Chandni

Directed by: Yash Chopra

Starring: Rishi Kapoor, Sridevi, Vinod Khanna, Waheeda Rehman, Anupam Kher

Released: 1989

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

Chandni is iconic. No doubt about that. Even if only for introducing the myth of Yash Chopra´s „eternal woman in white“. Myth, because after Chandni, she hardly appears in any other of his films. Yet so deep is the image of Sridevi dancing an enticing tandav engrained in all our minds, that we accept her as something definite. Yash Chopra´s „woman in white“ has always been adn always will be Sridevi in Chandni, and no one else. However much like another film that set certain standards - Dilwale Dulhania Le Jayenge - Chandni too is a movie that has its own problems, and though iconic, it ain´t untouchable. So let´s touch it today, with some delicacy and some less delicacy as well.

Rishi Kapoor plays an obnoxious rich dude who employs all the annoying, forceful ways of getting closer to a girl he likes, and pretty much gives her no choice in matter of loving him back. When life turns tables on him and does not go the way he planned it to, he falls into depression, gives up completely, and slips into a hardcore self-pity mode. In short he is a douche. Sridevi plays beautiful, annoying in her childish mode, touching in her serious mode, Chandni, who likes to dance in the rain and is... well... beautiful. That truly seems the most prominent feature that Yash Chopra chose to endorse in his heroine that time. Sridevi with her thick mane of hair, long limbs, shy smiles and of course those huge eyes looked like a fairy-tale come true. The first half is cruel to her character though, as she is merely dragged along by Rishi and his family. But Chandni also manages to pick up the pieces of her shattered heart and make a new life for herself, complete with a successful career job and a new man who falls in love with her.

Enter grief-stricken Vinod Khanna, whose mother Waheeda Rehman is probably closer to him in age than his first pyaar Juhi Chawla, who appears in a small but sweet cameo. He is all that Rishi Kapoor (in this film) is not. Thorough gentleman, principled, going after his desires but not forcing himself where he is not wanted. So naturally he does not get the girl in the end, because Rishi suddenly decides he wants Chandni back – and much like in the beginning he blackmails her into a renewed relationship. Sigh. I was ready for Hum Dil De Chuke Sanam after this, to heal my aching soul. The score of the film did its share of healing too, for if there is something worth going back to, it´s the music – yes, including the out-of-tune Sridevi parts of „Oh meri Chandni“. The already mentioned wild tandav in nature is stunning and „Tere Mere Hoton Pe“ remains possibly my favourite track ever picturized on Sridevi. Chandni is also, quite possibly, the last film in which I was ready to accept Rishi Kapoor as a romantic hero. No matter what problems the characters displayed, all the actors did a good job with their roles, even if Anupam Kher going around and mouthing tutotial on life and love was boring. Again, I much prefered his meddling in Lamhe than here.

Did I mention these two get their own Switzerland song?

Chandni is one of the best known Yash Chopra films, and was one of his most successful ventures, however compared to let´s say Lamhe it lags behind, as a nice, but all in all average film. It is a notch better than Kabhi Kabhie though, being more tight in screenplay and not bothering about too many characters. Furthermore in spite of the obnoxious boyfriend (hell he even tricks the girl into getting drunk in pursuit of bodily pleasures), Chandni must have been a revelation at the time when action masalla had its boom. It aimed for simplicity and lots, lots of romance, on which it delivered (though there is still the question of the douche who initiates it all. And the whole Switzerland bit was unneccessary.). I have given up on Yash Chopra films being great in terms of script, rather it is best to simply let go and try and enjoy the atmosphere he managed to create. With this film he succeeded in conjuring up a charming little thing, even if only with help of Sridevi´s beauty and lovely music.

