbelievably good in Shanghai. Like I had to rub my eyes and make sure I wasn’t seeing things good. But of course, it’s possible my expectations were so low at that point. If I am correct BR acknowledged this as well.
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Aran
June 18, 2015
“…maybe Kangana Ranaut is the only actress today who has the brazenness necessary for kitchen-sink melodrama.”
This line made me feel more than a twinge of sadness… for what’s Bollywood without melodrama? The Karan Johars / Akhatarization or Farha Khan type of cinema has taken something from Bollywood then, in the process of gentrifying it.
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Shalini
June 18, 2015
“…when was the last time you saw a piano song in our cinema?”
“Piyu bole” from Parineeta (2205) is the most recent example that comes to mind. Of course, Parineeta was set in the 60s, so it isn’t really a “modern” piano song. Pity…I loved the piano song trope.
Since someone asked about piano songs featuring women, here are two that I’m particularly fond of:
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venkatesh
June 18, 2015
Amala is Emraan Hashmi’s mom ??? Say it isnt true….
I still cannot forget the oru eli, rendu eli, munn eli….. anj ali .. line. God she is gorgeous
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MANK
June 18, 2015
How the hell did vidya agree to do such a terrible regressive role? Even more shocking is that mahesh bhatt – who made such terrific marital dramas like arth and saraansh – would come out of retirement to write this crap. Or is it just the case of a true mid 20 the century story – assuming this happened in bhatts childhood – looking contrived and out of date in today’s time. May be suri should have made it as a period film. Zakham which also told the story of bhatts parents was a much better film.
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Anuja Chandramouli
June 18, 2015
Olemisstarana: I haven’t seen Shanghai but do remember BR’s review. Think he credited Dibakar Bannerjee with getting a halfway decent performance from even someone like Hashmi or something like that. So it was grudging acknowledgement from BR…
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vijay
June 18, 2015
the daddies of them all:
dil lagakar from the great CR-Asha combo
Kishore kumar classic
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Sami Qahar
June 18, 2015
A single mother waiting for her husband, falls in love with another man, sleeps with him and is torn between the two men. This makes a compelling premise for a shyam benegal film starring smita patel, naseer and om puri. Sadly, is a mohit suri film with emran hashmi. And that too where hashmi is seen making acquisition deal of a hotel with its owner in the lobby of the same hotel.
You missed how contrived were the scenes where vidya actually falls for hashmi seeing his mother for the first time… And the mother upon seeing her says “YEH KON BANJARAN HAI JO APNI APNI SEE LAGTI HAI”.
I left the theater twenty minutes into the second half. Didn’t expect that from balan.
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vijay
June 18, 2015
and our own topper:
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Anu Warrier
June 19, 2015
Don’t worry. Soon, Vidya will be relegated to playing Emran Hashmi’s mother. That’s what they do to actresses of a certain age that they have no worthy roles to offer. And it’s a crying shame that even today, an actress’ shelf life is only so much while the actors can go on and on, acting with women who are young enough to be their daughters.
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Anuj
June 19, 2015
Here goes the “cinematic intellect” Utkal with his gyaan all over again (as always, its completely unrelated to the movie, just like his desperate attempts to downgrade Hrithik Roshan and convert flopstar Ranbir into a cinematic legend on every possible occasion). Coming to this movie, it seems to be Mohit Suri’s version of Bombay Velvet which in turn was Anurag Kashyap’s (perhaps the most unwanted film-maker in Indian cinema right now) version of Aag (nothing beats RGV in unwanted-ness of course!)
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Madan
June 19, 2015
And Talat Mehmood joins Rafi in one. –
Do you mean Kaisi Haseen Aaj? Sadly, the film picturisation uses a version where Mahendra Kapoor duets with Rafi. He does well, but we know it’s nowhere near as classic as Talat singing with Rafi. I have heard an audio only version which had Talat singing with Rafi. I wonder if it was changed at Bharath Manoj Kumar’s insistence and to be fair, he doesn’t deserve better than Mahendra Kapoor. 😀
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Vikram
June 19, 2015
Rangan, you seriously need to think on having word limit in the comments section. A day may not be far when Utkal’s comments out word your actual review!
