DHARMENDRA: THE ROMANTIC POET

I am working on a few new posts, including the next instalment of the Decades of Dharam series... but in the meantime I would like to share this Dharmendra interview from 2007, in which Dharam talks to Tina Ambani about poetry, patriotism, parenthood, prayer... and pyaar....

Excerpts:

Do you prefer Dharam, the lover, over the action hero?
Love is also action, Tina! I am driven by love. Love should never be demanding; it must be unconditional. Love is an exquisite pain and in that pain lies intoxication. And if your lover shares that pain, the intoxication reaches another level altogether. I have been privileged enough to share such a love for over 25 years and it is amazing.

And all the female actors still rave about your good looks. How do you stay so handsome?
Whatever is in your heart and soul shows in your face. For the past few years, I have been practising pranayama [yogic breathing exercises] every day. It has transformed my life. I find it intoxicating — it has the same effect on me that alcohol used to. I used to drink a lot but I stopped about five years ago.

How do you get along with your own children?
Wonderfully. My girls, Esha and Ahana, are more open with me, though. I guess daughters have that kind of bond with their fathers. Sunny and Bobby are a little shy. Sunny is also a bit of an introvert.


The full interview is quite a treat for a Dharam fan. I always enjoy reading Dharmendra's more recent interviews (the good ones, at least) because there's something very consistent about them - both in the things he says and the way he says them, and always underneath it all... a poignant, human touch of vulnerability.

THE DECADES OF DHARAM: THE 70s

This is Part 2 of the Dharam’s Decades series… Part 1 (on the 60s) is here….

I realize that I am very much in the minority on this, but my favourite decade when it comes to Dharmendra movies is definitely the 1970s. This is possibly because I’ve seen a fair number (but by no means most) of his 70s films, and not too many of his films from the 60s (the films which most people tend to prefer). It’s also possibly because I (again, this is a minority view) personally find him more handsome in the 70s (especially the period from 1970-75). There’s no denying that Dharam was absolutely gorgeous in the 60s, but I tend to prefer his more mature, slightly rougher, more buff 70s look… in the 60s (and the early 60s in particular), he was sometimes a little too smoothly beautiful for me, if that makes any sense. By his mid 30s, he was still devastating but had a little more 'character' in his face.

I also think that by the 70s, Dharmendra had really hit his stride as an actor – he was more confident and self-assured, and that definitely came through in his demeanour. He had a little strut and swagger going. I like that. Another reason why this decade is my fave when it comes to Dharam's work is that in keeping with the general spirit of the decade, he made such fun films in the 70s. I know he made some fun flicks in the 60s (particularly the late 60s), but there's no question about his 70's movies being more fun and less serious. Nothing against serious movies, they can be absolutely awesome, but it's the fun ones that tend to keep me coming back for more.

But enough about my personal predilection for 70s Dharam… let’s take a look at his body of work in that decade. Dharam ended the 60s well, and by 1970 he was still riding that high, despite the mania that had erupted over a certain actor by the name of Rajesh Khanna. I think it's a mark of how consistently good his work was that Dharmendra was definitely one of the biggest Hindi movie stars of the 70s, despite the Rajesh-frenzy that began in the late 60s with 'Aradhana' (1969) and continued well into the 70s.

In 1970, Dharmendra’s first film of the decade, ‘Sharafat’, was released. This is a notable film because it marked his first encounter with a beautiful young actress by the name of Hema Malini, who was just beginning her own illustrious career in the movies. Dharmendra’s meeting with Hema would have a lasting impact not only on his career, but on his entire life… but more on that later. For more on 'Sharafat', which I haven’t seen, please check out Veraciously’s thought-provoking review….

In 1970, other Dharam releases included a cameo as the dashing ringmaster in Raj Kapoor’s bloated, overly self-indulgent opus, ‘Mera Naam Joker’; the wonderfully, wonderfully romantic ‘Jeevan Mrityu’ (opposite a luminous Rakhee - definitely worth seeing if you haven't - check out Memsaab's review); and the fun caper 'Kab? Kyoon? Aur Kahaan', reviewed by bollywooddeewana here. Dharmendra also made another 1970s release opposite Hema Malini, 'Tum Haseen Main Jawan', a fun masala flick about a baby on a navy ship (amongst other things). With these films, Dharmendra had begun the 70s in grand style.

In 1971, ‘Mera Gaon Mera Desh’, co-starring Asha Parekh, a feisty Laxmi Chhaya and a ridiculously hot Vinod Khanna, was released. Although Dharmendra does a great job and Asha is good, I think Laxmi and Vinod are the real stars of this show, a tale of a reformed criminal saving a village from the terrors of a terribly evil (but oh, so sexy) dacoit, Jabbar Singh, and his gang. ‘Mera Gaon Mera Desh’ is a great foreshadowing of a classic film that Dharmendra would star in just a few years later, a fact which the fabulous Sita-ji explores in her great post here.

Another great film from 1971 that featured Dharmendra was Hrishikesh Mukherjee’s delightful ‘Guddi’, but it would be wrong to call it a Dharmendra film. A young and utterly captivating Jaya Bhaduri completely ruled this one, with a beautiful performance opposite Utpal Dutt. Dharmendra had an extended cameo as himself, the object of Guddi’s schoolgirl obsession, and he pulled it off with great class and charm. I love this film.

In 1972, Dharmendra and Hema co-starred in the engaging ‘Raja Jani’, and Dharmendra played second fiddle (a very cute and funny second fiddle, though), to Hema Malini, who totally owned ‘Seeta Aur Geeta’, a very fun remake of Dilip Kumar’s ‘Ram Aur Shyam’. In it, Hema gave a wonderfully memorable performance as the eponymous twins of the title, one timid and one feisty.

Dharam’s 1973 releases included 'Kahani Kismat Ki' and ‘Yaadon Ki Baarat’, a lost-and-found-siblings tale best known for the classic tune ‘Churaliya Hai Tumne’, picturised on a gorgeous Zeenat Aman (and a harp). ‘Yaadon Ki Baarat’ also featured a pint-sized Aamir Khan. In the same year, the utterly, wonderfully romantic ‘Black Mail’, directed by Vijay Anand, was released, in which a dreamy Dharam co-starred with a radiant Rakhee. This film has gorgeous music, gorgeous stars, gorgeous romance… it’s all just gorgeous.

