Reviews

Rang de Basanti is a work of historical brilliance in the context that it is able to bring alive the fight of yesteryears today. The backdrop of the Indian history fight for struggle more than strengthens the account for youth delinquency and transforms that misused energy into something much more useful and purposeful.

I applaud Rakesh Om Prakash Mehra for his work, his second outing since the Amitabh Bachchan/Manoj Bajpai starring AKS. Mehra shows his maturity as a director, story teller and sensitivity in this absolutely heart moving rendition of a friendship giving the ultimate sacrifice for country, belief and friends. Shabashhhhhhhhhhhh

Hrishikesh Mukherjee's Satyakam was a veritable lesson on how to pull the viewer's emotional strings. Dharmendra was gifted his career's finest role (those of you who scoff at "Garam Dharam", visit his past with movies like Anupama, Chupke Chupke, Ankhen and innumerable others). He plays Satyapriya, an individual who values lofty ideals of truth above all else; his career, family and life itself. This movie could so easily have degenerated into a soppy melodrama, but Hrishikesh Mukherjee's skills are at the forefront. Satyapriya and his friend Naren (the inimitable Sanjeev Kumar) finish engineering college, and set out on different career paths. Sanjeev Kumar remains honest, but practical, and works hard to become successful. Dharmendra remains in his world of idealism and resolute resistance to compromise, and struggles through every step. Yet, not for a moment does he waver from adherence to truth.

In his very first job, he works for a debauch prince (this was set in the pre-independence/ early independence era). The prince desires to "own" Sharmila Tagore (the illegitimate daughter of his manager, David). Through chance occurrences, Dharmendra lands in a situation to protect Sharmila, but in a moment of weakness, wavers. The prince rapes Sharmila, and the idealistic Dharmendra then marries Sharmila.

How is this different from any other sixties flick, you ask? It is here that Hrishikesh Mukherjee's talent in portraying human nature, and developing characters shines through. Dharmendra, though the supreme idealist, is unable to accept Sharmila or her child completely, and even through his idealism, his completely human nature shines through.

Later Naren (Sanjeev Kumar) reappears, and beautifully personifies the every-day man, one of us, who would compromise (but only so slightly) in order to move ahead in one's career. Yet the compromise would be "practical", never something that would weigh on one's conscience. The contrast between the two characters is one of the movie highlights. Dharmendra is unable to accept these compromises, and the conflict is beautifully wrought out. Dharmendra eventually dies of cancer, and the film leads to its incredibly moving climax.

Ashok Kumar (Dharmendra's father) wants Sharmila Tagore's son to light Dharmendra's pyre. Sharmila (who is not accepted by Ashok Kumar) in a moment of stark honesty, says that the child is not Dharmendra's son, but is illegitimate. Satyapriya's honesty lives on.

It is one of those touching climaxes where it is far easier to let tears flow, than hold them back.

Satyakam is another Hrishikesh Mukherjee classic. Dharmendra is the main protagonist who gives the performance of his career in this film. We see no shades of the action man we get to see in later blockbusters like Sholay or Dharmveer. Here Dharmendra underplays a soft righteous man treading on the path of truth at every step despite conflict and hardship. Sanjeev Kumar plays the supporting lead extremely well, he had only done 17 odd films before this one.

Great performances and worth a watch!

Main Azaad Hoon has a very different theme to usual masala treats as this has a cause or soul in the people Azaad voices for. The script was excellent along with the plot.

A corrupt politician decides to accelerate newspaper sales by asking a female reporter to create a fictional character who claims rights for the poor and unwealthy called "Azaad" (Freedom). This starts a sensation a face is required for Azaad and Amitabh a wandering bumpkin is recruited for the job. However, it turns out that he's quite popular with his new identity. The story continues......

Amitabh again is great as the wondering nomad turned voice of the downtrodden, Shabani Azmi is ideal in the supporting lead.

A film which addresses certain issues in our motherland which still resound today even after 16-17 years this movie was released.