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Rahul
June 19, 2015
aandthirtyeights , I don’t this this line was being made fun of in that scene from chupke chupke- the comedy in it was from , as you mention, the fact that Dharmendra was referring to himself as “chand”. Otherwise, this is a perfectly valid line to use depending on the context.
Sami Qahar , that Banjaran line is hilarious!
I think, the graduates from Mahesh Bhatt school of cinema like Mohit Suri try to draw from his legacy and his style , but they lack his authenticity.
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brangan
June 19, 2015
Aran: Karan Johar is very much within the melodrama school. Since when did he get clubbed with the Akhtars?
MANK: I don’t think the role is regressive. This is the story of a woman who was like that. The problem was more that the story wasn’t told convincingly. Plus, Vidya was miscast. This needed a much rawer performer.
Anuja Chandramouli: Not at all. I quite liked him on screen once. I loved him in Footpath, and even in my review of Awarapan (here) I say nice things about him. But for a while now, he’s been coasting. He doesn’t even make an effort. That’s what bugs me.
I’d also like to address your use of the word “bias.” I don’t know if that’s the right word here. If I think someone is not doing good work and I point that out, that’s more an observation IMO — not bias, which suggests I am predisposed to disliking the person or what he/she does.
Sami Qahar: Haha, yes, that banjaran line was outrageous. She actually kept a straight line while saying it 😀
Anuj: There seems to be something personal going on. Please direct your comments to what’s being said rather than who is saying it.
Vikram: When the comment is interesting and adds to the review in some way, why should there be any kind of restriction on it? Comments build on reviews in sometimes unexpected ways, and here people seem to have picked up on the “piano songs” bit. I don’t see the harm.
vijay: Thanks for that reminder. Have a great weakness for 70s songs, especially from the MSV-SPB combo. Here’s a piano song that’s ageless…
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Gradwolf
June 19, 2015
I am glad many people are going “What! Amala is in this?!” (like I jumped out of my seat when I saw). Yes yes, go watch. yaam petra thunbam etc…
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Ram Murali
June 19, 2015
Talking of piano songs, my all-time favorite has to be “Nee Paartha Paarvaikoru Nandri.” Other terrific songs are “Uravugal Thodarkathai” and “En Vaanile.”
Next Step: Go to “Raja Vintage” playlist in iPod 🙂
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Santa
June 19, 2015
Going off on a tangent here on the Emraan Hashmi discussion.
There are some performers in whose performances one can ‘see’ a bit of the original performer. For instance, while watching SRK, I always get the feeling that I’m seeing a bit of SRK and not just the Raj/Mohan/Kabir character that he is playing. By contrast, in an Aamir Khan performance, it’s easier to forget that I’m watching AK, but rather the PK/Munna/Aakash character. The former is not necessarily bad, IMO. In SRK’s case for instance, I see it more as SRK bringing his signature style and energy to a diversity of roles (one notable exception being Surinder -the original, not the transformed one- which I feel is his most atypical character).
Circling back to Hashmi, I think he falls squarely in the first category and what we see every time is only ‘him’ and not the characters. Or perhaps all his characters are just him. Either way, it’s the same body language, the same attitude that he portrays in every role. Not to mention the whole ‘serial-kisser’ aspect. It gets very old very fast.
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Madan
June 19, 2015
Soon, Vidya will be relegated to playing Emran Hashmi’s mother. That’s what they do to actresses of a certain age that they have no worthy roles to offer.
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Aran
June 19, 2015
brangan: I was thinking of Karan Johar more in the gentrification sense. To be honest, I haven’t liked any of KJo’s directorial ventures much after his first two – Kuch Kuch Hota Hai and Kabhi Khushi Kabhi Gham. Those were rollicking good Indian movies. After those, his sensibilities moved closer to the Akhtars or even Farah Khan than true blue melodrama – in Kabhi Alvida Na Kehna (which tried to be too posh/western), My Name is Khan (where the second half was just ridiculous), and Student of the Year (which made me almost want to weep at losing the KKHH Karan Johar). His first two, even if portions were set abroad, had much more of a melodramatic earthy Indian feel regarding the emotional beats. Not so in the last three, those were too bland.