Neel Kamal

Directed by: Ram Maheshwari

Starring: Waheeda Rehman, Manoj Kumar, Raaj Kumar, Lalita Pawar, Balraj Sahni, Mehmood, Shashikala

Released: 1968

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

Do you remember a scene from Kaagaz Ke Phool when an aspiring actress played by Waheeda Rehman attends a party and styles herself for it according to latest fashion trends? She then bumps into a director, played by Guru Dutt, who discovered her and is in for a nasty surprise when instead of flattery she is scolded by him for ruining her unique charm, which lies in simplicity. I felt like Guru Dutt while watching Neel Kamal. Somehow I felt that the dramatic 60s styling with mad cat eyes and huge hair never suited Waheeda Rehman, arguably one of the most gorgeous women on screen ever. Her beauty has been done justice by black and white film the most, where indeed no trappings of fashion would distract from her soulful face. By no means am I saying she looked bad in this film – after all that may not even be possible and her innate grace is as overwhelming as ever – but somewhere down the line I was not happy with her styling. How could I know that would actually turn out to be one of many voes offered by the film.

Neel Kamal is one of the films that cannot decide what they really are supposed to be about. Is it a horror? A reincarnation mystery? A family drama? There are even (very slight) hints of psychological thriller. From many ways they could the makers pursued the most unfortunate one and went on with weepy saas-bahu melodrama in which ultimately all characters loose their likeability. I would also say they all loose their brains, but most of them have none to loose from the beginning. In fact the supposedly mentally disturbed heroine is, for most part, the only one who has some logic left, while everybody else only have heads so it doesn´t rain into their throats.

The premise sounds intriguing, make no mistake. Once upon a time a sculptor was in love with a Princess, but instead of happiness he found death because of it. His immortal pyaar stalked the palace even as centuries went by and it fell into ruins. And finally, after years, a young woman hears the voiuce of the culptor calling out to her, for even though she is named Sita, she was once the Princess Neel Kamal. But is it all real? Or is Sita mentally disturbed or ill? In any case it lands her into a big pile of poo as the film goes on.

If I decide not to judge the movie for the old-fashioned sexism it stands for (complete with Sita having to undergo a harsh test to prove her innocence to a very undeserving hubster and nasty girls wearing western attire whilst pure heroine would never don anything but a saree) there are still too many things completely wrong about it. First of all – Sita is obviously a sleep-walker. Instead of trying to cure or at least help her condition the only worry her father has is who is going to marry her (and a doctor himself very scientifically supports the idea that the best remedy for sleep-walking is marriage), and when she does marry he doesn´t even make her new family aware of her „disease“, even though it is pretty life-threatening. Sita´s husband keeps randomly changing his mind about his wife according to what he is told the latest. He never bothers to actually ask her. And one look at an old statue combined with some crap about ghosts he deduces in his mind is what actually makes him believe her, instead of a delayed information from her father about her sleep-walking.

I wished the film would focus on Sita and her battling with her disease/visions/past life, but the makers did not find a time for that, wasting too much footage on her nasty sister-in-law played by ever-annoying Shashikala and her husband who looked like from another world altogether, played by Mehmood. Their subplot ranges from heavily awkward to downright embarrassing. Not to mention next to useless to the main story. Completing the mosaic of insane characters, who are concerned with everything BUT the source of what happens to Sita, is the devilish saasu-maa Lalita Pawar, who makes Sita´s life a living hell so it is OK for her to just change her mind at the end cause she don´t wanna live in an empty house yo. And nobody even wants her to say sorry. And since I really wanted Sita to send them all to blazing hell by that point I could only roll my eyes in frustration.

Neel Kamal wastes not only a promising plotline, but also its first class actors. Waheeda Rehman carries it all on her elegant shoulders, but seems as weary as her character while doing so. At least she gets to use her amazing dancing skills in several songs. Manoj Kumar as a confused pati parmeshwar looks handsome and has nothing to work with. Even seeing his plight over doubts he may have as a loving husband would have been interesting, but you know, let´s have a catfight between Shashikala and another random lady over a man neither loves instead. And over-possessive ghost Raaj Kumar, who keeps trying to kill his reincarnated love and just when she says OK decides it´s actually not that important, was quite weak.

