Nagin

Directed by: Rajkumar Kohli

Starring: Sunil Dutt, Feroz Khan, Reena Roy, Jeetendra, Vinod Mehra, Kabir Bedi, Sanjay Khan, Mumtaz, Rekha, Yogeeta Bali

Released: 1976

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

A massive star cast of the kind one does not see too often today and yet a film so laughably bad! Nagin is one of many Indian movies drawing inspiration from the ancient belief in existence of magical snakes, which are capable of taking a human form. Unintentionally it also discovers the endless human stupidity, which makes you facepalm so often you actually hardly see anything of the film unless you rewind. Most importantly, however, the picture suffers from a common Bollywood illness: it is a thriller/horror that is neither thrilling nor scary.

My sideburns are better than your sideburns.

Well, copulate you!

After shooting an obviously stuffed bird Sunil Dutt with horrible hairdo and wearing bell-shaped, skin-tight trousers meets a magical snake in human form Jeetendra. Happy to be alive the snake invites Sunil to watch his copulation dance with a female snake Reena Roy (I guess snakes do not dig private nad btw yes, my subtitles kept translating "suhaag raat" as "copulation night"), and Sunil, being all into it, soon after invites his friends to come and watch as well. However since they do not think he is serious, they come and secretly ogle at a barely-clad girl dancing in the woods – until a snake appears and they shoot it, thinking it was attacking the gal. As it turns out, though, it was the previously saved Jeetendra, all ready for some copulation, and now as dead as a fish. Enraged, the female snake – nagin – sets on a revenge trip.

Flying Snake attack!

That was close!

Even with the questionable special effects and questionable performances this could have been a good horror, but unfortunately it gets quickly boring a repetitive. The nagin has just one cheap trick up her sleeve – taking a form of girlfriends and then killing her victims – and she uses it every single time. Luckily for her the guys would still only have half a brain if they put all of their brains together, so they fall for it easily, however, for the audience this revenge tale gets stale all too quickly. Maybe the director recognized this as well, and that is why he included a pretty physical and violent fight between Reena Roy and Rekha near the end (over a man, naturally).

The Dumbass Club of the Round Table

Nagin is one of the films that are both roll-eyes worthy, boring and unintentionally hilarious. It suffers from choppy editing, flying snakes, random stupid comedy and prepostrous characters. It is fun to watch actors, that had proved themselves with better cinema, being a part of such trash – and at the same time it is cringeworthy and painful (almost as much as the copulation love dance between Reena and Jeetendra dressed in gold and leather, which they kept bursting into every five minutes). There is the old Bollywood habit to create drama in situations that call for anything but that, and then the drama intensifies to dimensions nearly unimaginable. Naturally there is a high level of WTF: a scene where Feroz Khan shoots at Mumtaz, wounding her – yet then he says „sorry, I thought you were a snake, let me bandage that“ and she just smiles and accepts such bullshit explanation as a part of their budding romance, is just one of many such scenes.

Such pathetic sideburns you got!

How dare you bitch!

Take a plunge off the cliff!

It was interesting for me to watch Kabir Bedi – this was my first Bollywood film I´ve seen him in, but I have been familiar with him since many years. In my part of the world he is terribly famous for his role of Sandokan. Not long ago he was being interviewed for the Czech TV, and I wanted to be angry with him for saying he preferred doing small role in America to film in Bollywood. Well, if all his films were like this one, I think I might just forgive him.

Don´t die! I loved you since that day you shot at me!