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Madan
June 19, 2015
On another note, why should actresses also play characters half their age in a totally unrealistic way? Is it not bad enough that the actors do it? Sridevi played a lead role that was totally not glamorous but well written in English Vinglish and it won her plaudits. Hopefully those are the beginnings of a new paradigm in Hindi cinema where actors and actresses play characters more or less their age except where something specific to the role demand them to play a character much younger/older (AB in Paa). Hopefully Bhai does eventually go to jail and thus brings to an end the madness of ‘stars’ paired with much younger actresses who have very little to do except dance alongside them. There’s practically nobody else in the 45-50 plus bracket in Bolly who can still pull off the classic heartthrob act and succeed commercially with it.
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Madhu
June 19, 2015
I had the “What, Amala?!” reaction too. But when we actually think about it, most of the actresses who play the mother character are most probably the same age or only a decade older than the “hero”. I am not getting into 50+ actors here – the ladies who perform as their moms are most probably younger than them – but the actors in their mid thirties who actually play their age or atleast closer their age, most of their mothers characters are definitely younger than their roles demand. Take for example Santhanam in Inimey ippadithan – it is Pragati (of Veetla Viseshanga fame) who acts as his mother. She is probably only 10 to 12 years older than him. We get this knee-jerk reactions only when notable actresses – especially yester year sensations – act as mothers.
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Anu Warrier
June 19, 2015
On another note, why should actresses also play characters half their age in a totally unrealistic way?
Madan, I don’t want them to try and play ‘girls’ with two braids, when they are already women. (We’ve suffered through that in the late 60s and 70s, and even through some part of the 80s where it appeared that if you put actresses into short dresses and pigtails, we were supposed to accept they were 16 or 17.) What I’m bemoaning is that we don’t write good roles for actresses in the 30s. There are roles which are better done by the half-clad bimbettes who eventually do them, or they are relegated to mother/bhabhi roles.
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Madan
June 19, 2015
There are roles which are better done by the half-clad bimbettes who eventually do them, or they are relegated to mother/bhabhi roles.
I don’t think that is a fair assessment given that Vidya Balan’s career wouldn’t have lasted this long (and it ain’t over it) if that was the case. She bagged and got recognised in meaty roles right from the first one because looks were never her trump card. However, if she starts to look too much like a bhabhi, maybe those are the roles she will end up getting. In a medium built on projecting moving images into a larger than life size, image does matter to some extent and Hollywood is not above that either.
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Gradwolf
June 19, 2015
Thought I’d clarify – The outrage or reaction had nothing to do with Amala’s age or playing Hashmi’s mom. It’s mostly for THAT Amala was given THIS ridiculously written role in THIS ridiculous film as some sort of comeback (I know she’s been in TV serials but this was first in a long long time on the big screen I thought). She deserves a better class of film.
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Rahul
June 20, 2015
Incidentally, another mention of “banjara” that I found rankling was in another Mohit Suri film – Ek Villain.
“Koi mujhko yu mila hai , jaise banjaare ko ghar”. A banjara, or a nomad, is different from a homeless person. They do not have a home because they do not have a use for it. So, the above metaphor is similar to “koi mujhko yu mila hai, jaise ganje ko kanghi”.
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Madhu
June 20, 2015
Gradwolf: BR has specifically mentioned ‘apparently she is old enough to play Hashmi’s mom’ – hence my previous comment. I haven’t seen the movie yet, but looking at the plot synopsis one can see why an actress looking for a comeback would choose this role. It is the strong, independent person role that probably looked really good on the paper. After all, it really doesn’t matter about what age you play as long as the role is meaty. Just that given our moviemakers’ penchance with giving a bad wig or bad dye job to young people and casting them as older characters, one feels that it is better if actors play their age.