Neel Kamal disappointed me on many levels, as a film that could have been exciting and different, but ended up being very „common“ and tiring.

Himmatwala

Directed by: K. Raghavendra Rao 
Starring: Jeetendra, Sridevi, Amjad Khan Kader Khan, Waheeda Rehman 
Released: 1983

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

Classic by the influence it had on the fashion of filmmaking at its time (which kind of explains why 80s mostly sucked), and one damn overrated film when it comes to quality, Himmatwala is better to be avoided, unless you are in mood for a boring heroism of a ridiculous hero, some bad acting and unintenionally hilarious tragedies. Himmatwala also failed to give me what I wanted: Sridevi. Because ironically, although this is the film that catapulted her to stardom practically overnight, she has next to no role and 80% of her screentime is focused on her waist-down. And she is no miracle in the film either, in spite of her undeniable screen presence.

Cause darn it was not acting that made her the star of Himmatwala.

But let me introduce you our hero first. He wears the coolest 80s fashion, he sports the awesome Elvis haircut, his name is Ravi and he is definitely too old for the role. After years he spent studying he got his degree in engineering and now returns to his village. He is shocked to find out his mother (who in real life happens to be just six years older to him – and that she is my beloved Waheeda Rehman makes this crime even more horrible) and younger sister have sold their house long time ago and are living like beggars in dirty huts. Why? Here the sob story: Once upon a time his father was a respected school master, but after he testified against local rich villain Sher Singh he was trapped by him and accused of a rape. He is ostracized and leaves his family without a word. (and Ravi apparently suffers from amnesia, because he doesn´t remember a thing from all this, in spite of being at least 7 years old at the time). The broken wife of the teacher decides her son should become a big man by studying in the city (while her daughter is obviously not good enough and can happily slog and live in poverty.)

 So now the village is completely under control of Sher Singh (who has a really bothersome and IMO needlessly complicated way of killing his enemies, involving railtracks) and on mercy to a whim of his spoilt and pretty beti (this is where Sridevi´s leather pants make an entry). But Ravi is not afraid! Ravi is and educated man capable of beating anyone up with his hands as well as never ending motivational speeches about duty and righteousness, that will make your head ache. And then... you guessed it. Ravi triumphs over Sher Singh, turns his daughter from a spoilt kid in leather pants into a Sati Savitri wrapped exclusively in sarees and lives to see the day his father returns home. Meanwhile he saves India from post-flood apocalypse, giving us a song with... corpses.

Jeetendra I just don´t get. Every film I´ve seen him in I found his a very bad actor. No dialogue delivery, no screen presence, no body language. And as already mention, too damn old to be a fresh graduate running around the trees with a child-like Sridevi. She in her turn does what the director wanted her to: making silly faces and speaking in squeeky voice. It has been proven lots of times she is capable of so much more, but sadly this “cutesy” act became her main image. To give credit where it´s due her Naino Mein Sapna dance number is a highlight of the film, and really addictive. Rest of the songs left me rather cold (except for Taki O Taki, but I´d rather not mention Jeetendra and his “jumping Jack” dancing style) and Wah Wah Khel has to be one of the most retarded songs and picturizations I´ve ever seen.

Supporting cast boasting of great names like Amjad Khan, Waheeda Rehman and Kader Khan, don´t leave much of an impression either. Amjad is not a scary villain in this (what a contrast to Gabbar from Sholay!), and why Waheeda did this film, being as picky and generally having a good script sense, is beyond my understanding. Apart from making me loathe the name „Ravi“, Himmatwala showed me that some films just cannot last in the long run and don´t stand the test of time. I don´t think Himmatwala has anything timeless and transcending the years. I would only recommend it to die-hard Sridevi fans, and that too purely for research purposes. Better go and watch the iconic Naino Mein Sapna on youtube and that on repeat (at least her dancing ability was fully put to use!). I am largely sceptic about remakes, but frankly, I think the new Himmatwala, that will be here soon with bells-swinging Ajay Devgn (also too old for the role. Meh.), can only be better.