Another 1973 release for Dharam was the fun caper ‘Jugnu’, opposite Hema Malini, in a role that maximized her considerable talents as a leading lady. Hema was much more than a pretty face in her prime – she had it all: looks, comic timing, screen presence, dancing ability; and she did some really great feisty roles… but I’m veering off topic! Back to ‘Jugnu’… I was actually largely underwhelmed by it and am planning to watch it again soon to see if my views change… but there are plenty of people that love it and have written about it.

In 1974, Dharam’s releases included ‘Patthar Aur Payal’, ‘Pocket Maar, ‘Dost’ and ‘International Crook’, the theme tune to which is now indelibly imprinted upon my brain. (Thanks, Memsaab!)

Two of my very favourite Dharmendra films were released in 1975. I ADORE Hrishikesh Mukherjee’s romantic comedy ‘Chupke Chupke’, in which Dharmendra and Sharmila Tagore star as an adorable married couple playing naughty little games with each other (who can blame them though?), all under the pretext of pulling off an elaborate hoax on an uncle (yeah right!) ‘Dharmila’ do a great job with this one – they charmed my socks off and made me laugh endlessly.

One of my favourite movies. I also think Dharam is so gorgeous in this film….

‘Sholay’ is a film on which volumes have been written, and very deservedly so. It has everything you could want in a movie – bromance, romance, dance (on shards of glass, no less), and lashings (and lashings) of angst. Brilliantly scripted by the genius team of Javed Akhtar and Salim Khan, tautly directed by Ramesh Sippy, and lovingly set to music by the great RD Burman, ‘Sholay’ is a meal well worth savouring over and over. Dharam gets to show off his considerable comic talents opposite a sparky Hema Malini (as the talkative Basanti). To round off the main cast, Amitabh Bachchan hands in a brilliantly intense performance as Jai, Amjad Khan is utterly spine-chilling as Gabbar Singh (none of the sexiness of Jabbar Singh from 'Mera Gaon Mera Desh' here), Sanjeev Kumar is great as the tortured Thakur, and Jaya Bhaduri is hauntingly pitch-perfect as Radha.

Rumour has it that, although there was a mutual attraction between them almost from the get-go, Dharmendra and Hema really fell in love (although they seem to have initially fought it) while working on 'Sholay'… there was a lot happening on that set, wasn’t there? Jaya, Amitabh's wife, was pregnant with daughter Shweta, Dharam and Hema were falling in love, and poor Sanjeev was no doubt pining for Hema….

Dharam's relationship with Hema Malini grew stronger on both sides, until their eventual marriage in 1979. They went on to have two daughters together, Esha and Ahana. This was all rather scandalous at the time, of course, as Dharmendra was a very married man, and had been so since before his acting career began. He also had 4 children by this time. Bigamy is not permitted in his religion, and so it is said that he and Hema carried out bogus conversions to Islam in order to legally marry, changing their names to Dilawar Khan and Aisha Chakraborty to facilitate this.

I don't think anyone was very surprised that Dharmendra became involved with Hema when it all began - he was the stereotypical young, hard-drinking 'man's man' living and working in the glamorous world of 70s Bollywood, and I think he (along with every other young virile superstar) was 'expected' to cheat on his wife. He had after all already been linked with Meena Kumari and other women, and he acknowledged openly in interviews that he was not a faithful husband (the whole eyeroll-inducing 'men are naturally not monogamous, yada yada' spiel).

But Hema Malini on the other hand.. now she was a young, angel-faced, never-married woman, with a squeaky-clean reputation. The famous 'Dream Girl' of Hindi cinema, she had a very 'India's sweetheart' image, by all accounts, and in the 70s she ruled the Indian box office as a leading lady, without being involved in any untoward controversies. Hema had millions of men eating out of her hand, and she could have had just about any man she wanted - including charming movie stars like Sanjeev Kumar (who, the story goes, never married because he remained deeply in love with her until the very end) and Jeetendra. Sanjeez and Jeetendra both proposed, and Jeetendra seems to have been in with a chance for a while - Hema is rumoured to have almost become Mrs. Ravi Kapoor - there's a story about Dharmendra swooping in and spiriting her away at the last minute, but I have no idea how true this is.

Understandably, the public probably wasn’t particularly thrilled that their ‘Dream Girl’ was consorting with a married man. Closer to home, Hema’s family was also horrified at her involvement with a married man. In her authorized biography, Hema revealed that her father was so violently opposed to her marriage to Dharmendra that she only went through with it after her father’s death. Her mother, Jaya, who Hema worked closely with in shaping her acting career, was deeply hurt by the marriage, Hema also revealed.

Ironically, though, Hema also says that it was Dharmendra’s similarities to her mother that drew him to her – she loved the fact that he was ‘strong and silent’, like her maa. She also noted that he did not woo her with ‘roses or moonlight drives’, but ‘made her feel special’ just by looking at her. Whatever it was, Hema couldn’t resist it, and facing down all the opposition, married her man in August 1979.

Dharmendra never divorced Prakash Kaur, who he married as a teenager, although of course, Prakash and Hema live separately. I remember writing about the Dharmendra/Hema marriage in the early days of this blog and receiving a few strongly-worded responses condemning the couple in no uncertain terms and telling me not to call Ms. Malini 'Dharam's wife'. I think the fact that people still feel so strongly about this is an indication of what the reaction must have been like back then. I find the virulence of the reaction really interesting, as I guess I am less fazed by polygamy than a lot of people, because although I'm very much opposed to it personally, it's really not considered a 'big deal' in my culture and society (this is slowly changing, though).

Anyway, however much Hema and Dharmendra's relationship may have angered people, it did not spell doom for their respective careers. If anyone's career was at greater risk, it would have been Hema's - as the younger party with much of her career still ahead of her, she had a lot more to lose. and of course, society being as prejudiced as it is, she would have suffered more just for being the female party. Thankfully, this didn't happen. Hema continued to do very well and had some big hits even after marrying Dharmendra, and even if Dharam's career graph did experience a dip by the late 70s, I don't think this is directly attributable to his second marriage.