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Sam
June 20, 2015
Nobody has mentioned Ganchakkar, which I thought was one of Hashmi’s better performances, and one of the more underrated Hindi films of recent years. I seem to be one of the few who liked it.
Also good from Emraan was Tigers, which I caught at a festival. Anyone here seen it? I’m not sure what the plans are for an Indian release.
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Madan
June 20, 2015
Gradwolf: Well, I think kind of like what AB did through KBC, Amala has to prove herself again through TV to be accepted by the audience. She’s been out of the game for a very long time. I cannot recall whether it was in Gobi’s show or DD’s show that I last saw her with two actresses of her generation but I was shocked at how terrible she looked. I don’t mean literally her looks, rather that she looked pale, cagey and distinctly uncomfortable and was the silent spectator from amongst the three actresses being interviewed. Zero charisma or gravitas in evidence. Wonder what happened to her. An English Vinglish like comeback is way out of her ballpark right now.
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Gradwolf
June 20, 2015
If she was silent on DD’s show, then she knows what she is doing. That’s the best way to be. walks out
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Gradwolf
June 20, 2015
Also fun trivia: Jayabharathi who played mom to FOUR Kamals in MMKR was his heroine in Alavutheenum Arpudha Vilakkum. But this is also why HAK belongs totally in a different generation all things considered.
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brangan
June 20, 2015
Gradwolf: But with Kamal, that’s a known fact, right? Also include Srividya, Sumithra, Sujatha (though in Kadal Meengal there was an older Kamal too)…
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MANK
June 20, 2015
But amala was never a great actress to begin with. Definitely not in the range of sridevi,srividya or sujatha IMO.she was very much the hot glamorous star. That’s why her casting is so perplexing. I don’t think she really has it in her to pull of a an English vinglish or even a old mother role like srividya in thalapathy.
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brangan
June 20, 2015
MANK: Exactly. Her acting limitations really show up in her non-cute roles like “Karpooramullai.” She caused a splash with her exotic looks mainly. Of course, her willingness to wear swimsuits in Jeeva and Kodi Parakkudhu didn’t hurt 😀
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Gradwolf
June 20, 2015
Of course. But for some reason this Jayabharathi thing perplexes me more than anything else. Maybe because of the kvlt-ness of MMKR. But I only pointed it out because it tells you how very old school HAK is in almost every department.
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brangan
June 20, 2015
Aran: Actually, KANK is a pretty solid melodrama. The big problem with that film — apart from overlength — is that it’s set in the US and it creates a distance, as if these problems are happening to “other people” and not to desi folks. The clothes, the settings, everything creates a “distance” — otherwise, it’s very much a desi melodrama. I like it quite a bit.
MNIK, I agree, took off into a messagey zone, and was more Hollywoody in nature. About SOTY, of course, nothing needs to be said 😀
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MANK
June 20, 2015
Brangan, so we are back to swimsuits are we?
Wonder what would kaykay has to say about the desecration done to amala, or is he even too shocked to react. 🙂
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Aran
June 20, 2015
brangan: I thought KANK was good in parts. Each actor was good in their own way, but put together, they didn’t do anything for me. I found the emotions too restrained rather than melodramatic. Too many shots of a weepy Rani Mukherjee do not a melodrama make. 😀
But yes, I see the “distance” issue too. Same case with Yash Chopra’s Jab Tak Hai Jaan. I wonder if the setting makes the characters walk softly around each other and talk in muted voices. But then the superb Chandi Chowk Kajol in K3G managed to play a very loud desi character in London.
I suppose where you and I are disagreeing is that you’re thinking of KANK as a melodrama in terms of story. I just don’t think it managed to be melodramatic on screen, as in no loud emotions and didn’t manage to move the audience.