Chaudhvin Ka Chand

Directed by: Mohammed Sadiq

Starring: Guru Dutt, Waheeda Rehman, Rehman, Johnny Walker

Released: 1960

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

Even in black and white the visual beauty of this movie is astounding. The costumes, the sets - and of course the heroine - all is just overwhelmingly gorgeous. Wonderful camera work that takes into account the magic of light and shadow managed to capture even the smallest details. As a result Chaudhvin Ka Chand reminds one of a long lost fairytale or a dream long ago forgotten, but all the more familiar once before our eyes again. And once the films switches to colour for a little while, during the iconic title song, you could just faint at all the beauty. Interestingly enough having only that one song in colour while the rest of the film is in black and white, only ads to the magic overall. Sadly, the story itself let me down. When Pyare (Rehman) sees a beautiful girl at a market, he is completely besotted and immediately falls in love.

I so don´t blame you Pyare.

However soon he looses her in the crowd. Fortunately for him the very same girl attend his sister´s birthday celebrations, and so Pyare entrusts a servant with a task to find out her name and whereabouts. The servant indeed does have a name for him after a while, but unknown to Pyare, she got mistaken and identified another girl for him. Without checking anything or asking anyone (least of all his own sister), Pyare has a marriage fixed, and the only thing that seems to be between him and his love is his mother insisting he marries a daughter of a priest and family confidant. Pyare thus seeks help with his best friend Aslam (Guru Dutt), and wants him to marry the priest´s daughter in his stead, to save his own happiness. And Aslam, a good friend he is, readily agrees.

Without even looking at his friend´s new bride, that he himself drove into his arms, Pyare is in for a nasty shock, as he realizes the girl he is supposed to marry is not the one he´s been looking for. And it shall remain unknown to him for a long time after that still, that it was actually Jameela, a daughter of the priest, who now has found her home with Aslam, who too has fallen madly in love with her. Till now I was absolutely charmed. However as much as I loved the first half, that much I was shaking my head over the second. Yet again we deal with sacrificing love on the altar of friendship, a concept, as I understand, this movie actually made popular, however in this particular case it is all worse because one of the friends already married the girl in - and yet he still is trying to find way to to push his wife into somebody else´s arms. I was genuinely frustrated by the character of Aslam for doing everything stupid just to ensure his friend be happy, while in the process he is destroying himself AND the woman he loves, without giving her any explanation. Why is he so unable to tell his friend the truth, I might understand, but why he is equally as unable to share the secret with his wife? Especially after he must have realized she is not leaving him in spite of anything? The scene in which he tells her a story about a precious stone that a friend unknowingly gave him, in spite of wanting it himself, made me want to scream that this was no inanimate object he was speaking about, it was his own wife, and to compare her to a thing, no matter how precious, was just completely off-putting.

In the end I was seriously mad as selfish Pyare, for whom the whole world obviously needed to make a sacrifice, and I was rather miffled with Aslam, who goes nearly mental by the end of the movie. At the same time I did feel sorry for his plight, which I guess has a lot to do with Guru Dutt´s ability to portray a complete disintegration of a personality with such conviction. Johnny Walker as the third friend has way too much screen time for my liking, fortunately his character was not so completely over the top as usual, and so I could tolerate him. 

Waheeda Rehman is a stuff of legends. It was definitely not enough of her in this film, that ultimately is more about the two friends than love between husband and wife (which is a pity because her scenes of marital bliss with Guru Dutt were the highlight of the film for me), however she was an appropriate choice for a film like this, because apart looking as breathtaking as if she has just stepped out of the pages of a Tolkien´s book, she is one of the few actresses who just needs to be in the frame and she completely draws attention to herself and leaves audience in awe and wanting more, in other words exactly the kind of a woman that could make others fall in love at the first sight so passionately.

