Mr. and Mrs. 55

Directed by: Guru Dutt

Starring: Guru Dutt, Madhubala, Lalita Pawar, Johnny Walker

Released: 1955

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

What to do when your daddy has left you millions but only on condition of marrying within a month? Why not hire a poor, honest man to marry, and divorce after a while, with millions secured? Especially since divorce bill has finally passed? But what if your perfect plan does not include possibility of falling in love with your victim? Mr. and Mrs. 55 promises, at first, to be simply loveable, but though it does not lack good moments, performances and humour, it is one of those film of the past that are simply problematic today. For where to draw a line for „acceptable“ amount of traditional sexism?

But let´s focus on good thing first. There is something tragically attractive and beautiful about Guru Dutt, about his whole persona. The moment he appears on screen and stares at Madhubala who has seemingly fallen down from the skies, I am lost. I don´t think even Shahrukh Khan with his intent gazing can surpass him in „looking at a woman as if she was the most beautiful thing walking on the Earth. And while this time I did not experience the familiar tingling around the heart (a feeling I get when seeing Guru with Waheeda Rehman), the lead pair in the film is both likeable and talented. Madhubala induces her character with innocence and obstinacy, decorated with delightful comic timing, while her counter-part is more subdued (and quite himself in a role of poor, mistreated-by-society artist). Johnny Lever and Kum Kum are not as over the top as usual, and Johnny actually acts as as pivotal character. Furthermore his little romance is quite amusing, and in contrast to the drama between the two leads. Or at least neither Johnny not his lady love feel the need to discuss who should be superior in the relationship.

What an utterly delightful film this might have been, had it not, as already mentioned, been so damn old-fahioned-ly sexist. I understand that it was released in the 50s, but that does not change the fact that the more it progresses the more it grates on my feminist nerves. And the worst part? It is not the man to have a a fiery, passionate speech about women´s duties and izzat, it is the heroine. Do not take me wrong. In many ways Anita (Madhubala) is a character who does things her way, even if she starts of as childish. However the complete disregard of women being unfairly treated by society annoys me. Anita´s greedy aunt (who makes sure to pinpoint she learned about „freedom“ from women of America and Europe aka continents of hoes where men need to be pitied) is exactly the type of a „feminist“ who gives feminism the bad name with her misandry, and who does not regard another woman´s own choice of way of life as right and normal. Which, ironically, is actual feminism.

At the same time we have the saintly bhabhi (who has somehow managed to have three school-going children in just four years into marriage) who believes that even when her husband beats her occasionally it´s really all just marital happiness. Urgh. Maybe the mean aunty was not wrong about everything.

Ek Saal

Directed by: Devendra Goel

Starring: Ashok Kumar, Madhubala, Kuldip Kaur, Johnny Walker

Released: 1957

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

There is nothing more poignant then watching a movie about a girl who is slowly dying, knowing that the actress herself will not live long and is actually slowly dying. This depressing thought was the only thing I really took from „Ek Saal“, a drama with some romance and hurting thrown into it. I suspect that my copy of the film had some scenes cut out and I thus did not get to see the entire movie as it was released. There was nothing too obviously missing really, but at times I wondered. After all, it wouldn´t have been the first time something like this happened to me with an old movie.

Usha, a girl of a simple name and manner, as well as extraordinary face and gazillion of gorgeous expressions (yes, Madhubala), is celebrating her birthday and everyone wishes her „A thousand years to live“. Unknown to her though, Usha has a brain tumour, something her rich rich rich father just found out, and his heart is breaking. As it appears his daughter doesn´t have a thousand years to live – not even several more. Just one. And the devastated man decided that the whole year that remains should be filled with happiness and not a single worry for his laadli beti. And so when Usha falls in love with their new estate manager Suresh, who doesn´t return her gentle feelings, father bribes him: for every month he spends pretending to love his ill-fated daughter, he will give him a considerable amount of money. Suresh accepts with head lowered in shame – and joy in his heart!