And I suppose this thread is pretty much a dead horse by now. 😀
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Bala
June 20, 2015
I wanted to comment about how this blog is helping me increase my knowledge of swimsuit scenes in Indian (more specifically Tamizh) cinema but MANK has already beat me to it 😀
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venkatesh
June 20, 2015
Sacrilege… Amala was a one-note actress but she played that one note well… it was not just exotic looks. But then this could be my love for Agni-Natchathiram of course
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Madan
June 21, 2015
Maybe the setting where I had to watch it (at night in a long bus ride to Bangalore to attend a rock show, the farthest thing from Karan Johar in other words) biased me but I thought KANK was painful. But I don’t know if I am part of the ‘right’ audience to evaluate its melodrama creds anyway because it was never my favourite type of Hindi film. Even from the older films, I liked the more restrained handling on films like Mausam, Madhumati or Khamoshi or on the flipside the irreverence of Sholay, Jaane Bhi Do Yaaron or Katha. The classic ear-splitting hyperbolic Hindi melodrama has never worked for me (nor Tamil for that matter, when that plaintive nadaswaram comes on, I just feel like shutting my ears in dread of what’s about to unfold). Even back in the 90s, I preferred SRK in comedies or tragi-comedies like KHKN or Badshah and blame the YRF/KJ camp to this day for taking away a fabulous actor with outrageous comic timing.
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Madan
June 21, 2015
I also confess to having a complete dislike for Hindi films made from a first world point of view. Them and their artificial manners pretending like they live in some other better planet and not Mumbai. So that totally rules out Karan Johar for me, I guess.
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Rahini David
June 21, 2015
Venkatesh: But that one note is a note that works only when the girl is young. She played goldfish roles. Apparently there are other fish in the sea. Exotic ones at that.
And she has grown up children. So she is old enough to play the hero’s mom.
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venkatesh
June 21, 2015
Rahini: I hear you – but but .. she is Amala.
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Anu Warrier
June 21, 2015
and blame the YRF/KJ camp to this day for taking away a fabulous actor with outrageous comic timing.
You can say that again! It’s been my pet rant all along! (Not that SRK is not equally to blame.)
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venkatesh
June 22, 2015
Anu Warrier : SRK in his initial phase was by far the most interesting actor around – till DDLJ happened and by the time Pardes arrived .. he was too far gone. We were left with Rahul.
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bababoldbald
June 22, 2015
she says she knows nothing about love. “Pyaar sikha sakte ho?” Doesn’t she know she’s talking to Emraan Hashmi? He promptly takes her to bed.
Line of the article. What I don’t understand is how is it Mahesh bhatt’s father’s story if it was one man two women. HAK is one woman, two man…no?
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MANK
June 22, 2015
Venkatesh, I don’t think its that simple. sure DDLJ, DTPH and KKHH happened and changed his image and BO standing. But he was still trying to do a lot of different stuff. unfortunately they all flopped. duplicate was an attempt at doing an out and out comedy, koyla was a violent action film. dil se was a manirathnam film. he did all these films even after his entry into yrf camp. even his home productions phir bhi dil hai Hindustani and ashoka were completely different from the usual stuff he is known to do. but as I said all of them were commercial failures and YRF-KJO camp movies were the ones succeeding. I consider gowariker’s swades to be SRK’s best performance. He was so controlled, so mature and intense in that film, that was in 2004, but that too flopped. So it wasn’t like that SRK lost his mojo as an actor after the first 4 or 5 years. but since he is a mainstream commercial star, he has to heed the writing on the box office wall. and now that he is doing only one film a year, any chance of experimentation is avoided
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brangan
June 22, 2015
Actually, I too fail to see how “we got stuck with Rahul.” Whether you like his recent films or not is a different thing — but no one can fault him for doing the same thing.
The only “Rahul films” post the KKHH phase are Mohabbatein, K3G, Chalte Chalte, Kal Ho Naa Ho, Veer-Zaara.
We can also consider the mature variants on the “Rahul movie” – KANK, Jab Tak Hai Jaan, Rab Ne Bana Di Jodi
Now consider the others.
Action-comedies — Baadshah, Phir Bhil Dil Hai Hindustani, One Two Ka Four, Happy New Year
Period dramas – Asoka, Hey Ram (okay, not really an SRK film, but how many actors, after hitting their peak, would do what is essentially an extended supporting role?). Maybe the surreal Paheli would fit into this.
