By An Jo
Continuing from the closing moments of the ‘70s, extending onto the late‘80s, time for the 48 year old AB to compete with the ‘young Khan’ blood: the innocent-looking Aamir, the go-getter/ham-expert SRK, the non-actor but damn good-looker/vada-pav seeker Salim Khan’s son. Time to move on; so much so that I, as a high-schooler, wanting to be in the ‘coolth’ group, decided for the longest period of 3 months, to abuse AB and endorse the Khans. ‘Bhuddha, not ‘Buddha’ ho gaya saala.’ 3 months sounding like 3 decades, just after Aamir raised his sunglasses to bring Juhi from her Delhi home onto his bike, a jolt ran through me. Have I seen this before? Yes, bloody hell I have! AB in Hrishda’s master-piece ‘Chupke Chupke’, with AB’s character having an inter-caste marriage between vegetables and the English language and falling head-over-heels, with glasses being consistently raised in a Wodehousian movie but intact somehow and falling below the nose bridge, and endearingly calling Jaya’s Vasudha, ‘Vasu!’. Thank you Maggie noodles/Khans, back to the bountiful buffet.
10> AKAYLA: AB’s last outing with Sippy, a ‘Dirty Harry’-ish take on the loner cop, an alcoholic to the boot, one who comes home to his apartment in his yellow Volkswagen-Beetle ‘Rampiyaari’, and who has half-a-pint of whiskey at 8 AM while ‘trying’ to catch on to the news: Then, his alcoholic brain awakens to a Tony Braganza–sorry SRK fans, not your Braganza–
who apparently carries a dubious distinction of being present in two places at one time, influencing (??) Nolan’s ‘The Prestige’, as well as Aamir’s ‘Doom 3.’ There’s a terrific scene when AB is having a drink with Amrita Singh, walks out onto the balcony, and just, blinks his eyes and rotates his eyeballs, and tells Amrita, ‘I know I am getting old, I am old, but do you think there’s anything wrong with my eyesight?’ [How can Keith Stevenson’s ‘Braganza’ be in Dubai watching an India-Pakistan match while an act of crime is committed in India? The sheer reigned-in act of that scene, in a seemingly innocuous film, raised the audience’s interest to such a high that there were deafening wolf-whistles. NOBODY, not even Sippy or AB, would have guessed that this scene, out of all the crowd-pleasing ones, would be loved by the audience. Amrita says all is fine with his eye-sight; yes we sighed, who-else but Amrita to recognize the true MARD? Right Saifu? [MARD was in 1985 by the way, the year of the breasts and AB’s horse; no pun intended, but if one wishes to, enjoy the pun.]
11> AGNEEPATH: I watched AKAYLA first, and then AGNEEPATH, though calendar-wise, AKAYLA was released in ‘91 and AGNEEPATH in ‘90. ‘AKAYLA’ during its first week, was flooded with people wanting to catch a glimpse of AB, and that included wayward males, and ‘decent’ families. Tickets were impossible to get; and I had managed to get tickets for AKAYLA after hell a lot of ‘chaaploosi’ with my Rotary club member-kaka. I didn’t know that I had to repeat the same trick for ‘AGNEEPATH.’ Had to be done, did it. And finally got balcony-tickets for the 2nd week. Go figure. An ambitious take, a mixture of honesty and dishonesty on the part of film-maker Mukul Anand, an uproarious marriage between ‘Deewar’ and ‘Scarface’; the ultimate hyphenation linking De Palma’s ‘banana boat’ diplomacy and Bachchan’s ‘Neeche angaar laga hai kya tumhara,’ this was AB at his vocally volatile best, with superior use of his physicality, completely in contrast to DEEWAR. Too bad, some, or most, of his fans missed his voice. They missed the forest for the trees. And man, those blood-shot eyes, the single-minded determination, carrying forth the same fire from TRISHUL, is truly unmissable. A highly vocalized, stylized tribute from AB to AB and by AB, for his fans, with Mukul, intelligent and daring enough, to cross the line between commercial factors-of-safety and outrageous defiance of the demands of a ‘young’ age heralding in: A defining and a defiant performance, 15 years after DEEWAR, one that’s acquired a cult status, and hailed by critics, nationally and internationally, in 2022, and counting…
12> Hibernation: Happily retired; living in NYC preparing omelets on his own, thankfully, not mixing it up with Yoga aka Coolie, comes back with a horrendous selection of a director and a film, when he had the likes of Ratnam, and even a film with Aamir and Madhuri in tow to choose from; but the man chose to go with the Patekar guy, Mr. Mehul Kumar…and the result is stamped all-over India; with the only, slightly memorable, truly negligible mention being this…
13> Then KBC happened; the details and discussions present everywhere, and its success being gauged by the fact that it was a success even in Madras with anti-Hindi wave always being a subconscious pride; that which the Indian Government couldn’t do, AB did with KBC; he united the people of India with a linguistic-insignificant thread, and a threat more important, of not acknowledging that a life based on knowledge, yearning, learning, from whatever state one came from, are more important from whatever background or state one came from.