Because Suresh is in fact a conman, who is only trying to rob the rich family of as much as possible. And such an easy income as this he couldn´t have even imagined. And so he romances the girl and keeps counting his money, and planning a future of sorts with Rajni, his partner in crime. Since it is in his best financial interest to keep Usha alive as long as possible, Suresh searches for a doctor, who would be able to help her. But as the months are passing by, with unmerciful clocks tickling, he is becoming more and more aware that being greedy may not be exactly a virtue. And Usha´s innocence and love also start bringing their fruit. Suresh falls in love – for real. And unfortunately the possessive Rajni will have none of his lovey-dovey nonsense.

Why does Usha fall in love with Suresh? That was what I wondered in the first place. And I suspect that is where something was missing from my copy – because I don´t like an idea she simply falls for him just like that, in a matter of a few days, considering he didn´t show any interest in her whatsoever, plus was so bothersome to her at the beginning. Whatever the case, her love also chose to be quite blind. During the film there are several situations during which Suresh nearly shows his true face (like not believing in God and hiding suspicious letters before Usha), yet she never question him on anything, doens´t even stop to think about it. Then again perhaps Usha does have such a naive, almost childish mentality, considering her father decides she shouldn´t even know about her own state of health. Madhubala is as gorgeous as ever in the film, making Usha almost an ethereal creature, though not exactly someone you could relate to. She makes a nice couple with Ashok Kumar, who in his turn delivers a good performance too. Suresh and his change of mind (and heart) do not happen overnight and the inner struggle shown as a dialogue with his own mirror image/photo, who gain live for a few moments, is probably the most interesting aspect of the story.

Kuldip Kaur as Rajni is one sassy character with an attitude. She is no walk over, and she doesn´t just sit about making empty threats. She goes out and actually does what she wants without any delays. She does make you hate her, at the same time I realised I admired her to an extent. Same cannot be said for Johnny Walker with his completely useless comedy track, that gets way too much space for my liking and I recommend to fast forward through it, because it really IS useless.

Ek Saal did not win me over. It failed to make me feel emotional. As I have already said at the beginning, only the knowledge that Madhubala, playing a girl dying of brain tumour, was slowly, slowly dying of her weak heart, stayed with me once the closing credits kept rolling.

Half Ticket

Directed by: Kalidas

Starring: Kishore Kumar, Madhubala, Pran

Released: 1962

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

Why did my copy of this had to be SO bad? Not so much in quality (though even there was much left to be desired), but somebody mindlessly edited out many scenes and the rest was quite often cut in half, leaving the viewer puzzled. Thankfully even like that I managed to understand the story and the situations the main hero gets into.

Kishore Kumar plays Vijay, a completely useless son of a rich industrialist. He is sent to school (I´ll not comment on how ridiculous he looks as a student) but instead of studying he is creating riots among other students and every other day he threatens the authorities with going on strike, until his father finally decides to také him away from the college. But what to do with such a good-for-nothing person? Heading the advice of a friend Vijay´s father decides that maybe when he is married his son shall mend his ways. And so he starts looking for a suitable bride. But Vijay sabottages all the attempts and disgraces his family in the process. And then finally the cup of patience overflows and Vijay is driven away from home.

Adorable "Munna"

Not skilled in anything but clever enough Vijay decides to go to Bombay and start a new life, but at the station he finds out he does not have enough money for a ticket. After tricking a fat child he steals his clothes and manages successfullypass himself off as a child and buy a half ticket. Unknown to him he has got a diamond in his pocket. That was inserted there by a diamond smuggler (played by Pran) for „safe-keeping“, but the smuggler soon realizes it just might be the biggest mistake of his shady career. „Munna“ as Vijay now calls himself disappears from his sight as soon as they board the train. There Vijay runs into stunningly beautiful Rajnidevi (heavenly, heavenly Madhubala), and she, considering him a mentally ill but harmless person, offers her help.... And „Munna“ is sure to need it, because the diamond is still in his pocket!