Anyway, before I move on from this topic, please check out these scans, graciously provided by Karen, of a 1976 interview in which Dharmendra and Hema speak (very frankly indeed!) about their feelings for each other. It’s all very passionate and romantic, the stuff of filmi forbidden-love stories, but you can’t help but wonder how Prakash Kaur has dealt with all this – all you can do is wonder though, as she and her children are (wisely, in my opinion) fiercely protective of her privacy.

Now, moving on from Dharam’s love life… Dharmendra’s other 1975 releases included the fun ‘curry western’ ‘Pratiggya’, reviewed by Memsaab in hilarious detail here, renowned for the song ‘Main Jatt yamla pagla deewana’, which showed off Dharam’s trademark dance steps (if they can be called that!), and ‘Apne Dushman’.

After the big, star-studded productions of ’75, Dharmendra’s 1976 releases were a little less exciting – there was ‘Maa’, ‘Charas’ and a few others. In 1977, things picked up again, with ‘Dream Girl’, the film which earned Hema a lasting sobriquet; the Manmohan Desai masala masterpiece ‘Dharam Veer’, ‘Khel Khilari Ka’ and a few others.

By 1978, Dharmendra was making fewer movies and getting less exciting roles. His age (a very well-preserved 43) was starting to show, the younger Amitabh Bachchan was dominating the box office, and after almost 2 decades of ‘active duty’, Dharmendra was looking just a teeny tiny bit out of date.

There were still a few memorable Dharmendra movies in these last few years of the 70s though – I really like Basu Chatterjee’s comedy ‘Dillagi’ (1978), in which Dharam plays Swarnkamal, a college professor in love with Phoolrenu, a seriously uptight schoolteacher (played by Hema Malini). Dharmendra’s age may be showing a little in this one, but he’s still very dishy, so my big question while watching this was why Swarnkamal was even interested in the boring and repressed Phoolrenu. Between Hema’s sourpuss act in this and Dharam’s constant phool-sniffing, this movie wearied me a bit, but there were enough fun, comedic bits in it to keep me nicely in the loop.

So, at the end of the rocking 70s, we leave Dharam at a rather low ebb, not the peak we left him on at the end of the 60s. Oh well… one must consider that he’d had two long decades in film at this time, and some of those movies were truly unforgettable. He’d had a pretty good run. And hey, even if he didn’t own the box office and hadn’t received the critical acclaim he so deserved for some of the great performances he delivered in the 60s and 70s, from ‘Anupama’ to ‘Sholay’, at least he had the gorgeous and graceful Hema Malini firmly esconced in his arms by the end of the 70s. (In 1979, the year of their marriage, a measly two Dharmendra films were released!) I can’t imagine that he was too badly bummed out.

To sum up, Dharam's 70s flicks were a nice masala mix of comedy, action, thriller, romance and adventure... as I mentioned before, he did a lot of 'typical' fun masala 70s flicks, and far fewer serious ones than he did in the 60s. Hema Malini was definitely his most notable heroine in this decade, despite the fact that she's lamented not doing as many films with him as she would have liked (greedy greedy! LOL) because they were 'so much in love'. But Dharam also did memorable work with other actresses in the 70s, from Asha to Mumtaz to Rakhee to Sharmila to Tanuja to Zeenat.

This has been a long post, and I didn’t even mention some of Dharam’s notable films from the 70s, like ‘Rakhwala’, ‘Do Chor’, 'Loafer', 'Jheel Ke Us Paar' and ‘Naya Zamana’. But I hope I gave a decent flavour of what the 70s were like for Dharam. Next in this series… the mostly cringeworthy 80s, by far my least favourite decade of Dharam.

Before I get there though, I will linger a little longer in the fun 70s, with another 70s week post coming up before the week runs out….

5 DECADES OF GARAM DHARAM - The 60s

Tomorrow, my very favourite Bollywood superstar will turn 74. And not long after that, a new decade will commence (whatever will we call it by the way? Coming up with 'noughties' for this decade was hard enough!). Dharmendra started his movie career in 1960, so he has now been in the acting business for 5 whole decades! Impressive, huh? Anyway, I haven’t talked about him on this blog for a while, so I thought this would be the perfect opportunity….

Although his career graph has dipped in places over the years, and he (in my opinion) hasn’t received the accolades he deserves for some of the fantastic work he’s done, it’s unquestionable that Dharam has had a terrific career. Over the next few days, I thought it would be fun to take a quick look at his work over the past 5 decades.

Much as I love Dharmendra, there’s A LOT about him that I don’t know, and A LOT of his movies that I’m yet to see, so please don’t except a thrilling and informative series! I’ll just talk generally about each decade, selecting one film per decade as a reference point, and hopefully picking up some new info as I go along. Ladies and gentlemen, I hereby present ‘The Decades of Dharam’. Here’s to the next one!


The 60s – A Star Is Born

Dharmendra made over 40 films in the swinging sixties, and by the end of that decade, he was already established as one of the industry’s leading actors. Dharam kicked off his career with a role in ‘Dil Bhi Tera, Hum Bhi Tere’ (1960). Dustedoff has a great review of the film here. Young and gawky as he looked, by the time of this movie, Dharam had already been married for several years, to Prakash Kaur, who remains a mysterious figure, which is probably just the way she likes it! Anyway, back to Dharam - he was even a daddy by the time he made his first film - his older son, Sunny, was already toddling around.

‘Dil Bhi Tera, Hum Bhi Tere’ was an unremarkable but promising start, and before long, Dharmendra was working with reputable directors like Bimal Roy (‘Bandini’, in 1963) and Hrishikesh Mukherjee, with whom he worked on several movies in the 60s. Many of the films Dharam made in the early 60s were forgettable, with a few exceptions. ‘Bandini’ and ‘Soorat Aur Seerat’ were probably the most noteworthy. The rest weren’t terrible films, either, though. They gave Dharmendra a nice bit of exposure and experience... and he built on that foundation to become the confident and polished performer that emerged by the end of the 60s.