Melodrama – Hum Tumhare Hain Sanam, Devdas, Om Shanti Om
Comedies – Main Hoon, Na, Chennai Express
Dramas – Josh, Swades, Chak De India, My Name is Khan
Action – Don and Don 2
Sci-fi – Ra.One
I think I’ve left out a film or two, but how can an actor with this kind of range in films be considered as “essentially playing Rahul”?
Even his upcoming films — Fan and Raees — sound quite different.
Again, you may dislike him and his films — that’s a different matter. But once you get to the top, there’s the tendency to “do a Rajini” and keep doing films that you know people like seeing you in. That hasn’t been the case with SRK at all.
PS: Of course, some of these genres are not watertight, because our films have a bit of everything — but the basic point, I think, stands.
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Utkal
June 22, 2015
In case of Shahrukh, it is not just a case of his experimental film or his films outside the Rahul ambit not doing so well in the box office. It is also a case of these films exposing his limitations as an actor / star. Swades is the only exception where he excelled as an actor regardless of the BO outcome of the film, and his performance WAS applauded. But not so with some of the other efforts. ‘Badshah’ showed he was no good in goofy physical comedy, ‘ Duplicate’ confirmed it with certainty. It is not about the box office. Anndaz Apna Apna too failed at the BO, but it is a comedy cult classic, with a rating of 8.8 on imdb. The screwball comedy act of Salman and Aamir are remembered as much as the film. Shahrukh’s tapori act in Ram Jaane didn’t work at all, and was a much inferior effort to Aamir’s Rangeela for example. His performance in Devdas was way below par when compared to the other actors like Dilip Kumar or Barua who had played the character memorably. Shahrukh remained Shahrukh and not for a moment became Devdas. Similarly, his Don was not a patch on Amitabh’s. His police act in One-Two-Ka-Four left no impact. In a film like KANK, which required an effortless natural style, Abhishek Bachchan provided that, not Shahrukh. His South Indian in Ra One was a disaster. And in his recent successes like Chennai Express or Happy New Year, his acting or star charisma has not been the principal attraction. (unlike say Aamir in PK or 3 Idiots). It has been Deepika in the former and the ensemble team in the latter. So it is kind of by default that his Rahul act in general that we remember fondly in films like DDLJ, KKHH, DTPH, and Veer Zara. Swades and Chak De are the only two films where he really scored outside this domain. But as I mentioned, there are many more attempts where he simply failed as an actor.
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Santa
June 22, 2015
Utkal: For several of the films that you have listed, I actually thought SRK was the saving grace. Those films would have been a lot less tolerable (for me at least) had it not been for SRK’s performance. Which leads me to think that SRK’s real weakness (as opposed to Aamir’s) is his penchant for picking up movies with bad-to-terrible scripts. Case in point (which you mention): Ram Jaane vs Rangeela. If you take the lead stars out of equation and then compare, Ram Jaane is insufferably worse than Rangeela in all aspects (dialogues, direction, music, everything). Another case: MNIK. I know I’m probably in a very small minority here, but the reason I liked MNIK was the stellar performance from both its leads. Kajol was effortlessly brilliant and radiant as usual, of course, but SRK managed to channel his intensity beautifully into the quirks and character of Kabir.
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RT
June 23, 2015
Utkal : in KANK, you can’t really compare SRK and Abhishek, they are completely different characters. The effortless natural style was a fit for Abhishek’s character but not for SRK’s character which needed a more intense portrayal. The problem with KANK wasn’t SRK, it was that audiences were not too keen on two such unsympathetic characters as the protagonists. It was an interesting role for SRK, about as far from “Rahul” as he could possibly be.
As for Don, it was always going to be a no-win scenario for him. I honestly can’t understand the logic behind remaking classics. If you have to do a remake, pick something which had an interesting concept but wasn’t done all that well the first time around, like Ocean’s 11. What was the point of remaking Psycho? With Don, no matter how good SRK would have been, he would have been unfavourably compared to Amitabh. I think he did as well as anyone could have hoped for.