While the plot and the story were disappointing for me, the technical aspects of the film win some points, as already mentioned. Also - some of the scenes are just wonderful examples of love and romance. Aslam scaring his shy bride describing how hideous he is until she panics and throws the veil away from her face to look at him, when he finds her asleep by the door, waiting for him and carries her to her bed, even a little scene near the very end, when he stops her going into the room Pyare just died and silently draws a veil over her face, the very face which was the reason of that death – all that and more made me fall in love with the love Aslam and his wife shared. All I wanted was for Aslam to come to his senses, and after some impuls stand up for his love, rather then mope and making her suffer for the sake of a selfish friend. Yes, there was a scene like that, however unfortunately it did not lead to a finish I would have preferred. So did I like the film or not? Looking back I did, however I realized I pretty much erased all the scenes that made me fume with frustration from my memory. All that I remember and that I dearly love is the beauty - of the costumes, the sets, the music, Waheeda and her loving moments with Guru Dutt.

Lamhe

Directed by: Yash Chopra

Starring: Anil Kapoor, Sridevi, Waheeda Rehman, Anupam Kher

Released: 1991

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

As the sad news of a sudden demise of Yash Chopra seeps in, probably every Bollywood fan stops for a minute and thinks about the legacy this man left behind. I have never tried to hide that I found many of his films overrated, and this feeling remains. At the same time one cannot deny that Yash Chopra was a man who inspired many other filmmakers and influenced Bollywood like only few other people did. And finally I thought to myself that this sad moment actually gives me an opportunity to review a film I consider his absolutely best, and without seconds thought a deserved classic.

A young NRI Viren (Anil Kapoor without his trademark stache) and his old nurse (Waheeda Rehman with her trademark grace) return after many years to India, Rajasthan, where Viren officially takes over the property left to him by his deceased parents. Grown up in London, Viren finds India a strange, yet interesting place. Even more interesting since his neighbour´s daughter Pallavi (Sridevi) appoints herself his guide and friend. And soon enough quiet and romantic Viren falls in love with vivacious and life-loving Pallavi, regardless of the fact she is older to him. One cannot wonder. Sridevi as Pallavi is utterly gorgeous, Yash Chopra was in the end someone who always made his actresses look stunning. However all too soon her father dies and heartbroken Pallavi soon after break Viren´s heart, as she misses his open arms only to fall into another man´s embrace. The shaken Viren comes to know Pallavi has been in love with Siddhart, an air force pilot, and to ensure her happiness, Viren has the two of them married. Nursing a wounded heart he then returns to England, and unsuspecting Pallavi keeps him informed about her life in letters, which he stores with almost religious fervour, as well as few other little mementos, including the anklet she lost that night she danced for him in the desert....

But after just few months of happy togetherness Siddhart and Pallavi both perish in a car accident, leaving behind a tiny baby girl, whom Pallavi manages to entrust to Viren´s old nurse Dai jaa. The older woman names the baby Pooja and brings her up in India, where Viren finances everything, but only comes there once a year, to remember death of his love. Not once he agrees to see Pooja , although he bears no ill will to her, and showers her with gifts. The curious girl (also played by Sridevi, because whenever Sridevi has a baby in a film, it looks exactly like her), however, could not be less satisfied. After all, she has decided a long time ago in her kid heart, that one day she is going to marry this mysterious benefactor of hers. Clueless, just like her mother, about what lies in Viren´s heart.....