Madhubala ( *sigh* )

One can only dream of such honest, nice comedy to be shot today. The humour is simple and pure, nothing forced or vulgar. The situations „Munna“ gets into while running away from „Chacha“ are hilarious, and though they fill pretty much the whole second part of the film, they do not bore at all. The film uses truly all possible means of comedy from sarcasm, irony, people being silly to people mistaking words etc. The king here is Kishore Kumar. His timing is brilliant and his expressions and dialogue delivery priceless. I was a bit bothered about him pretending to be a child, because he did no way looked like one, but fortunatelly later it turns out he did not pretend to be a „child“, but a mentally disturbed person, so it does make sense. Madhubala adds her incomparable charm to the film, and the comic scenes she is given are just as delightful, sadly there are not many.

Music is beautiful, my favourite song has to be hilariously (and beautifully at the same time) picturized Woh Ek Nigah Kya Mili, during which a very young, vivacious Helen makes a special appearance in the film.

The finale is completely over the top, action packed and hilarious – both intentinally and unintetionally, the latter because of „special effects“ that makes one smile benevolently when watched today. This was my first Kishore Kumar film, and I definitely am going to watch more in the future. I just hope they shall be as good as this one.

Mughal-E-Azam

Director: K.Asif

Starring: Prithviraj Kapoor, Dilip Kumar, Madhubala, Nigar Sultana

Released: 1960

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

Once upon a time in India there lived a mighty and wise Emperor, who united the country and overcame the differences between the various religions, that had rooted in his country. He was known as Mughal-E-Azam, the Greatest of the Mughals, and his name was Akbar the Great. Seemingly having all, there was one thing he did not possess and no pearly, diamonds and other riches could ever buy it. Because Akbar the Great was childless. So the Emperor forgot all his pride and on foot he made a long pilgrimage to a sacred place, where he was assured his Queen Jodhaa would surely give a birth to a child. And indeed several months later Prince Salim was born into a golden cradle. However the love he had been given turned him into a spoilt and selfish person. For a long time his atrocities were being overlooked, but after he disgraced the sacred Scales of Justice, his father finally found the will to punish him. Sending him away from the palace, he ordered his son to be raised by soldiers on battlefields. For fourteen years Salim lerned and grew as a warrior, he gained respect and discipline.

The time came for him to return to his parents. After a grand welcome he is given a rather curious gift. A statue, at whose feet according to its maker a warrior will lay his sword, a king his crown and a person his heart. The beauty of the statue is truly breathtaking and Prince is deeply impressed. And looses his heart almost instantly, when the statue actually moves and says: „I´m not an angel. I´m a human being.“ With this sentence begins a story of Salim and Anarkali, that will almost destroy the future of the great Mughal empire...

Princes and maids never had it easy...

If there is any movie that can be labelled as „legendary“ it is without a shadow of doubt Mughal-E-Azam. Its breath-taking visual glory, moving and sensitive love story, excellent acting – everything is pure genius. The man of vision here was the perfectionist very much passionate about the project – K. Asif. This man was planning Mughal-E-Azam for almost sixteen years and the shooting itself lasted another nine. The story is based on a popular legend about turbulent young years of Emperor Nur-ud-din Salim Jahangir, that supposedly took place at the end of the 15^th century. It was not made into a film for the first time. In 1928 there was a movie called „Loves of a Mughal Prince“ and in 1953 it was „Anarkali“. However none of these can match up to the epic Mughal-E-Azam, into which so much effort, love and pain was invested. All you need to do is to look here http://www.imdb.com/title/tt0054098/trivia and you will understand some of the reasons why this film is extraordinary.

What to say about acting here? Every single one of the actors built a monument for themselves, be it the dignified Prithviraj Kapoor, charismatic Dilip Kumar or the eternally beautiful Madhubala. Add to it a wonderful music, enchanting costumes and sets, beautiful cinematography, script chisselled to perfection – what do you have? A timeless story on the verge of fairytale, but still realistic enough, that manages to charm even 50 years after it first came to the theaters. 

Salim and Anarkali - eternal lovers