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Madan
June 23, 2015
BR: The point isn’t about how many non-Rahul films he did post DDLJ/KKHH. The KJ formula only really died down after KANK and by then SRK was too old to be able to pull off those comedy roles with the same zest as he could in the 90s. It’s also worth considering here that his body is a wreck by now by his own admission and that may be a contributory factor. But I liked him only moderately in OSO. He was trying but he looked tired. Maybe also a bit jaded after so many years in the industry and seemed unable to laugh sincerely with some of the jokes. At the time DDLJ struck, he was at his peak. From your action comedy list, I haven’t watched HNY and of the other three only Badshah worked. Now PBDH was a better film than Badshah so I wonder if perhaps the Rahul image defined SRK so strongly that his attempts to enact non-Rahul roles faced diminishing returns….at least until KANK basically destroyed Rahul by inducing ennui.
Swades, Asoka, Paheli none of these films worked. Even Josh was considered above average at best. So the Rahul effect was potent. It may not have stopped SRK from signing up non Rahul roles but it did affect his box office prospects when he did so. Also worth adding (which buttresses my above point) is that PBDH, Asoka, MHN, Paheli, OSO, Ra One, HNY, Chennai Express are all produced by Red Chillies Entertainment. So who’s taking the risks? Basically SRK himself. The only two notable risky films in the noughties which were not produced by SRK were Swades and Chak De India. One bombed and the other rode on patriotic fervour to succeed bigtime at the BO. Yes, SRK acted superbly in the film but the point is strong nationalistic sentiment revolving around a contemporary theme made it easier for the audience to accept him in that role. Of course, today Red Chillies is a vehicle for him to pocket as much of the returns from a successful film as he can but it started out as a more artistic endeavour – to make the films he, Juhi Chawla and Aziz Mirza wanted to make but could not find producers for – and true to form the debut PBDH was a flop.
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brangan
June 23, 2015
Madan: The point isn’t about how many non-Rahul films he did post DDLJ/KKHH.
Actually, that was the point.
venkatesh said, “We were left with Rahul.” I was just debating that.
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Rahini David
June 23, 2015
I am sorry but what is this “Rahul Movie” vs “Non-Rahul Movie”?
I take it that there is something apart from SRK’s name in the movie.
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brangan
June 23, 2015
Rahini David: 😀
It’s just a particular kind of SRK romance, typified by DDLJ (though he was called Raj there). So yes, even if he’s not called Rahul, it can be a “Rahul movie.” Though it helps when you have something like KKHH, which is a “Rahul movie” in which he is called Rahul.
Clear? 😀
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Rahini David
June 23, 2015
Yeah, so long as there are no “SRK movies” with no SRK in it.
😀
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MANK
June 23, 2015
Madan, you are right about srk’s health. He is physically burnt out. I believe he had to undergo 5 operations on his back and couple or more on his neck. that’s the main reason he has slowed down in recent years. Otherwise he used to do 2 or 3 movies every year. so he could throw in a swades or chak de in there while OSO or main noon na will take care of his BO clout. but now with just one release, the only aim is to somehow get it past that 200cr mark hook or by crook, either by kissing rajni’s lungi or having an armada of stars all around him. the convictions with which he began his own production house is lost it seems.
‘
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MANK
June 23, 2015
Regarding, srk’s limitations as an actor, yes he has his limitations but I guess he has been let down by some really good directors. Just look at the list of great directors he worked with- manirathmam, mansoor khan, santhosh Sivan, amol palekar, mahesh bhatt, gowariker etc.. all of them seems to have made their worst film with him. more than a limitation in acting, what he seems to lack is a creative touch or spark – that aamir possess – to inspire his directors and whole creative team to give their best while working with him.
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brangan
June 23, 2015
MANK: manirathmam, mansoor khan, santhosh Sivan, amol palekar, mahesh bhatt, gowariker etc.. all of them seems to have made their worst film with him.