By the early to mid 60s, Dharam was also already co-starring with more established actors such as Mala Sinha (‘Anpadh’, ‘Pooja Ke Phool’, ‘Baharen Phir Bhi Aayengi’, ‘Jab Yaad Kisi Ki Aati Hai’), Balraj Sahni (‘Bandini’, ‘Anpadh’, 'Haqeeqat'), Nutan Behl (‘Bandini’, ‘Soorat Aur Seerat’, ‘Dulhan Ek Raat Ki’) and Ashok Kumar (‘Bandini’). It doesn't seem like he exploded onto the scene or anything, but the young man from Sahnewal was off to a pretty good start. His fame grew steadily through the 60s, and by the late 60s, he was very bankable (despite the meteoric rise to fame of megastar Rajesh Khanna, in 1969).

The 60s are also notable for at least one relationship that made a huge impact on the young Dharmendra both personally and professionally… in 1964, ‘Maain Bhi Ladki Hun’, his first film opposite Meena Kumari, was released. It is said that it was around this time that a newly divorced Meena and a very married Dharmendra began a romantic relationship that would last several years. By the time she met Dharam and worked with him on ‘Maain Bhi Ladki Hun’, Meena was already a huge star… in fact, some would argue that most of her best work was already behind her, and following her split from her husband, Kamaal Amrohi, she had begun to battle alcoholism and depression.

Dharmendra and Meena made several other movies together in the 60s: ‘Purnima’ (1965), ‘Kaajal’ (1965), O. P. Ralhan’s classic ‘Phool Aur Patthar’ (1966), ‘Majhli Didi’ (1967), ‘Chandan Ka Palna’ (1967) and ‘Baharon Ki Manzil' (1967). ‘Phool Aur Patthar’ and ‘Kaajal’ were probably the most successful of these Dharam/Meena films, but most viewers are of the opinion that Dharam and Meena did not make a great onscreen jodi. Not having seen any of these movies (I have ‘Phool Aur Patthar’ and ‘Kaajal’ but haven’t gotten round to watching them), I don't have a take on this yet.

The relationship between Dharmendra and Meena Kumari was apparently the subject of much controversy in those days, it seems, and there’s still much said about it today. Some allege that Dharam used Meena and her massive fame to further his fledgling career, taking advantage of her despondency and alcoholism, then callously moving on when it was over. Others are of the opinion that Meena used Dharam to boost her ego and revive her career for a while. Still others feel that both actors used each other. Some say there was genuine love and affection between the pair, and that it was not the mercenary relationship it’s often painted as. Who knows? Whatever they may have meant to each other in their years together, though, it would seem that their liaison brought neither of them lasting joy.

Dharmendra did enjoy some less... momentous professional pairings with actresses in the 60s though. I’ve already mentioned his work with the gorgeous Nutan andwith Mala Sinha. He starred opposite the talented Vyjayanthimala (‘Pyar Hi Pyar’). He made some films with Asha Parekh (‘Shikar’, ‘Aya Sawan Jhoom Ke’). He also worked with Saira Banu on films like ‘Ayee Milan Ki Bela’, ‘Aadmi Aur Insaan’ and ‘Shaadi’; and in the mid-60s, one my very favourite pairings, the stylish and gorgeous Dharmendra/Sharmila jodi, was born. In the 60s, Dharam and Sharmila Tagore worked together on ‘Devar’, ‘Anupama’, ‘Satyakam’, ‘Yakeen’ and ‘Mere Humdum Mere Dost’.



Which brings me to my film choice for this decade – ‘Satyakam’, in which Dharam stars with Sharmila Tagore and Ashok Kumar. It’s a serious, slightly melancholic, sometimes heavy-handed film, helmed by the late Hrishikesh Mukherjee, my all-time favourite Hindi film director. Light years away from the lighter masala fare that Dharam would make in the 1970s, it is dark, somber and complex (if you’re interested, read my lengthy thoughts on it here). And, despite the fact that I generally don’t like sad films, I love it.

‘Anupama’, also directed by Mukherjee and co-starring ‘Dharmila’ (sorry, I just had to go there!), is much simpler, and far less oppressive in tone, with better music (‘Ya Dil Ki Suno Duniyawalon’ is simply divine). The cinematography in ‘Anupama’ is also just gorgeous, but I’ve chosen ‘Satyakam’ over it because I think it captures and represents the mature, gutsy and confident actor that Dharam had become by the end of the 60s. He took on a character that many would consider unlikeable in his inflexibility, and he depicted him truthfully and gracefully, without playing to the gallery. His performance was beautifully restrained, thoughtful, thought-provoking, multi-layered. And he looked gorgeous as always. Who could possibly ask for more?



In the 60s, Dharmendra played lots of different roles - from students and lawyers, to teachers and doctors, to secret agents and policemen, with even a couple of villains thrown in... but one thing is sure, he always looked delicious doing whatever the script required. His sex symbol reputation definitely took hold during this decade. He was viewed as a handsome, romantic leading man with a difference –he could look and act tough, but he definitely had a softer, more sensitive side. And the fans swooned!



Dharam started off the 60s making more serious, ‘social commentary’ type films, and although by the end of the 60s he was still making serious films like ‘Satyakam’, he also started doing the ‘fun stuff’ that he would do a lot more of in the 70s – he made spy flicks ‘Yakeen’ and ‘Ankhen’ in the late 60s. He also took on thrillers like ‘Baazi’, (opposite Waheeda Rehman).


Up next… the 70s, possibly Dharam’s best decade… and definitely my favourite!!!

UNTITLED RAMBLINGS...

It’s been a while… I haven’t felt inspired to post anything new in a long time. My love for Bollywood hasn’t waned though… I still read all my favourite Bollyblogs with keen interest, and I still keep tabs on what’s showing at our local cinemas, even if the last one I saw was ‘Wanted’, back in… September, I think (I really liked it). The truth is there’s just been too much going on in my life to allow me the simple pleasures of watching and writing about Hindi films. I really haven’t had the time or the inclination to sit down and watch an entire Bollywood film in ages.