14> AKS: THE REFLECTION: In July of 2001, what with the nation warming up to AB’s white-goateed KBC, and AB taking on selling whatever legal was available in India, and instilling discipline in a school infiltrated by a sweater-wearing, wayward, but gifted musician SRK in ‘MOHABBATEIN’ in 2000, AB was on the path of saving his father’s name and legacy: And nothing would stop him. Ironically, AB chose the most experimental path when common sense dictates you take the most well-trodden path when you are in an earthly-existential crisis. ‘AKS’ represents the pinnacle of that ridiculous experimentation for AB, rather, it should be for any actor. [We are now seeing SRK still maintaining the ‘Pathaan’ status, but pulling in the ‘Paramanu’ John Abraham Sir for balance ain’t we?; a terrific calculation on the part of either the director or Khan’s way of maintaining the ‘My Name is Khan’ momentum in a commercial set-up but still pleasing the establishment.] Nevertheless, after being reduced in ‘size’ on a TV set, AB was liberated by a guy named Rakyesh OmPrakash Mehra, the man responsible for BPL ads, and for Eir Bir Phatte. And then, we saw the man turn a director with ‘AKS’, and the trailers on the MTVs and V channels or whatever they were called in those times, jump-started the palpitations for AB fans; one look at AB and Manoj jumping down the Wai falls and then, Manoj running semi-naked being chased or chasing the wolves, piqued the curiosity in what appeared to be, a technically dark and gritty thriller. [Rumors of this being an inspiration of Denzel’s ‘FALLEN’ weren’t lost.]
So the first day, evening 6 pm show in a theater I now forget the name of, right close to Jayanagar 4th cross/4th main in Bangalore, tickets booked, and stood in front of the theater with a friend: This time all proud, with 54/2 inch chest; you see, this wasn’t going to be an AKAYLA or AGNEEPATH affair. Alas, much to my chagrin and also joy, I saw huge, huge cut-outs and hoardings of AB with garlands all over him, and folks just trying to barge into the theaters even when the previous show wasn’t over. I was like, “Are we even in the right place?” This craze for AB in South India at 58 years of age? [Ignoramus as I was, I didn’t realize the impact AB had all over India.] Went in, and the experience was unforgettable.
This was the 3rd, real-time effect of AB, and boy/man, truly electrifying. None of us, whether the Gandhi class folks or the ones sitting in the balcony, had ever thought that we would see anything like this performed by AB on screen. There was the darling of the media, Manoj post- Satya on screen, there was the ‘art’-movies fav Nandita, and then, there was a loan-repaying “old-man”, Amitabh. With Manoj and Nandita, experimentation was expected; they never had stardom attached to them; but to Amit, there was still an albatross hanging over. He managed that and how! It was truly liberating to watch the man enact in the most physical of manners, in the most repelling-to-the-gallery of manners, the act of an upright police officer possessed by the so-called devil. In short, AB took experimentation to the hilt, with him no longer being the lead financially, but still the lead, and bowled everyone over.
AB married Shakespearean theatrical acts to his own persona of the ‘Zanjeer’ law-preserver with a style – a fully clothed-one– that was never seen executed before by a Hindi film actor. And then, he goes on to do everything, from raping his wife, to being the judge, jury, executionor, and enjoying the pleasures of being with the other woman and getting her impregnated, without even realizing what he’s doing, or, rather, what’s happening to him.[Observe how he drops Raveena like a prop within a fraction of a second.]