Krrish franchise

Koi... Mil Gaya

Directed by: Rakesh Roshan

Starring: Hrithik Roshan, Preity Zinta, Rekha

Released: 2003

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

First of three movie that now create a franchise, Koi Mil Gaya is a shameless rip off of extremely popular E.T., in more ways than one. Is anyone surprised that even music is lifted from other films? I was really annoyed when I recognized two of my favourite soundtracks – the Neverending story and yes, they even DARED to touch the Lord of the Rings – and I assure you I am not mistaken as I know that music by heart. Koi Mil Gaya is a film for kids (even though adults can enjoy it as well), and as such it manages to hit the mark. However even as a film for kids it is not too spectacular, especially not in the special effect department. The little blue creeper Jadoo has nothing on likeability of E.T., and looks just way too puppet-ish for anyone to think he is real for a second. The film is worth watching for Hrithik Roshan, who delivers his possibly best performance ever. The level of vulnerability, innocence and sincere emotions he projects is amazing, and that too in a role which is a far cry from macho heroes Bollywood thrives on. His pairing with Preity Zinta is cute, and the actress looks just lovely. Rekha, of course, is one of the most natural actresses ever. I love her in just about anything and everything, so this was no exception. Out of all three films this one has the biggest heart.

Krrish

Directed by: Rakesh Roshan

Starring: Hrithik Roshan, Priyanka Chopra, Rekha

Released: 2006

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Papa Roshan has decided to boost his son´s career a bit more, again with something new and unusual (and inspired) and what better (read: easier) way to do that than creating a sequel to a successful movie? And so Krrish was born, Preity Zinta killed off and Priyanka Chopra brought on board – as not really worthy a replacement (though she looked stunning, she was just kinda annoying silly gal in this). Yet again, the film needs to be watched through children´s eyes and the romantic track needed to be shorter. Performances are fine, but both Hrithik and Priyanka are owned by their older co-stars – apart from Rekha we also meet the very awesome Naseeruddin Shah as the main villain. Unfortunately somewhere down the line one was grieving that loveable, childish, simple Rohit from Koi Mil Gaya was replaced by his „son“, brooding Jesus-on-steroids Krishna. That said Hrithik has a perfect image to be a superhero. For adult people and teenagers Krrish doesn´t really work as a film of particular interest, for children it is almost perfect. I personally, though with long pauses in between, quite enjoyed it.

Krrish 3

Directed by: Rakesh Roshan

Starring: Hrithik Roshan, Priyanka Chopra, Vivek Oberoi, Kangana Ranaut

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Last (at least for now) instalment of the franchise has raised many eyebrows with its title. Krrish „3“? Did we miss Krrish „2“? Then again numbers do not seem a strong point of Papa Roshan, as we could see during the BO collections aftermath. I was not kind to the idea of the movie, given the previous one was nothing earth-shattering, and the promos very lackluster, the songs just pathetic, reminding one of an outdated 90s films. And after the release I was very put off by all the boasting from various people, mostly Vivek Oberoi, about their own greatness (you do NOT compare yourself to Mogambo and have me nodding in agreement). So I was very sceptical about this venture when I hit the play button and very surprised to find out.... Krrish 3 is a good film. Miles ahead of its predecessor (though sentimental me still prefers Koi Mil Gaya), it has a good enough story to keep you interested and the pace is good throughout. There are moments that are just not needed and overdone (because saving an old grumpy man would simply not play on our heart-strings like saving a cute baby), some of the action scenes are just weird (I kept singing Cause baby you make me tongue-tieeeeed, tongue tiiied...... in my head through the weirdest one – and btw how unhygienic it all was!) and AGAIN, ironically, the special effects look average. What I couldn´t grasp was the fact nobody, including Kangana´s character, realized Krishna is Krrish. The dude is not acting super secretive while in his costume – he sits down with everyone and chats (and apparently has a box of spare bracelets to give out for free) after all. The dude has green eyes and six fingers and nobody suspects anything? Not even when they are capable of making his statue and have his IDENTICAL father reveal it? Sorry, I am not buying that.