That will probably change soon, though, after I get through this whirlwind of activity that always accompanies huge life changes. It’s funny… looking back; Bollywood has a tradition of being there for me at really low times… I remember that I really embraced Bollywood movies and music during my father’s long and painful struggle with cancer. I began with ‘Hum Aapke… Hain Koun!’ and ‘Kuch Kuch Hota Hai’, then quickly progressed to ‘Bunty Aur Babli’ and ‘Dil Chahta Hai’, with scores of films in between.

Then I watched some of my most memorable Bollywood films during the difficult months after my father eventually passed on – looking back, it’s funny how those days seem constantly punctuated by Hindi films:

Attending my sister’s graduation ceremony without my darling ‘Dadda’, watching ‘Do Aur Do Paanch’.

Visiting relatives in with my mother, watching ‘Hum Dil De Chuke Sanam’.

Visiting other relatives, getting bored out my mind, watching ‘Aradhana’.

Moving to a new/old city (I was born and raised in Lagos, but lived in other places for a decade before returning here), watching ‘The Burning Train’ (and falling deeply in love with Dharmendra – then starting this blog soon afterwards).

Starting a new job, watching ‘Chupke Chupke’ (and falling even harder).

Settling into the routine of my new Lagos life, watching SRK steam up the screen in ‘Don’ (and making a wonderful new friend in the process – the one I would eventually travel to India with).

So many movies are tied up with so many moments – moments of healing, painful reminders, joyful ones too. Laughter, tears, introspection, bonding. And now… reeling from the recent, sudden loss of my beloved mother, my very dearest friend in the world, I find myself craving a long sit-down with a really good Bollywood DVD (or two).

A long time ago, I wrote a post about the things I love about Bollywood. Those reasons have changed as I’ve learned more about the industry and explored more of its products, but one thing remains constant – Bollywood still reminds me of how much I love my family; of the powerful, soul-deep, bittersweet joy/pain that comes with bonding with these people you are given to, through no choice of your own, when you enter the world. I was incredibly blessed in the parent stakes – I got the most amazing parents – the easiest people in the world to love; and even if that makes losing them that much more painful, I’m so incredibly glad and grateful to have had them in my life for the time I did.

I can’t think about Bollywood without thinking of my mother… of how she sat down with me and watched the rather painful ‘Pardes’ (and how she called me ‘I love my India’ for weeks after, after the oh-so-cheesy song from the film). I know there were a million other things she would rather have spent those hours doing, but she wanted to share my new passion (trust me, I made sure the next film we watched together was a good one). I remember how she took my new passion for Hindi films in her stride, although she did indulge in a brief period of worry over my DVD budget! I remember her singing her made-up faux Hindi song (basically the word ‘piya’ repeated over and over) and dancing for me, Bollywood style.

I remember how she actively encouraged me to visit India, even though lots of other people thought I was crazy for wanting to go. I remember how excited she was the first time I called her from Delhi (‘yay, you made it there finally!’). On one of our last visits together, I remember that she was using my laptop when she came across a picture of Kajol all decked out in her bridal finery (from the final scenes of KKHH), and asked me if I wanted to be dressed up like that if and when I ever got married. I remember how she cocked her head, smiled and said ‘I think it would suit you. You would look beautiful’.

It’s been over a month since I lost her, and I haven’t truly begun to miss her yet – I’m still at the stage where I just can’t believe she’s gone. I’ve had to go straight from receiving the devastating news, to planning the funeral, to taking care of all the loose ends that a sudden death leaves behind. The death of one’s parents is truly the end of an era – everything changes profoundly, from smaller things like Christmas holiday plans to bigger things like having to lock up a house that once was a home. It’s been an illuminating time – death always brings out the best and the worst in people. But I’ve never been prouder of my parents than now… watching their children pull together, hold hands and wade together through this storm. They lived well, they loved hard, and they left behind a beautiful legacy.

I’m not a huge ‘sharer’ and very rarely post anything personal on this blog, so I’m not sure why I’ve just done so. Maybe I’ve been inspired by reading posts like these, that celebrate family, both biological and otherwise. Maybe I just feel the urgent need to reiterate those well-worn clichés that ring so true to me, especially now – hold your loved ones close as you can, make the most of every moment you share with them, and never let them forget how much they mean to you. Life is short.

Random A-Z List: Just Some Random Things I Love

Abhay Deol’s eccentric charm

Bipasha Basu’s exotic beauty

Crushing on someone new... ‘discovering the hotness’ as I described it in my last post...

Danny Denzongpa’s over-the-top villainry (can't believe someone other than Dharmendra came to mind)

Esha Deol’s slightly manic edge (one of very few things I like about Miss Deol)

Farah Khan's irreverent humour (her brother takes it a bit too far though)

Genelia’s flashlight eyes (yes, flashlight eyes)

Hema Malini’s strength and grace

Imran Khan’s cute grin

Juhi Chawla’s marvellous comic timing

Karisma Kapoor’s zest and energy (I actually miss her)

Lisa Ray’s straight sleekness

Manisha Koirala’s rebellious spirit (misdirected? What do you think?)

Nandita Das’s flawless brown skin

Om Puri’s cleverness and depth

Parveen Babi’s lush glamour

Quiz time – For $1 million Dharam-dollars: Have you seen ‘Slumdog Millionaire’ yet? (‘Cos I feel like I’m the only person on the planet who hasn’t – must remedy that this weekend!)

Rani Mukherjee’s husky tones (someone, anyone, please give this woman a great role she can sink her teeth into... and please do it soon!)

SRK’s quirky self-awareness

Tabu’s... poised awkwardness (makes no sense, I know, but it's the only way I can describe it)

Urmila Matondkar’s quiet individuality

Vinod Khanna’s lovely brown eyes

Waheeda Rehman’s whimsical beauty

Xcellent performances by the most surprising people... love it when this happens. Would love to hear about some performances you've found surprisingly good – please comment!

Y are Yash Raj churning out such lacklustre films these days? Get it together, Adi!

Zeenat Aman’s irrespressible sexiness - there's never been anyone quite like her, has there?

'SATYAKAM' - Dharmendra's Best Performance?