There’s a scene, where Nandita takes him to a ‘cleanser’ of ghosts so-to-speak, and AB is maniacal, truly maniacal, in spirit, and in the physical turns he takes. ‘Ooh, just last night, you were uttering that because of me, you felt sweet 17 all over again, and now you, you lovely little bi***, changing your tunes eh? Come to Daddy,” and he gets a resounding slap from his wife. It took 5 seconds for the theater to gather what happened with the ‘Bindass’ song, with the rape, with the devil possesion, and finally, the slap, and the entire theater went wild rising in standing ovation, uttering: ‘YEH MEIN NAHIN KEHTA, YEH TOH GITA MEIN LIKAH HAI.”:
A glorious film, a heavily flawed one post the 2:15 mark, with one of the GREATEST, and I mean, absolutely the GREATEST performances ever by an actor-star at age 58. What stunned me, however, was the absolute refusal in giving credit by the educated critics to this film, released way, way before Nolan’s and Ledger’s ‘Batman’ and Gayatri-Pushkar’s ‘Vikram Vedha.’ Black cloth, white cloth? Cutting over? Crossing over? Watch AB’s clothes, including the blinkered glasses he wears in the sweltering heat of Bombay. Nallavana, Kettavana, right? And then watch the remake of this remake, ‘Vikram Vedha’, starring the nawab and HR: carefully listen to the lyrics of this film, and compare it with Gulzar’s outstanding lyrics of the nether-world with ‘BHALA BHURA.’ “PAAP NE JANA NAHI HAI TOH, PAAPIYON NE PAALA HOGA, THOOK SE NIGAL GAYA THA, DHOOP SE NIKALA HOGA!!” Ugly,, but as real as it gets, and Gulzar and Malik want AB to sing it. Wonderful.
Apart from the fact that AKS ventures onto the paranormal stuff, the Tamil ‘Vikram Vedha’ is a literal copy of ‘AKS’, a far superior, stylish film. Too bad, none mentioned it. I mentioned it, the moment I saw Tamil VV, over here. And yes, I have taken on the great Nolan and Ledger as well, with due respect to their ‘social experiment.’
Jayram
October 16, 2022
Marvelous Part 3, An Jo!
As a 90s kid growing up in the US, I was given a delicious feast of the Bachchan phenomenon of the 70s and 80s thanks to those VHS tapes/later DVDs my parents and relatives rented out from a small Indian grocery store near their house. It wasn’t just AAA and Sholay, I watched Chupke Chupke and Mili, parts of Abhimaan, MKS and Don and a little bit of Shaan, Zanjeer and Deewaar. Yet it was mainly his songs like Dekha Na Hai Socha Na, Meet Na Mila Re Man Ka, John Jaani Janardhan, Yeh Dosti, Rim Jhim Gire Sawan, Badi Sooni Sooni Hai, O Saathi Re, Chookar Mere Man Ko, Jahaan Teri Yeh Nazar Hai and Pag Ghunghroo Baandh to name a few that made me his fan. I shunned the Khans, Akki, Ajay, Govinda, Anil, Jackie, Sunny and Sanjay and continued with my Bachchan obsession. Also got into ARR and never looked back.
Can’t believe it’s been 25 years since Na Na Na Na Na Re was released. I was crazy about that song as a child. Whenever this song was played on the boom-box or in the car, I used to sing both Daler and Sudesh parts and tried to lower my voice to match the latter.
You, Madan, Aman and others have covered the aged late 90s comeback, so I need not elaborate.
Summer of 2000, I was visiting Hyderabad. Listened to a lot of ARR during that time whether it was Hindi or Telugu. I had heard a lot about KBC online (not a big fan of the original WWTBM) but didn’t get to watch until one day when someone put it on during the middle. Throughout our visit, I was adamant that we watch it every night at someone’s (whether it was my maternal grandparents or a relative) place no matter what. I was finally able to accept AB in his elder avatar thanks to KBC.
