Jab Jab Phool Khile

Directed by: Suraj Prakash

Starring: Shashi Kapoor, Nanda

Released: 1965

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

Clearly the awful Raja Hindustani drew much inspiration from a film lot older, lot sweeter, and less blatantly sexist and prejudiced. Perhaps not as equally successful, but very successful still. Those were my initial thoughts after watching Jab Jab Phool Khile, a picture full of beautiful songs, terribly unrealistic studio sets, sophisticated Lolita-reading Nanda and above all the cutest, handsomest Shashi Kapoor. Perhaps no other actor has had innocence so clearly mirrored on his face. Mr. Shashi is simply adorable as a simple Kashmiri falling in love with a wealthy lady.

For most part Jab Jab Phool Khile is pure joy to watch. The wealthy girl is spoilt, but not rotten spoilt and does not think that poor people stink. She is wearing western clothes, but the traditional Shashi does not tell her off because of it (unlike Aamir in Raja Hindustani). She is, actually, clearly educated, sophisticated and has a strong will and sense of independence. Very early on she makes it clear that she has not yet thought her own life through, so why think of marriage. And she keeps the same attitude until love comes her way. Then too the wedding is not quick affair in a rush of emotions moment. Nanda has been known as the „homely“ heroine with sweet, inoffensive charm, and she essayed the role of Rita perfectly.

In the very soul of the story, however, is Raju (the most Shashilicious of all the Kapoors), his naive dreams and devoted persistence, which, as should be mentioned, never goes out of control. Far from being a stalker who puts himself in front of every step of the lady he fancies, Shashi loves Nanda from a certain distance. This distance always remains respectful, and for once the hero is not creepy at all. In fact he is completely loveable. Shashi with his gentle eyes and shy smile is forever my crush and whatever damage to his image was done by Satyam Shivam Sundaram, Jab Jab Phool Khile repaired seamlessly. The Kapoor men have always had incredible energy and gusto with hich they performed set them apart from other actors. Shashi´s excitement and unbounded joy as he sings about his hopes are infectious.

The smooth narrative, unfortunately, does have a few dents, most of which one is willing to forgive given the release date of the movie, and the fact the rest of it is so sweet. Still, they did take a away a bit from the viewing experience. The hero tries to fit into an unfamiliar world of his beloved without making it seem like a huge sacrifice of his moral conscience, and unlike in Raja Hindustani he is successful and not ridiculous at all. But just as I was ready to cheer for the movie, the eternal „west is bad“ idea crept into it and ruined the ending. When Shashi and Nanda dance at a party thrown by her parents, she goes on to dance with someone else for a bit. Within seconds the sweet Shashi turns into a lecturer on morality. Because how dare you dance with other men. It basically means you are a used thing with no worth. Naturally Nanda ensures a dramatic finale, during which the imagery is all too clear: Shashi having the moral high ground stands in a moving train, while she trips on down below on the pavement, begging him to take her away from everything what has been her life. I feel like inserting the „you tried“ meme here – for the makers.

Oh – the comedy bits were.... painful.

In the end it should be noted that the only saving grace of Raja Hindustani today is the music. Jab Jab Phool Khile, on the other hand, is still a pleasing cinematic piece. When two do the same, it is not the same.

Guide

Directed by: Vijay Anand

Starring: Dev Anand, Waheeda Rehman

Released: 1965

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

It is always sad when a sudden demise of an actor is a reason for re-watching a film, but if that film happens to be something as touching, epic and perfect as Guide, then you realize the actor is actually immortal. That is exactly the case of Dev Anand, who passed away just today – and made me re-watch Guide.

The story, told partly in present time and partly in restrospective, slowly unfolds, showing us the life and fate of Raju, a simple man living an ordinary middle-class life, but „owning a whole city“ in a way - he works as a tourist guide, knows every corner and every rock in the streets and beyond. And the whole city knows him and loves him for his good nature and mischievousness. Then Marco, an elderly archeologist, comes into town and demands to see the nearby caves and Raju naturally takes the job. Marco´s wife comes with him to the city. Thus Raju meets Rosie. Being much younger then Marco, she couldn´t be more different from him. Passionate, free-spirited, longing for affection, she is deeply suffering bound to a man who has no interest in her and the only thing that exists for him is archeology. A daughter of a prostitute, she did acquire a social status with her marriage, but paid a great prize for it, when her husband forbade her from dancing – the only real passion she had, and at the same time he refused to give her anything in return.

Raju is honestly puzzled by the couple and becomes a witness to both Marco´s coldness towards his wife (that outrages him) and Rosie´s nearly hysterical attempts to get his attention, that go to the extreme. Once Marco reacts more to his new discovery in the caves than to the information his wife has tried to commit suicide, Raju is utterly disgusted and leaving the archeologist to himself he tries to bring some happiness to Rosie instead. Taking her to the city, to see the gypsies dance and buying her dancing bells, he gets to see a whole another Rosie – who loves life, breathes joy and most importantly wants to dance. Soon both Raju and Rosie develop tender feelings towards each other and Raju supports Rosie vehemently in her desire to be free, and at last, after being ultimately disappointed by Marco, Rosie makes a daring step of leaving her husband and comes to live with Raju.

While such a step followed by lovers uniting would be a predictable climax of many other films, Guide takes us beyond it. And shows us that as difficult as the first step might be, the ones that need to be made afterwards are no less thorny. Especially if you are far from being perfect – like Raju, who from lovelorn supporter of Rosie´s art becomes a smart businessman lusting for more wealth and power, or like Rosie, who still dances with the same zest, but is beginning to feel alone and somehow bitter all over again....

Guide is a story about things that change and about things that stay the same. It is also very human. The hero and heroine are not innocent angels, but very flawed people who find a happiness for a while, only to loose it (and more) because of misunderstandings and jealousy. Essentially it is not a film about love, but about two people who once loved each other, if you can see the difference. It is about hurt pride and shattered illusions. About life.

Dev Anand and Waheeda Rehman are a delightful couple, and both portraited their characters perfectly. For Dev Anand, I feel, was the film the role of a lifetime. Sure, there were other, famous and great performances, in other famous and great films, but I don´t believe anything can overpower the impact this particular performance and film had on me as a viewer. He was absolutely convincing as both a stranger unsure how to handle the depressed Rosie, as a subdued lover trying to give her happiness, and finally as a man attempting to fulfill the hopes of others. A concept of the dark and light side of a person is shown admirably simply, with the dark side inevitably perishing, as Raju is overcoming his weaknesses due to a suffering he takes upon himself to help others. Waheeda Rehman as Rosie is one of the most remarkable female roles of Bollywood, mainly because of the grey shades of her character, which usually are not to be found in pure and nice Indian heroines. Her every feeling is mirrored on her face and in her eyes.

When darkness needs to die...

There are so many beautiful scenes in the film, from the already mentioned „dying of the dark side“ or for example Rosie´s last attempt to attract her husband´s attention. The tinkling of her anklets in the dark cavern filled with statues of dancers was haunting. My personal favourite remains Rosie´s utter joy and „I couldn´t care less what people think“ attitude when Raju buys her dancing bells and she walk the street with them on her feet, her head high, exumberant joy on her face – and puzzled or outraged people watching her go. Music is plain gorgeous and dancing as well, again thanks to Waheeda. Her „cobra dance“ is, after all, legendary.

Bitter and sweet. Just two of the words that can define Guide. And also life, which is so sensitively captured in the frames of this film. Very much like Dev Anand. Rest in peace.