Vivek Oberoi as Kaal is impressive – at least up until the moment he decides to wear a seriously embarrassing armour, and so is Kangana Ranaut as a mutant. I suppose when she is forced to be subtle, she can really be great. Her change of heart was not too well explored, but it was sufficient still. Priyanka is better than the last time, but she really is „just there“. The role was not demanding at all. Coming to Hrithik Roshan, this time we do not have to make a choice between Rohit and Krrishna as we get them both. And Hrithik delivers as both – this time actually a lil more as Krrishna. Not a Best Actor award winning performance, but solid enough to be regarded as one of the better ones this year.

Zubeidaa

Directed by: Shyam Benegal

Starring: Karishma Kapoor, Rekha, Manoj Bajpayee, Amrish Puri

Released: 2001

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Everything that is great and wonderful about Karishma Kapoor is in this film. She´s been a very inconsistent performer and her filmography overflows with horrendous movies with some really bad performances, but then there is also Zubeidaa, which in itself is a reason enough for me to have a soft spot for this Kapoor girl. True enough, she also had Fiza, but there she was equaled by both Hrithik Roshan and Jaya Bachchan, and the film had its weak points. Zubeidaa on the other hand is one of those movies that are, according to me, near perfection.

As Wikipedia informs us “The film is based on the life of the ill-fated actress Zubeidaa Begum and the writer of this film Khalid Mohammed is her own son.” That in itself gives the movie a unique feel, and indeed the pattern of the movie captures this. The story of mother is step by step rediscovered by her son, whom she supposedly left for her lover, only to die in a plane crash few years later. However Rizwan (her filmy son), believes there is much more to the tale and tirelessly keeps looking for clues and information that would tell him the truth nobody wants to talk about.

Zubeidaa, a daughter of a wealthy and well-thought-of Muslim family, was a lively and strong-willed girl with a mind of her own, and very much modern in her desires. To act in films, to dance, to study abroad.... all this she sets her mind to, but one by one her hopes are shattered by authoritative father, who may be doting, but at the same time is extremely dismissive to female independence (as is clearly seen in the way his wife treats him – like a God, and thinking of herself as worthless dust). Zubeidaa feels more and more depressed as her father manipulates her and controls her life. Forcing her to marry, forcing her to be divorced, he never asks what she wants. And Zubeidaa bears it, though unhappily, until she actually falls in love – with a Hindu raja.  

Zubeidaa is really a story of a woman, who knew what she wanted, was capable of extreme sacrifice to get it, and accepting absolutely nothing less. A rather unlucky character, destined to be always unhappy. Zubeidaa is scripted with much feeling, unfolding in front of us in a compelling way and nice pace, presenting some of the most difficult human choices realistically. The whole cast is brilliant. The dignified Queen, a father guarding the family honour and never forgiving those who acted against his wishes, a mother in the shadow of her husband, finding just as much courage to carry on, Zubeidaa´s prince Charming, who loves her, but fails to understand her... all these characters are brought to life by a joined effort of the script, direction and the actors with utmost precision.  

But it is Karishma Kapoor as Zubeidaa who is the brightest gem of the movie. Never has she been presented as beautifully, non of her other characters had such depth or scope. She spent the 90s prancing around with Govinda and Akshay, making faces in David Dhawan over the top comedies, wearing the tightest, shortest skirts and doing some of those „PT dance numbers“, but never has she had as much impact as in here, draped in sarees and with abundant curls styled in a period way. Never before or after did she act or looked better.

The music is weaved into the narrative just as flawlessly, with several gorgeous compositions by the one and only Rahman. Be it loving Dheeme Dheeme, or melodious Mehndi Hai Rachnewali, they have a contemporary feel to them, but still fit the era the film captures. The most poignant of the songs – So Gaye Hain – which returns time and again throughout the film in the background, is sung by Lata Mangeshkar. I never really liked Lata´s voice in the 90s and on, not on actresses for sure, but there are some songs, not really picturized on anyone, that she is perfect for, and this is one of them. The main melody in itself, with our without the lyrics, is enough to make one teary.