This was Tinnu Anand's latest AB starrer after Shahenshah. Not your usual "dishoom dishoom haram zaada", more "humari maange puri karo!"

I went to see this film with high expectations especially after it was Bhansali's next outing since Devdas. The film is deep it'll touch you unless you have a stone-heart, Bhansali has introduced versatility in his direction since his days of Hum Dil De Chuke Sanam and aforementioned Devdas. However, in certain parts it did have a "Khamoshi-esqe" taste. Camera-work and editing is absolutely flawless and Bhansali really lets his creativity run wild with the costumes and sets usually contrasting blacks and whites the theme is dark.

Debraj Sahani (Amitabh Bachchan) plays is a deaf blind teacher to Michelle Mcnally (Rani Mukherjee) he meets her as an eight year old (played exceptionally well by 9 year old Ayesha Kapur). She doesn't understand anything is violent, confused and unable to comprehend her life. Her world is "BLACK". The film revolves around Bachchan and Mukherjee and how he leads her from this darkness and confusion into light and hope, how he makes her discover her an identity this makes her feel human rather than someone inferior with a disability. He is her teacher her Guru (Gu=Darkness, Ru=Light: One who leads from darkness into light) justice is far surpassed in both characters. The screenplay and dialogue is taut and has developed the central characters with enough depth and reality to really allow Amitabh and Rani to live inside the relevant mindset required to really bring them to life,this for some unknown reason keeps you watching more, regardless of the topic which on first impressions admittedly does seem rather dry.

Rani Mukherjee has surpassed herself with a beautiful essay of a deaf dumb girl, by a million miles her finest performance to date. She only narrates and has no on screen dialogue yet she is nothing short of excellent. Ranis role in Yuva (coincidently starring Junior Bachchan) was strong but this is something completely diverse, definitely deserves an award. Oh and Amitabh Bachchan? Well what can be said about this man that hasn't already, he said himself that this satisfied him and stretched his ability artistically and this is evident in his portrayal as an eccentric alcoholic teacher. Even in his depiction of an Alzheimers patient his delicate head movements and facial expressions reinforce this mans position as a performer par excellence. His appearance involved makeup and is unbelievable, it reminds me of his disguise in Aakri Raasta (1986), impersonating a Christian priest visiting a corrupt policeman who he has a score to settle with. The man is a pioneer of cinema his abilities as an actor know no bounds, even after choosing some poor films in the last year (since Baghban), this undoubtedly redeems the legend of that fallacy. I hope an award is in line but a definite nomination, but I feel Rani has a better chance as its rare to find strong female roles that are alternative and abstract like in this film.

If your expecting a colourful swashbuckling Hindi melodrama with songs and lost and found plots, this ain't a film for you. But if you want to watch something different and sensitive that will touch you I'd recommend it without hesitation. remember different and dark doesn't mean boring if you respect cinema and what it has the potential to communicate, you'll take your hat off to this one. Unusual from Bhansali but inspiring and uplifting.

Aankhen means 'eyes', the story of training three blind people to rob a bank in getting revenge proves for on the edge of the seat viewing. Amitabh again gives priceless acting, Akshay and Arjun Rampal are good supporting cast but Paresh Rawal is great adding great humour. Some of the songs in the films are obviously intended for the indian audience, as films fare poorly in record sales if a film has no songs.

The editing seems a littles inaccurate at times and this is clearly a flaw in the film, if bollywood was to bring out more original themes such as this film it would propel it to a new level.

On the whole, vintage amitabh and some scenes in the film especially between Akshay and the former are ones to remember.

One of my greatest films of alltime, the film has an eerie, grey feel about it. Amitabh who went on to amazing status really shines and portrays the character who is (based on Haji Mastan a notorious mumbai outlaw)isolated from society and family magnificantly, the role won him best actor 1975. A film richly layered in metaphor and meaning, with deeply powerful dialogues and symbolic significance. The camera work however makes the film look very dated which may put people off watching an old film, but if your not judging a book by the cover, based on sheer performances and script well worth a watch.