What? Paheli, Dil Se, Swades… worst movie? someone find me the emoticon for “flummoxed,” I say.
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Utkal
June 23, 2015
Paheli is among the worst if not the worst films directed by Amol Palaekar. Same for Dil Se by Mnai Ratnam. Josh and Asoka are below par efforts from their directors. . But Swades surely ranks second to Lagaan among Gowarikar’s films, though it too has some major shortcomings. Among the directors that both Aamir and Shahrukh have worked with, post-2000 Aamir certainly has the better films: Lagaan vs Swades, Dil Chahta Hai vs Don and Don 2, Dil Hai Ki Manta Nahin and Hum Hain Rahi Pyar Ke vs Duplictae and Chahat.
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Utkal
June 23, 2015
MANK: You can add ‘ Billu’ by Priyadarshan to the list of sub-par films with Shahrukh from otherwise competent directors.
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MANK
June 23, 2015
Brangan, OK I’ll take back swades,that wasn’t AG’s worst film, but it wasn’t his best either. I have a fondness for the simplicity and naivety of that film. Also I love the heroine – gayathri joshi – she was such a natural, pity she didn’t work after that
others definitely stand. Especially Mani’s dil se. I will never forgive him for making a hash of it. Coming as he was after Iruvar, which I consider his greatest film. he had such a good concept, such a great star cast,that extraordinary ARR sound track and santosh Sivan photography. The first 1 1\2 hr was terrific, but he totally ruined it in the end.
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MANK
June 23, 2015
Utkal,I intentionally left out priyadarshan
Compared with the kind of crap priyan is capable of – if you are aware of his full Malayalam filmography- then billu is a decent effort, even though it is no patch on its Malayalam original. Actually another director you can put there is ketan mehta who made 2 films with srk Maya memsaab and oh darling yes hair India and later made mangal pandey with aamir.
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Rahul
June 23, 2015
Perhaps this may make it clearer , reg Rahul movie
http://www.urbandictionary.com/define.php?term=Rahul
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Utkal
June 23, 2015
MANK: Agree. The comparison of films by Ketan with Shahrukh and Aamir establishes the same pattern as with other directors.
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brangan
June 25, 2015
Rahul: Ah, now I see why you were so keen to direct us to that link (about your namesake) 😀
ancient Asian translation for “well endowed sex-god”. It is beleived that any person that holds this name has a great level of skill and ability to perform sexual acts for long periods of time on women .Causing the woman reach her climax each and every single time. Men posessing this name are also know to be masters of performing oral sexual pleasure to women for a extended period of time..
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KayKay
June 25, 2015
Dear Lord! Was directed here by comments in the “Day 2” post. Truth is, I tend to skim B’s Hindi and Tamil reviews until I’ve actually seen the movies, which given their availability where I am, can range anywhere from 3 to 9 months from it’s initial release.
But this sentence “The man who falls for a single mother because she reminds him of his own mother (Amala; yes, that Amala)” has me nursing a Stiff One (meaning 2 shots of Single Malt on the rocks. If you were thinking anything else, Go To Your Room. Now) in a state of Shock.
Amala! Sweet, gorgeous Amala. The star of many a hot, wet….oh wait! I’ve spewed crap like this before that’s now archived for all posterity in these parts!
Amala: The only reason I sat through Mamootty’s less than auspicious Tamil debut:
What a Travesty! Not to mention a violation of Indian Film Rules which dictate a former Heroine needs to expand to IMAX proportions before being relegated to mother roles. What were they thinking?
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MANK
June 25, 2015
Ah kaykay, now that’s more like you. do check out the comments section also, but not to worry amala will continue to make your nights hot and wet through agni nakshathram, satya, jeeva etc etc. that’s the beauty of movies. Amala will forever remain young in them. knowing you, you would have already stacked DVD s and YouTube downloads of all of them
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venkatesh
June 26, 2015
KayKay returns.
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Rahul
June 26, 2015
BR, Lets just say this that you are not the only cunning linguist on this blog . 🙂
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