Zubeidaa remains one of the movies I completely cried through, because it was just impossible not to be effected by the turmoil and pain of a girl denied her dreams, or mother separated from her child, and woman who believed her happiness, earned with so much difficulty, is slipping away from her.

Umrao Jaan

Directed by: Muzaffar Ali

Starring: Rekha, Naseeruddin Shah, Farooq Sheikh, Raj Babbar

Released: 1981

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

One of the most famous stories of both Indian literature and cinematography, Umrao Jaan could be easily described as a tale of a woman who got as much as bad luck as possible. Thrown into the middle of undesirable circumstances, Umrao Jaan accepts her fate, tries to make the best of it, dares to hope and being heart broken tries to cope with her fate yet again, every single time a little less hopeful, until a nearly indifferent attitude becomes her main character feature. From unknown enemies to her own family, they all have a share in her misery. The woe story has been adapted on the big screen several times, yet the 1981 version starring the legendary Rekha in her, possibly, most memorable role ever, is without a doubt the one lauded by many as the ultimate and best presented one.

The story begins in 1840. A little girl Amiran is kidnapped as a revenge to her father, who had previously testified in court against a rapist (who naturally feels offended). At first the kidnappers plan to kill the girl, but ultimately their greed and hunger for money produce a better idea – they would sell the girl into a brothel. That way they will get paid, and the girl will be as good as dead to the rest of the world anyway. Little Amiran tries to run away from the brothel, but is caught, and has to bow to her fate for the first time. She gets a new name – Umrao, is treated well by everyone in her new „home“, and she is given a proper education for a future courtesan. She is taught to sing, to play musical instruments, and her greatest passion becomes writing poetry. Years keep flying by and in no time a slightly awkward girl blooms into Rekha (aka into a creature with sweet, intoxicating voice, eyes burning with an inner flame and in possession of unique, mysterious beauty).

It is her poetry though, that brings the love of her life to her. Young and dashing Nawab Sultan is a lover of shayari, and it doesn´t really take much time, until he is head over heels in love with the prostitute as well. The fairy-tale romance, however, is cut short, when under pressure of circumstances (and his mother), Nawab Sultan is forced to stop visiting thr brothel and Umrao refuses to step into a house of his friend, where she is treated like dirt. And not even several outdoor meetings save anything. Nawab Sultan bows down to his mother´s wishes and gets married, leaving devastated Umrao forever. There is more bad luck in store for Umrao, as she tries to create a new way of life for herself, taking some rather dangerous steps, but being always struck down by one blow of fate after another. For no fault of hers, she is ultimately only left with herself and her verses. All the more sad since other two female characters, also destined to be courtesans from the star, both not only find a way out of their personal hell, but also a happiness and love.

The beginning of the film is not edited too well. Glimpses and hints of how the things go, and why the characters decide what they do, seem almost unrelated, and their motivations and reactions are so only a matter of assumptions on the part of the viewer. The story itself moves slowly, and could easily become tiresome (as was the case of the 2006 version of the film), but what keeps ones attention is Rekha, whose sensitive understanding of the character truly made Umrao Jaan a living person. Rekha is also one of those actresses, who don´t need to speak much, yet even their smallest change of mood can be visible in their eyes and on their face. And when she does speak, one wants to listen to her forever. She is almost equaled in the perfection of the performance by Naseeruddin Shah, playing a good-for-nothing Gohar Mirza, a helper in the brothel, who has a soft stop for the courtesan.

 

The settings, the costumes, everything seems extremely realistic, and as far as I know the makers managed to give the film an accurate historic feel to it as well. Nothing is blown out of proportions, yet the high class and richness of the culture of 19^th century courtesans is very apparent. The film, of course, is also famous for beautiful songs, likeable melodies and lyrics. Finally I have to say, that although not perfect, the film is a beautiful piece of cinema for many reasons, some of which I have mentioned and some of which I would be putting into words only with difficulties. 

