Harnaaz Sandhu, from the state of Punjab, in India, has won the coveted crown at the 70th Miss Universe pageant, which was held on 12th December 2021. She is the third Indian beauty to win the Miss Universe title, after Sushmita Sen and Lara Dutta; but the first Indian in this Century.
Don’t recall the last time I actually watched a Beauty pageant, must be over two decades ago, back in the 1990’s. By the noughties these pageants started to get redundant, and there were way too many of those, it lost it’s appeal for me. Growing up as kids in the 80’s, Miss Universe, Miss World and Miss Asia Pacific were the three leading beauty contests we had heard of, along with the Mrs World pageant for married women, which really wasn’t up to the high standards and sophistication of the above mentioned pageants (of course it was relatively new at the time, as it only started in 1984 and the 1st married woman to win it was from Sri Lanka, Rosy Senanayake, thus we loved it for that reason alone). Back in the early 90’s there was some Miss Tourism held in Sri Lanka, which so was cheap, handled so crudely, that it was the first beauty contest that I found so appalling. To my memory, it was the first time an International Beauty contest was held in this country; and until then I had never heard of a Miss Tourism pageant. The most disappointing Miss World I saw was Miss World 1996 (held during my Freshman year at Delhi University), which was held in Bangalore, in the South Indian State of Karnataka. Was so looking forward to it, as it was being hosted in India, even though this prestigious pageant was nowhere near where I was residing. Yet, there was a reason why this International beauty pageant, organised that year by the Big B’s (Amitabh Bachchan’s) ABCL (entertainment company) could not be up to it’s International standards, with bathing suits round being hilariously way over dressed (looked quite ridiculous). The contest was plagued with controversies from the start and many a backwards, narrow minded, societies protested against holding this events; yet amidst all these issues at least the pageant was held and the show went on without any issues. Yet it was quite poorly organised. Although I didn’t watch beauty shows that regularly back then either, I did, whenever I got a chance to do so. But by the noughties I started to lose interest and found quite a few, really cheap. Added to which there was a lot of talk in Sri Lanka about the reason why Indian beauty queens were winning pageants was not because they deserved to but because the west was trying to sell their beauty products in India. What nonsense???? I never bought that, but I found a lot of these contests coming off looking cheap. Not the main three mentioned above, but in general. Good example is all the unnecessary hullabaloo over the Mrs Sri Lanka contest earlier this year (in April 2021) with that horrible woman, Caroline Jurie (back then the reigning Mrs World 2020) snatching the crown off Pushpika De Silva (the newly crowned Mrs Sri Lanka), just because apparently she was a divorced woman. She also had help to dethrone the new Mrs Sri Lanka. Disgusting behaviour for grown adults. Says a lot about the immaturity and the level of education, in participants at modern beauty pageants. Yet it’s thanks to the foolishness of Jurie & co. that made me check out clips from that show. Otherwise wasn’t even aware of that show. But Miss Universe 2021 was different. Grace, elegance and a class apart, from whatever clips I saw. Beauty and brains won.
When I heard that an Indian Beauty Queen had won, it interested me enough to check out clips online, and when I saw Harnaaz Sandhu’s final answer, she pauses a bit before answering and gave such beautiful sharp reply that took me back to Year1994! Sushmita Sen‘s big win! Although not as eloquent in pronunciation as Sen & Dutta; Sandhu gave a brilliant speech with confidence that showcased her intellect. When asked what advise she’d give young women of today on how to deal with modern day pressures, after thinking for a few seconds she replied,”…… know that you are unique and that’s what makes you beautiful…. let’s talk about more important things that’s happening worldwide. This is what you need to understand. Come out, speak for yourselves because you are the leader of your life, you are the voice of your own. I believed in myself and that’s why I am standing here today”. I was bewitched by her, taking me back to 94’, with an 18 year old me watching an 18 year old Sushmita Sen being crowned Miss Universe 1994.
Chandigarh (capital of the State of Punjab) based, Harnaaz Sandhu is the third Indian, the second Punjaban (as Lara Dutta, Miss Universe 2000, is a Punjabi as well; though Sen is Bengali, and was based in the Indian Capital of New Delhi at the time) and the very first Sikh/Jat Sikh (though all Sikhs are from Punjab, not all Punjabis are Sikh; Dutta is Hindu) to be crowned Miss Universe.
Wishing Miss Universe 2021, all the best in her tenure. Do feel sorry for Andrea Meza (Miss Universe 2020) though. Due to COVID19, last year’s pageant got delayed and thus was held in May this year. Therefor making Meza’s rein, the shortest in the history of this beauty pageant. None the less, a great win for Harnaaz Sandhu, especially with that quick thinking smart answer of hers. Wishing the reigning Miss Universe the best to continue her journey of beauty with a purpose.
So the Roaring 20’s are here again, now in a Newer Century!!!!! Happy New 2020 & an even Happier New Decade ahead!!!