I’ve wanted to watch ‘Satyakam’ for ages… about 2 years now actually, ever since I first read a review that described Dharmendra’s performance in it as his career best. It wasn’t easy, but I finally got my hands on it. My next post was supposed to be about something light-hearted and frivolous…‘Satyakam’ is anything but. Don’t get me wrong, it’s not exactly a depressing, dark film – but it definitely made me pause and reflect, which I think was what Hrishikesh Mukherjee and his team intended.

Speaking of the late Hrishikesh Mukherjee, I am a huge fan of his work – he’s my favourite Hindi film director and I’ve loved all the films he directed (that I’ve seen so far). But ‘Satyakam’ was totally different from the others I’ve seen, which is interesting as it’s also the earliest one (1969) that I’ve seen. It’s not fun and light-hearted (like ‘Chupke Chupke’ or ‘Gol Maal’), and it doesn’t quite have the sweetness of a ‘Guddi’ or ‘Bawarchi’ or the heart-tugging (but nicely done) melodrama of a ‘Mili’ or ‘Abhimaan’. ‘Satyakam’ is measured and restrained. It unwinds slowly (perhaps a little too slowly at the beginning, actually) and its tone is reflective. I love the fact that it raises more questions that it answers, leaving its audience to ponder on the issues for itself.

Where is the balance (if there is one) between being ‘yourself’ and adapting to the harsh realities of your environment? How much of your true self is dictated by your genes and the circumstances of your birth, and how much is dictated by life experience and the pressures of everyday living? Are values important enough to live or die for? Does dogmatism always either devour itself or collapse into hypocrisy? Can one man really take on the system? Must there be a sacrifice of values for the sake of ‘greater good’ (however defined)? Where is the balance between personal honour and emotional truth? Is there even such a thing as truth, or is it really all about shades of grey and personal judgment?

Speaking of judgment, is it really possible to ‘temper justice with mercy’? What dictates the true value of a life? Where is the line between the protection and preservation of self and family interests on the one hand and the service of higher interests on the other? These are just some of the questions that ‘Satyakam’ raises. It doesn’t answer them all, but in raising them, it tells a compelling story of one man’s devotion to truth, the people he meets along his path, and how ‘successful’ he is at being the man he aspires to be. There is also an interesting subtext that I feel was a bit under-developed (or maybe I was just rather inadequate at unpacking it) – the relationship between Satyakam’s story and the story of a young and newly independent India, finding its feet, making its choices, navigating the constant socio-moral seesaw between concession and right, and arriving at its own destiny.

Satyapriya (played by Dharmendra) comes from a long line of honest, upright, truth-tellers. He has been raised in the long-held family traditions of honour, truth and respectability by his beloved and noble grandfather (played by the brilliant Ashok Kumar). While at college, he meets and becomes firm friends with Naren (played by Sanjeev Kumar in one of his first film roles).

After college, the friends separate and Satyapriya (‘Sat’) takes his first job as a project engineer. He quickly comes face-to-face with corrupt, self-serving, dishonest men. From Day 1, he firmly and boldly takes a stand against every practice that goes against his values, and of course, there are consequences. While dealing with this, he also meets the beautiful but sad Ranjana, a young woman cast out of honourable society due to the circumstances of her birth and destined (it seems) to become the plaything of wealthy men. Even her own guardian has no quibble with subjecting her to this future – as far as he’s concerned, she can hope for nothing better with her history, and life in ‘service’ to a rich, lecherous will at least fetch a handsome income.

When Satya becomes familiar with her circumstances, he wants to help but is torn between the demands of heritage and reputation, and the need to protect a helpless woman who cares for him (and who he comes to care for). In many ways, this proves to be a watershed moment in his life. What does Sat choose to do? How does his decision affect his relationships and his future? How does he come to terms with the fact that he will always walk alone? How does his fierce, black-or-white brand of personal integrity hold up against the challenges of his future? Does he find peace and personal fulfillment in the life he has chosen? Well, you'll have to watch this film and find out for yourself.

Although I said earlier that ‘Satyakam’ isn’t like any of the other Mukherjee films I’ve seen, it does have some of his hallmarks. As always, he is masterful at setting up moments and scenes that are so poignant and real that they stay with you long after the film is over. The film has the grace of his other films (but is less formulaic and more multi-dimensional than the others I’ve seen). I always love how Hrishikesh Mukherjee could capture something special and intimate in the most seemingly mundane, simple things. Another thing I love about ‘Satyakam’ is the fact that, with its subject matter, it could very easily have degenerated into an over-simplified preach-fest, with Satya hitting us over the head with melodramatic railings on the value of honour; but instead it’s restrained, dignified, and rich with subtext. I love that.

The cast of ‘Satyakam’ features some of Mukherjee’s ‘favourites’: David, Asrani, Ashok Kumar. Then of course, there’s the core cast: Dharam, Sharmila and Sanjeev. The choice of Dharmendra for this role, to my mind, must have gone across the grain – the role of Satya is no simplistic, hackneyed ‘handsome hero’ part – it requires real acting to capture the complex situation and emotions of this character – but Dharam does a bang-up job of it. He really is ‘Sat’ – he reflects the inner resolve and grapplings of his character beautifully and with great restraint, while also balancing this out with Sat’s charm, humanity, simplicity and honesty. It’s a lovely performance.

The rest of the cast is excellent as well – Ashok Kumar is fantastic as usual in his small (but pivotal) role, especially in the film’s final scenes, a young Sanjeev Kumar is simply brilliant as the sweet Naren – he perfectly embodies the ‘everyman’ that his character is – I loved how wonderfully he brought to life the love, and most importantly, the respect, that has for Sat.

Sharmila Tagore is also excellent as Ranjana – although I felt that her character wasn’t given sufficient dimension until much later in the film, she uses her acting chops effectively to keep the character from becoming a boring caricature, and when she does gets some ‘meat’ later in the film, she goes for it and really makes her character memorable.

Memorable... that’s the word I would use to describe ‘Satyakam’. When I had finished watching it, I felt like I had been put through the wringer. I felt like I had felt what each of the main characters had felt… I was saddened, but also uplifted. And most of all, watching this film was more than just a pleasant way to spend two evenings. That doesn’t happen very often.