Summer of 2001: I visited Hyderabad again. My paternal grandparents had passed away and my maternal uncles were getting married. KBC and KBC Jr were doing extremely well. I remember watching AB screaming “Right Answer!” when Ravi Saini won the whole thing. Later I watched a bit of AKS. I was not prepared for what I was about to witness. My initial reaction was “Holy Shit!” I didn’t understand what was going on, what AB was doing, etc. I don’t remember whether I liked or hated that bit. I was stunned.
Many years later, after viewing and enjoying Face/Off and Fallen, I finally watched AKS again and was in sync with the film. Flaws aside, AB just blew me away. He let himself loose in the tantric scene or whatever the hell that was. He may have been beyond OTT but wasn’t he just entrancing?!
Those 7 paragraphs of AKS you’ve written are simply riveting. You nailed it!
Will there be a part 4?
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Madan
October 16, 2022
Another brilliant one. I need to watch Aks soon. Yes, I agree with you that Agnee got a raw deal. The poora naam scene with Inspector Godbole is vintage AB. If I recall, it grossed well but cost a lot to make so wasn’t profitable. Makes me ‘nostalgic’ thinking of the times when the trade talked about whether a film was actually profitable, hehe.
Now, the version of Agnee I have seen has AB barking hain in a gruff voice. Was this NOT the voice used in the first cut that released?
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An Jo
October 16, 2022
yes Madan, the whole ‘Naam: VDC’ was a tribute to AB’s mythology, but also, it was a fine homage to Montana’s character from ‘Scarface.’ Many might actually compare the restaurant scene to the ‘bad guy’ scene in ‘Scarface’, but I felt that at its roots, it was really Pacino’s dance scene with with Michelle Pfeiffer that sealed his ‘peasant status’, and that’s where the Agneepath ‘high-society’ restaurant scene takes off.
As far as I remember, there were rumors that AB tried the Brando experiment from ‘The Godfather’ of stuffing cotton balls to make his voice sound different, and also dangerously sticking/retaining some pepper-mints at the back of his throat for authenticity in order to add a level of desperation and angst to his voice. I think he did mention to Masand that he had to redub the whole film when the distributors started panicking.
Here’s the man himself explaining what he went through; and he isn’t pleased with the criticism…
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Madan
October 16, 2022
Wonderful explanation from the Big B for the Agneepath look. I guess this interview was from the 90s. He wouldn’t be so outspoken about the reaction to a performance today. If I had to guess, Agneepath being also a poem written by his father was close to his heart and its failure made him a little pissed off with the industry. But after the company bled money, he had no option but to take whatever roles came his way.
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An Jo
October 17, 2022
@Jayram yes, there should be part 4: Just trying to find some time to write it. Thanks for yours and Madan’s responses and glad you and I are on the same page regarding the greatness of AKS.
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sanjay
October 17, 2022
@Madan – “He wouldn’t be so outspoken about the reaction to a performance today. If I had to guess, Agneepath being also a poem written by his father was close to his heart and its failure made him a little pissed off with the industry.”
I am glad someone here has set the record straight on the failure of this plagiarized character in Agneepath embarrassingly Pachinoised from Scarface and the impact of rejection on him which imo was compensated by influencing a national award via the political corridors. Karan Joker also wrote about it in his book and how he had to redo it with Hrithik.
There is so much written here in all these long pieces which can be called into question but understandably these are all fan pieces celebrating the 80th birthday of a national icon. One thing common is most of these superstars became ham masters with time one way or the other and the greed for money, power, relevance diluted the good work and spark of the yesteryears they represented. This is a universal phenomena in Hindi filmdom across the board and sadly Amitabh Bachchan is no exception proven by filmography and the diminished reception by audience in the last 2 decades.
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Madan
October 17, 2022
“I am glad someone here has set the record straight on the failure of this plagiarized character in Agneepath embarrassingly Pachinoised from Scarface and the impact of rejection on him which imo was compensated” – Well, uh, that is not the record I was trying to set straight. I am aware of your views about Amitabh so won’t engage you on this. I will only say this: just because someone is a total pro-establishment rat and fools the public by swinging effortlessly from one side to another doesn’t mean he is a mediocre actor.