When it comes to movies to be released this year (Year2020), I’ll take into consideration that a movie isn’t made in a day & into account that no Zero Year exists (21st Century started from Year 2001)!! Thus, any movie released this Year, Year 2020, still belongs to the 2010’s (as far as I am concerned, at least). When it comes to movies, books, fashion trends, pretty much the arts related activities, whatever comes out this year, in a sense shall end the 2010’s, at the same time inspiring the next decade (which in every other sense has already started, it’s Year2020). Past Examples; 60’s didn’t feel like the 60’s till Hollywood’s Breakfast at Tiffany’s (1961) came out; it’s Year 1966 (and not 65′) that’s considered the half way mark that turned the late60’s over a brand new leaf never ever witnessed before, globally speaking (we live in, or are suppose to be, in a better freer world today, thanks to modern open-minded thinking that relinquished blind stoic rules and regulations of the past); and Love Story (1970) still feels very 1960’s, yet forming a catalyst to the 70’s styles yet to come!! In Bollywood, the 70’s didn’t feel like the 70’s till Haré Rama Haré Krishna (1971) came out, laying a stronger foundation to India’s already existing Hippie culture, and Qurbani‘s (1980) Bollywood Disco tunes (Pakistani Pop Singer, Nazia Hassan’s “Aap Jaisa Koi”, composed by India’s famed Music Producer Biddu, will always be my favourite Indian Disco number) happen to be a celebration of Club Music of the times (70’s & early 80’s); whilst globally (though more specifically among American youth) Fame (1980) perfectly ends the 70’s decade meanwhile serving as an inspiration for the 1980’s decade!! Mera Naam Joker (1970) took six years to make (between 1963 & 1969), and covers the Essential 60’s decade (although the story line spans a couple of more decades). Boyhood (2014) took twelve years to make, capturing the whole of the noughties (the 1st decade of this century, i.e. 2001 – 2010) and enters into the early 2010’s (2011 – 2013)! Manzil (1979), was filmed in the begining of the 70’s, when Amitabh Bachchan was a virtual unknown (the Big B rose to prominance with Zanjeer, 1973), but due to various reasons the release got delayed, ultimately being released at the very end of the decade, in 1979! Thus, without going into drastic extremes, I feel movies released in an Year eding with a nought (0), ought to be regarded as a movie belonging to the previous decade! So basically, Year 2020, specifically movie wise, is a transition from the 10’s & into the Nouveau Roaring 20’s. Some 2020 releases (especially if set today itself, although, unlike the previous century, there is no definite unique look that differentiates one decade from another, other than technological advances of this digital age) shall feel very 2010’s, whilst others could end up defining the whole decade of the 20TWENTY TWENTIES20’s!!!!
Of course, one unique look that came out in recent times (though only seen on celebrities) would be one that helped change gender norms, blurring lines between masculinity and femininity!! Young Straight male actors (like Timothée Chalamet of Call Me By Your Name; 2017; fame, for instant) have dared to experiment with the androgynous look, thus not stereotyping the effeminate look on a male attributed only to transgender people. Cisgender men and women (gay or straight), immaterial of their sexual orientation, can now try out blending styles that in the past were catered to just one specific gender, or attributed as a reflection of their sexuality!!!
Why not? We are all Equal!! We are all human!! Who made these rules in the past, anyway?? Go Crazy, Go Gaga, if you wanna!! Nobody has the right to judge!!!
New Look for the 20TWENTY TWENTIES20’s
I’ll be honest, the 2010’s haven’t been good to me, health wise and other wise! As it is, all my life, I’ve suffered on my own, survived on my own, and still surviving!! My stress and depression has worsened over the years. As we speak, my head is pounding, my eyes tried; yet I persevere, I go on!! Despite going through a lot, I decided I shall somehow work on a Blogpost today, no matter what! Despite everything, I shan’t give up that easily!!!
So here’s to a better future, than the past (especially better than my recent past) !!!! Looking forward to a better year & even better deacde ahead, and wishing everyone the same. Here’s to the 20TWENTY TWENTIES20’s!!!!
Wonder if Flapper Dames will make a come back, or with a 21st century twist (as gender lines blur further), even Flapper Dudes!!!! Maybe have a modern take on famed The Charleston, jazz music and have swell time this coming decade, all round!!!
Today, also happens to be Nudin‘s Official Birthday🐾!! FOUR Years Old!!! It’s (Atta’s) my Maternal Grandfather’s 100 Birth Anniversary, as well!! Haven’t witness a real Birthday Party/New Year Celebration in a while. The last time I actually did something to usher in the New Year was; when on 31st December 2006, my friends & I, Down Under, went to see the fireworks over the Sydney Harbour Bridge, and welcomed Year 2007 (one of the rare better years of my Adult life, comparatively).
Wishing all my fellow Bloggers, #Twitterians, et al, a very Happy New Year & Great Decade ahead, once more!! Keep on Blogging (a note to self, as well).
So the month of Halloween comes to an end, as does this Blogathon. As promised on 1st October, Year 2018; even though the Blogathon was allocated from 20th to 22nd October 2018; due to time constrains and various other reasons, as some bloggers might not be able to contribute a post, within those dates; I am doing a special post today (Halloween night) for the Latecomers.