And finally, you may be wondering, do I agree with the pundits who consider this to be my dear Dharam’s best performance? Well, it’s certainly the best I’ve seen so far. It doesn’t have any of the stylish, ultra-cool, Dharam-trademarks that I’ve liked so much in other films of his I’ve seen, but what it does have is deeper and more powerful, and makes me respect him more than I ever have (you gotta excuse a fangirl her schmaltz!)

Up next… a Director’s Round-up (been ages since I did one) on the undisputed king of ‘traditional family values’: Sooraj Barjatya.

Just got back...

... from India with my friend Uzo. ABSOLUTELY AMAZING!! We had the most PHENOMENAL time. More later... after I've gotten back into the swing of things here at home sweet home.... At the moment all I can think of to say is that I can't wait till my next visit to India...

EIGHT RANDOM THINGS...

T-Hype tagged me yonks ago… and I’m finally taking up the challenge… this is eight random things about moi, Daddy’s Girl…

1. I love to laugh (and it's really easy to amuse me), but I can't stand the sound of fake laughter. It grates on my nerves. I hate it when people laugh even when they don't find the joke funny… I know it's called "polite laughter", but I think it's actually impolite, because it is always so glaringly obvious that the laughter is forced. I think that laughter is one of those things that's just impossible to fake.

2. I love heels… the higher the better… I love the way they look, and I love the way they make me feel. I never longed to wear them until I put my feet in my first pair – but from that moment on, a pair of heels has felt like home. I’ve never felt the slightest bit uncomfortable in them, no matter how high (in fact, the first night I wore a pair of stilettos, I ran a mile in them). Nothing against flats, they’re nice and comfy… but heels are just… tres magnifique.

3. I am sometimes really, really amused when I read the stuff that I write… because although I write the way I think, I don’t write the way I speak – at all. On paper, I am very wordy, ridiculously verbose even (summary was my worst part of English class at secondary school). In person, I am actually really quiet… interesting also in view of the profession I am a member (and practitioner) of. It’s one in which the common perception is that you have to be a loudmouth.

4. I love bookstores – I walk into one and I feel completely at home. One of my favourite things to do is just wander around a bookstore, letting that lovely "paper smell" waft into my nostrils, running my hands across the spines of the books, flipping one open at random. Somehow, being around books just gives me pure joy. One of my very many dream jobs is to work in a bookstore.

5. In view of all the gushing I have been known to do on this blog, it might surprise some to know that I don’t do romance – I've been told I am quite 'hard' and 'unfeeling' in this respect. I am not the least bit romantic. I can’t be bothered with ‘I love yous’ and Valentine’s Day and sweet nothings (ugh). Mushy stuff only makes me cringe and roll my eyes. So, no hearts and flowers in my world – I’m heartily unimpressed by all that… I enjoy seeing it in the movies (sometimes), reading about it now and then, and (strangely) I love observing it (and cheering it on) in other people’s lives, but that’s about it. It’s just not for me.

6. I hate food that's mushy, gooey, soft, baby-food-consistency-ish… eeuuww. I love food that's nice and solid and chewable.

7. I like to sleep with loads of stuff on my bed. It’s a funny thing – I feel really comfortable when there’s stuff around me on the bed… a spacious bed and uncluttered bed looks nice and fresh and appealing from afar, but it only really feels familiar and comfy when I dump some books and papers and clothes and stuff on it. This one really drives my mother mad. Wonder what it'll do to the husband (if I ever get hitched)...

8. I’m not very good with faces – I tend to forget people’s faces, their names too (gets me in a whole lot of trouble on a regular basis). But I remember the oddest things about people – their handwriting (I rarely forget a person’s writing after I’ve seen it once), the way they walk, the way they eat and drink…

Ok, all done…

I have so much to talk about on this blog in the days to come... coming up soon are some thoughts on 'Masoom' and 'Kabhi Kabhie', and possibly a little something on the excellent 'Chak de India', which I saw with Uzo on Friday night (if I can get over the hotness and charisma that is SRK long enough to string some coherent thoughts together)...

‘AWĀRA’ (1952) – A Liveblog

I’ve decided to give liveblogging another try – incidentally the subject of my second liveblog also stars Nargis, this time with the legendary Raj Kapoor, in ‘Awāra’ (1952), a film also directed and produced by Kapoor. It’s the story of a fatherless boy named Raj (played by Raj Kapoor), who is forced by circumstance and a vengeful dacoit named Jagga, into a life as ‘awāra’, a vagabond. It’s also the story of Rita (played by Nargis), a young woman torn between the love of her life (Raj) and the man who has been her benefactor since the loss of her father, the strict Judge Raghunath (played by Prithviraj Kapoor, Raj Kapoor’s father). But there is a link between Raj and the honourable judge that is actually the fuel in the engine of this entire story.

‘Awāra’ is a story about unconditional love, trust, forgiveness, frailty and loss. It’s a story about relationships, prejudice and the factors which determine who we are and what we become. It’s about self-discovery, human empathy, physical attraction and need. It’s also a story about sacrifice, survival and second chances. It’s a great story for a movie, but more than that, it’s told with a lot of class and grace. And the acting is marvellous. I am notoriously easy to please, but I truly think this film is special – I think it’s a slice of cinematic magic.

And now to the liveblog:

0.01.50 I love the boy and dog in the credits… there’s just something about it.

0.04.23 Eeee feelolo… this judge guy really feels like he’s all that and a big fat bag of chips…

0.05.49 Talk about presence – I don’t think Nargis could ever manage to sneak into a room…

0.07.19 I love the way RK is shot behind the grill thingy.

0.11.41 This song is quite scary but good.

0.12.18 I love the way her expression betrays her discomfort but not in a prolonged or over-dramatic way.

0.16.46 Eeyah Jagga… what’s the point of all the bitterness? Let it go…

0.18.53 Aww… how romantic…

0.19.32 I love the way the music is linked to the light…

0.19.49 I love that look on her face, like the cat that’s got the cream and is so pleased with it…

0.19.51 Such effortless intimacy… but I rather think he should be catering to his wife who’s just undergone severe trauma, not the other way around. Sigh.