Lamhe is indeed a rather unique love story, where there lies both an affection for another (in case of Pallavi) and a big age difference (in case of Pooja) in between Viren and his happiness. Anil Kapoor is perfect in the role. His portrayal of the character is subdued and calm – a rather extraordinary thing to behold when it comes to him. Anil of that time was usually a hero roughly treated by life, wearing jeans and taking bloody revenges, but Viren is completely different. Quiet. Thoughtful. Sensitive. The scene where he sees Pooja for the first time, and thinking probably a miracle has happened and that is Pallavi in front of him, is extremely powerful even without words. I feel that very often people very unjustly leave him out when talking about the film. He deserves as much credit for making it beautiful as his leading lady.

As far as Sridevi is concerned, in my opinion, this is her best performance ever. It is one thing to admire about her, that as reserved and withdrawn she is in personal life, she is able to shake all her inhibitions off once the camera starts rolling. She is a delight to watch as both Pallavi and Pooja (characters that actually have a lot in common – apart from one being mature and one still very much childish). Her somehow constantly surprised and mischievous expression and innocence mirrored in those huge eyes lined carefully with kohl, is perfect. Her dancing in Megha Re Megha and Chhudian Khanak Bole wonderful. She infuses life into her role with so much conviction you cannot but applaud her.

Two other supporting actors, who absolutely need to be mentioned, because even without them Lamhe would not have been what it is, are already mentioned Waheeda Rehman and amother of my favourites Anupam Kher. Waheeda never lost her grace and aura, and even as wise and selfless Dai Jaa she is capable of winning the hearts of audience, and equals Sridevi´s overpowering screen presence with magic of her own. Ah! And that glorious moment when she actually bursts out singing her famous number from Guide! Anupam Kher as whacky, good-natured Prem, a friend of Viren´s, who keeps pushing him and Pooja together in his own sneaky but well-meant ways, is too endearing. His bonding with Sridevi in London is hilarious, his singing of Kabhi Kabhie near the end gets you emotional.

Lamhe has been many a time rejected by some viewers, who found the story incestous. I can understand where these people are coming from. Viren did love Pooja´s mother and he was the girl´s guardian. But at the same time, I never really thought about this while watching the film. It is not like Viren was married to Pallavi and then pulled off Woody Allen. Pooja´s eternal crush on Viren, is probably more questionable to me, and one has a feeling she had to be really cut off from all the society, because her whole existence seemed to center around a man she has only heard of. I read that Sridevi herself objected to the ending of Lamhe and i must say I too would find it more logical if Viren indeed refused Pooja and she went on with her life without him. Then again the film is so beautifully constructed and acted I have no major objections to the happy ending either.

The only flaw I find in Lamhe is – Siddhart aka non-actor Deepak Malhotra, whom the trees give a stiff competition. It really felt like Yash Chopra just stopped the first fair guy he found on the street, dressed him in a uniform and put him in front of the camera. Poor Mr. Malhotra was atrocious from stoned expression to non-existent dialogue delivery, and what a shame – he did not even look good with Sridevi. Then again he is there only to impregnate the heroine and die....

Yash Chopra films are famous for having wonderful soundtracks (mostly, though you could find exceptions) and Lamhe is no different. Melodies and lyrics woven into the story are flawless. My personal favourite apart from the obvious „desert“ number about bangle and a peacock has to be Gudia Rani picturized on my beloved Waheeda and little „Pooja“. There is something universally appealing in lullabies, wouldn´t you agree?

Lamhe is one of those films that stand witness how little the box office results tell when it comes to the quality of the film. A film to cherish. And the best film of an iconic director.