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Anu Warrier
October 17, 2022
I am so glad Aks is getting all the love it deserves – two decades after its release! Loveing this series, An Jo. Between you and Aman, you are reminding me why I fell in love with Amitabh Bachchan when I was a wee tot. 🙂
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Rocky
October 17, 2022
Great Post and this one is the best one IMO. also thanks for sharing the video of AB on Agneepath . I had not seen it before. I watched Agneepath FDFS in Rachna Cinema in Delhi. I liked Akayla a lot too ( although not too many of my friends liked it at the time)
PS- LMAO ROFLOL on – MARD was in 1985 by the way, the year of the breasts and AB’s horse; no pun intended, but if one wishes to, enjoy the pun.]
When Mard released , it was said that it had three Mard- Dara Singh, AB and Amrita.
I liked Amrita since Betab. She was really good in Chameli Ki Shaadi and Aaina , and now I like Sara Ali Khan as well. She was really good on the KWK last season.
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Rocky
October 17, 2022
If I have to dare to list my top 10 AB movies then I would probably list the following in no particular order-
1. MKS- Main Chor naheen hoon mem sahab, aur naa kabhee thaa .
2. Trishul- Mainey aap jaisa gareeb nahee dekha Mr. RK Gupta
3.Sharabi- Chod diya kartey they jitnee paimaney mein, aaj utnee bhee nahee Maikhaney mein.
4.Bemisal- Kisi baat par mein kisi sey khafa hoooon.
5.Kala Pathahar- this pain is my destiny and I can’t avoid it
6.Kabhi Kabhi- Daag Daaman par nahee, Dil par liya hai mainey .
7.Agneepath- Yeh saala phonwa ajeeb cheez hai ( phonwa is my addition)
8.Deewar- too many !!
9.Shakti- Toh kaha kyon nahee dad? Toh kaha kyon nahee Dad!! ( When Dilip Kumar tells him that he loves him a lot too )
10. AAA – apun ney ek maara lekin solid maara, hai kee naheen !!
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An Jo
October 20, 2022
Glad @Anu you too are in the gang of ‘Aks.’ Just curious, what do you have to say about the fact that none, I mean including BR Saab, just didn’t bother to give AKS — however flawed — its due thanks to its parts rather than its sum. The lyrics, the theme, the exchanges between AB and Manoj, each and every-seed sprouts in VV, notwithstanding the spatial differences between the paranormal and North Madras setting.
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Anu Warrier
October 20, 2022
Only they can answer why they reviewed it the way they did, An Jo. I remember, when we were watching it, my husband, for one, got very irritated with the Main nimit maatr hoon dialogue that appears ever so often. 🙂
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An Jo
February 24, 2023
What on earth can another book on Amitabh Bachchan say?
At a very active 80 years, one of India’s best known cinema stars has been covered, televised, mimicked, written about, hundreds of thousands of times.
He has played every conceivable role on screen — an angry young man (Deewar, Sholay, Zanjeer), intense lover (Shakti, Kabhi Kabhie), jealous husband (Abhimaan), floundering friend (Chupke Chupke), good-hearted thug (Amar Akbar Anthony, Hera Pheri, Khoon Pasina, Muqaddar ka Sikandar), doddering old man (Piku, Gulabo Sitabo), feisty old man (Kabhi Alvida Naa Kehna, Badla, Baghban, Pink) among many others.
Over 200 films, 14 seasons of hosting Kaun Banega Crorepati and dozens of voice-overs, he has dominated popular entertainment in India for well over five decades now.
It was, therefore, a sceptical me that began reading Pradeep Chandra’s Amitabh Bachchan: The Forever Star.
Chandra, a photojournalist, who has worked for The Illustrated Weekly of India, The Times of India and The Week among other publications, has had several exhibitions of his work.
Among the books he has written are ones on M F Husain and Aamir Khan.
He commemorated Bachchan’s 61st and 75th birthdays by curating two multimedia exhibitions with other artistes.
Not surprisingly, then, the book is a visual treat with lots of good and unseen pictures.
https://m.rediff.com/movies/report/what-makes-amitabh-bachchan-the-forever-star/20230222.htm
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An Jo
February 24, 2023
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