0.20.53 You should have told him why you asked, Leela – gosh now he’s going to start getting foolish ideas… I guess this is a pointer to the fact that Leela really knows Raghu and already has an insight into what he might start thinking...

0.21.11 Gerrout, you dis judge! How selfish can you get?

0.21.44 This is brilliant – the little bootie is like a noose hanging over his head, he looks utterly terrified but he’s saying ‘achche’ (or however it’s spelt). Brilliant.

0.23.15 What a sour old witch… but I guess it’s not really her fault that societies are indoctrinated with such prejudicial ideas surrounding female ‘chastity’. So unfair.

0.23.34 This is what we call ‘guilty kongi’. I like the framing of this shot. Raj Kapoor obviously put a lot of detail and planning into his shots.

0.26.19 Why are some women so mean and evil to other women? Eeuw…

0.27.29 Raghu, you are a weak, pathetic excuse for a man. What’s wrong with you?

0.28.07 I know nothing about the technicalities of film-making, but I love RK’s technique – the use of lighting and sound effects…

0.33.17 Great dialogue. I guess the moral of this is that a boy needs some male influence in his life.

0.34.43 Oh hey ho what fun – to go around bursting balloons on your birthday. This little girl seems a bit strange – I like her.

0.37.31 Raghu, even with all your education, can’t you be a little open-minded? Just goes to show that it’s not about one’s level of education…

0.37.37 Exac-atac-ly Raghu, must you?

0.38.45 Wow, I love this…

0.39.33 Poor little boy… he’s your thoroughly undeserving father.

0.44.09 I love everything about this scene, from the dialogue, to the grimness, to the acting, to the melodrama, to the way it’s been shot.

0.50.35 ‘Awāra hoon’ – I like this song and the fun Chaplin-esque picturisation – but it’s sad.

0.53.41 And ‘shaabash’ to you too Jaggu, for trying to destroy an innocent child’s life in pursuit of your cheap, sick and twisted revenge agenda.

0.57.24 So there’s another ‘Ek, Do, Teen’ besides the Madhuri number. I like this one. Very fifties (naturally).

1.03.43 Oya o, e don do… give the lady back her purse.

1.11.50 I am really liking the dialogues in this film – very well-written. If I can appreciate them through English subtitles, I can only imagine how good they are in Hindi.

1.13.20 RK was really painstaking and artistic in the way he lined up his shots – very interesting to see in a movie this old. The new kids on the block could learn a thing or two from him.

1.13.30 It’s interesting to see Nargis playing this polished, put-together, upper-class chick; I last saw her playing a simple, uneducated village maiden. Both roles she played to perfection.

1.14.14 I also think she was just so gorgeous.

1.14.28 This scene is so natural, you can really ‘feel’ the characters. Lovely.

1.15.05 Brilliant.

1.16.41 That is just so cute – the little sub-scene with the servant. I just love the attention to detail in this film.

1.19.38 I love that gleam in her eye, like she’s got a secret and she’s only telling half of it.

1.20.34 Wow, that simple gesture expresses so much, yet looks so unpractised.

1.20.37 Another wonderfully-framed shot.

1.22.29 Trés sassy.

1.22.40 It strikes me that most of RK’s acting is communicated through his eyes. I feel like I could just cover up the rest of his face and still ‘get’ the core of what his character is feeling just through those two windows.

1.22.46 Very natural, and so sensuous.

1.23.34 Whoa, it was fun and flirtatiousness just a second ago – now it’s all slaps and recriminations… eeuw… Raj, shame on you for taking out your guilt on her.

1.23.38 You’ve got to admire RK’s artistic eye.

1.25.09 Again, I have to comment on the sheer quality of the dialogues.

1.27.25 Now that is a beautiful, expressive face – for me Nargis is one of the most beautiful actresses ever.

1.29.15 I love the lyrics of this song – the tune is great too. And I love the look in their eyes – I love how RK seems to be basking in the reflected light of Nargis’ eyes… great picturization.

1.35.27 This Jagga is a jagajaga man

1.40.19 I am just thinking of the fact that this was made in the early 50s – it couldn’t have been easy to put this all together – and with such finesse too. Shows that Bollywood has a really distinguished heritage.

1.48.49 Oh dear, now all the sadness comes…

2.01.57 Oh how delightfully upper-crust. No wonder Raj feels under pressure.

2.04.52 I’m crushed for Rita and Raj.

2.06.54 This lady looks caucasian - and the item-number girl did as well. Helen had the same look in her heyday - so they liked item girls with pale skin I guess... interesting.

2.09.53 I love the use of music in this film – it’s obvious RK loved music… and the songs fit into the film so well.

2.11.57 Okunrin yii, o fine gaan.

2.14.33 These two are so beautiful together. They have such great chemistry. 'Real life' couples don't always work on the big-screen - these two so totally did.

2.15.31 Now that’s love… props to you Rita… you’re a true friend. If it were me, I can’t say I’d do the same.

2.17.02 I think this would be a tough scene to do with your real-life father. These two do so great with it, but it’s a painful scene to watch.

2.21.02 Ironic that this man who’s had such a hugely negative influence on Raj’s life isn’t even known to his mother.

2.24.31 Oh no…

2.29.48 You are ashamed eh, you dis nonsense man! I don’t blame you.

2.31.01 Great acting by RK – I can really feel his pain and frustration.

2.33.07 How can you possibly understand, you silly judge, when you have no true concept of love?

2.35.02 Again, I love the dialogues.

2.36.55 All I can say is ‘wow’… brilliance all round.

2.42.57 Oh no, they’ve gone and made me cry…

2.44.21 Beautiful woman.

2.45.20 I think I’m in love with the late Raj Kapoor now… those eyes, that intensity and charm… interesting how it all seems to be a family trait… have to find me some more of his films now…

2.47.07 Oh wow… be still my throbbing heart. Great ending.

I’ve loved this movie… for me, it’s pretty darned close to perfect… I love absolutely everything about it – the script, the lessons in the story, the characters, the acting, the music, the technical brilliance. Everything. It is heavy fare though, so hopefully, the next liveblog (should there be one) will be all fun and candy floss…