Silsila

Directed by: Yash Chopra

Starring: Amitabh Bachchan, Jaya Bachchan, Rekha, Sanjeev Kumar, Shashi Kapoor

Released: 1981

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Shekar (Shashi Kapoor) is an army officer. Brave and disciplined while in uniform, unruly and almost childish out of it. He loves to spend his days with his head resting in the lap of Shobha (Jaya Bachchan), the girl he loves, planning their future together. And in the evening he likes to drink and be merry. Meanwhile his brother Amit (Amitabh Bachchan), a play-writer, actor and poet falls under a spell of Chandni (Rekha), a fresh and beautiful girl whom he saw dancing at his friend´s wedding. Sending her flowers and cassetes with his own voice, expressing all the gentle feelings she has woken up in his heart, he slowly wins her over. Just like his brother Amit now plans to get married. But then like a bolt out of the blue comes devastating news: Shekar has perished while on army mission. And it also turns out Shobha is pregnant with his child.

Amit decides to sacrifice his love for the sake of his brother´s fiancé and marries her, sending a message to Chandni that she better forget him. But even though he has the best will to make Shobha happy, neither him nor her are capable of being so. After they are involved in a car accident Shobha looses her unborn child and not both she and Amit are really desperate, because they find themselves trapped in a marriage without love and reason. While in hospital Amit meets Chandni again. She got married to a nice, honest doctor (Sanjeev Kumar), but does not really care for his feelings for her. On the contrary – the old love between her and Amit is rekindled and after a while they both succumb to their desires. However together with their passionate and secret affair comes carelessness and neither Shobha, who has learned to love her husband, neither Chandni´s spouse are blind. . .

Amitabh and Jaya. Falling asleep just seeing them.

I must admit that had it not been for the controversy related to this film I probably wouldn´t be even interested in watching it. Silsila, translated as „Affair“, came to the theaters at the time when the rumours and gossips were on about the alleged secret relationship between Amitbh Bachchan and Rekha. But not even this tidbit managed to lure enough audience and the film flopped. But this is Yash Chopra film and box office collections are not important for those, and just like Lamhe that flopped ten years later, Silsila is today among the revered classics.

The greatest strenght of the film is really powerful starcast. All the actors put a really honest work into their performances. Amitabh Bachchan, who has the meatiest role, is completely natural. Jaya an Rekha both compliment him. Sadly, even though Rekha is unarguable better actress, she does not have much to do except for looking sad and beautiful. Still her presence is strongly felt in every scene, and she does not even have to speak. Her dark gaze is enough to do the magic. I have never been a Jaya fan, she still yet has to convince me, but yes, she was good here, though not lovable despite being „the good one“. Interestingly enough there is much more on-screen chemistry going on between Big B and Rekha then Big B and Jaya.

Amitabh and Rekha - hell yeah!

The script deserves a credit for presenting well the points of view of all the characters and making one feel the pain they all go through. Silsila telling a story about extra-marital affair could have easily become a hysterical, sobbing and whining cliché with evil mistress and poor wife, but it did not. The story is told very sensitively and in the end you feel sorry for all the characters, which is quite rare. The most interesting message is that as long as something is forbidden, it may seem sweet and desirable, but as soon as it is permitted, it looses the charm and problems, not perceived before, emerge from the shadows.

My greatest problem with Silsila was incredibly slow pace of the film. It really gets boring at times. Not even several exciting-ish moments (will they catch them together/ will they not ) do not help and I kept staring at the timeline wishing it was finished already. And when the message at the end appeared – I wanted to die. „Love is faith and faith is forever“. Really? Like seriously? What the..... Songs are good and beautifully picturized, all bearing the uncanny Yash Chopra signature. Throw some plus points in for Amitabh Bachchan reciting poetry truly beautifully. When you´re in a mood for not-that-typical romance without much excitement, you can watch Silsila, even though you will, like me, probably only look for some secret signs happening between Big B and splendid Rekha.