Kaagaz Ke Phool

Directed by: Guru Dutt

Starring: Guru Dutt, Waheeda Rehman, Johnny Walker

Released: 1959

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

This is what stirs the heart. This is what deserves to be called epic. This is what amazing films should be like. And nobody can convince me now, that Guru Dutt is not the greatest of all Bollywood directors ever. And a wonderful actor too. Kaagaz Ke Phool is a story about a man who looses everything, and gets to a point in life, when he even knowingly refuses what he desires most, because his spirit is all but spent and he feels he has nothing to give in return. Many argue that Kaagaz Ke Phool was to Guru Dutt what Mera Naam Joker was later to Raj Kapoor – an autobiography of sorts, a confession of inner feelings. But while Raj Kapoor opted to become a „joker“ on screen for his magnum opus, Guru Dutt chose his film to be set – in film studios and „behind the scenes“. A film with similar concept – of unveiling the mysterious (at that time) world of film studios and filmmakers, was Guddi, but in comparism Guddi was a light-hearted picture about a girl who needs to sort out reality and fantasy, while Kaagaz Ke Phool is like a mirror of somebody´s soul, of the most intimate feelings and beautiful in all its sadness – all of which are chief characteristics of Guru Dutt movies after all.

In a one huge flashback we are told the story of Suresh Sinha (Guru Dutt), an extremely successful and critically acclaimed director, who has wonderful career, but highly unsatisfactory personal life. He is married, but his wife has left him after he joined the film industry, faithful to the idea of the time that all people connected with films are despicable, low and „dirty“ creatures. More than his wife however Suresh is missing his teen daughter Pammi, whom his wife is trying to keep away from him. After yet another failed attempt to bring his daughter with him to Mumbai, he (yet again) tries to find solace in his work. But not even that seems to be working, because he cannot find an actress to portray Paro in his „Devdas“. Until one day a girl as fresh as a flower and as different from fashionable glamour divas of silver screen as possible, awkwardly appears right in from of his camera by mistake, clutching a coat he had given her not long ago, when they met during a stormy night, seeking shelter under a tree....

Guru Dutt as a performer was extremely natural. I don´t think that apart from him and Dilip Kumar there has been an actor who would need so little words and expression and yet manage to convey perfectly what the character is going through. He also gives you a feeling there is so much more, still more of that pain and questioning the world, than what is shown through the scenes and dialogues – and songs, that are beautiful and full of beautiful melancholy. Somehow one is not capable of just walking away from the film, even though it is, in a way, quite depressing. Finally one has to wonder how much of his personal life really found place in the script. The thought of him predicting his own premature and lonely death is chilling, even though I am inclined to believe it was all just a very sad coincidence. At the same time, the storyline about Suresh and Shanti, may very well be a heartfelt confession....

 

Shanti, a girl already mentioned, that girl who wants nothing but to return a coat, but is made waiting during the shoot, which she delightfully yawns through, is played by Waheeda Rehman. Waheeda Rehman, whom Guru Dutt called his inspiration, and who unquestionably belongs among the most graceful, gorgeous and talented actresses of India ever (I am not discussing this with anyone). One could stare at her forever. Hers is a beauty that touches the inner you, that comes straight to your heart. She can move you to tears just by being on screen, her gentle and yet overpowering presence is extraordinary. Her pairing with Guru Dutt is nothing short of perfect. It is as if they were meant to be. That is all you know watching them. A few softly spoken words, several fleeting touches. And that is all. And yet you know that this is Love happening in front of your eyes. It is no secret after all, that they loved each other in real life as well. Unhappy in his marriage , and feeling misunderstood by everyone (just like the character of Suresh) he found comfort in the young actress, who loved him in return, never exploiting his position in the industry for her own goals, not using him as a stepping stone to secure her own future. 

Love is the backbone of the movie, but there is still enough space to other issues to be touched as well. The ungratefulness of the world, the hyenism of the machine that is film industry, the disdain with which some people even today look upon cinema, even emotional turmoil of a child whose parents do not live together. Emotional blackmailing and voluntarily fall of grace too have place in this story. The excellent camera work and lighting of the film are not made justice by new DVD prints, that rarely are of good quality. Time was not kind to the film reels that Guru Dutt once presented to the world.

Kaagaz Ke Phool is no paper flower which looks beautiful but has nothing else to offer but a shallow, short-lived infatuation before the colours fade. It is a most beautiful rose with soft petals of vibrant tones, blooming eternally.

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.