So here are the contributions from the Fashionably Late 🙂 :-
On John Lennon (9th October 1940 – 8th December 1980) Alex of Alex Raphael, pays a quick tribute to my favourite “Beatle“, musician, singer, humanist, peace activist, modern day saint, John Lennon (who also starred in a few movies, mostly playing himself) through Lennon’s most memorable quotes, inReviews and Other Features: “October Birthdayz” Blogathon
NSFS
On Leo McCarey (3rd October 1898 – 5th July 1969) Ruth of Silver Screenings has fun with the quintessential 30’s screwball comedy, with director Leo McCarey’s much loved, The Awful Truth (1937), lead by Cary Grant and Irene Dunne, inThe Awful Truth about Director Leo McCarey
NSFS
On Paul Hogan (Born on 8th October 1939) Paul at Return to the 80s, goes all Oz, delving deep down under, into a movie and character, synonymous with his namesake actor, Paul Hogan; the movie of course is, a “Fair Dinkum” Aussie favourite, none other than, Crocodile Dundee (1986). Paul speaks about this film, and more, inReturn to the 80s Movies: Crocodile Dundee
NSFS
Battling my own stress and depression, withdrawal symptoms (of getting off and re-getting on stress medication), going through a heavy headed flu (practically this whole month), adverse effects of diabetic meds making things worse (don’t get me started on people here, testing my patience to the limit, the root cause of my psychological distress, in turn resulting in additional physical ailments); this month of October hasn’t been very nice to me (nor has this year really, but this month feels extra worse), anyway this country has never been good to me; so am extra grateful to my fellow Bloggers, for helping me make this Blogathon a success.
A Very Big THANK YOU, to all of you, my dear Blog-pals. Despite going through a lot of pitfalls, being able to get this Blogathon done, thanks to your help, brings me some sort of contentment. Without your lovely contributions, this wouldn’t have worked. If possible, I’d like to make The ❝October Birthdayz❞ Blogathon an annual event (hopefully in a better environment in the future), on No Nonsense with Nuwan Sen.
As I couldn’t contribute a Blog-post for my own Blogathon, I thought I’d share some links, of my past posts, related to October Births :-
On Joan Fontaine (22nd October 1917 – 15th December 2013) HAPPY 96TH BIRTHDAY: Joan Fontaine: Fontaine, was still alive when I did this post, wishing her well for her 96th Birthday. She passed away, less than two months later (October 2013)
NSFS
On Madame Ré (Born on 10th October 1954) Rekha 60!!!!: This timeless Bollywood beauty has never aged a day. She is 64 now, but doesn’t look more than 40 (October 2014)
NSFS
Welcome to a New Month, and to The ❝October Birthdayz❞ Blogathon 🍁 2018! 🎃🎃🎃🎃🎃🎃🎃🎃
October, is the tenth month of the Year, signifying the Orangey month of autumn in the Northern hemisphere, the orangish shades of maple leaves, associated with fall, and of course, the month of Halloween (with it’s Jack-o’-lanterns, carved out of orange pumpkins). Though Halloween’s roots originate in Christianity, All Hallows’ Eve, today (pretty much like Christmas), it’s more of a fun filled (non-religious) holiday, especially in the Northern American continent.
The month of October, also happens to be the birth month, of my sister, who actually lives in ‘Modern Day’ Halloween country – The United States of America (a.k.a. TrumpLand) itself. She’s been living there, residing in Princeton, New Jersey, USA, since May 2015. So, dedicating this Blogathon to my baby sister; who’ll complete the 38th year of her life, this month; I decided to host, The, very first, ❝October Birthdayz❞ Blogathon! So in a sense, this Blogathon, is my gift to Sachinta’s upcoming 38th Birthday. Happy Birthday Sis!
So, my fellow bloggers/blog-pals/movie maniacs/film fanatics/cinema enthusiasts/bookish bums, you are all welcome. The Blogathon shall start on the 20th of October (my sister’s birthday) and end on 22nd of October. BUT, there are no hard and fast rules, as to when you can post. You can post, any day within the month, of October, effective immediately. So, even if you end up being fashionably late, do not fret, I shall do a special post for latecomers, on 31st October (Halloween night).
Though there are no hard and fast rules, on what or when you can post (it does have to be within this month), this Blogathon is to do with Movies, Movies and Movies. So below are some terms and conditions, on how to post, on any birthday associated with the Month of October. You are welcome to post, one or more, write-ups; as many as you like.
Some Simple Rules:
You are allowed to write about any famous or notorious personality, born in the month of October. But the write-up has to do with films (either Big Screen cinematic marvels or Small Screen movies made for television). So if you want to write about a non-film personality, the blog-post should be about a bio-pic based on his/her life, or a movie based on a true incident, where this particular ‘October born’ person played a pivotal part in (in which case, it has to be a charter-sketch of this famed person). [E.g. Mahatma Gandhi, Eleanor Roosevelt & Bonnie Parker, were born in the Month of October]
If you want to work on an author/playwright/poet, again it should either be a film based on their lives, or (in this case) a film adaptation of one of their works. BUT, it has to be a good movie (doesn’t matter how faithful the movie is to it’s source material). No judgemental and unoriginal clichés of “Books are better than Movies”, please. A good movie has to stand on it’s own merit, whether it’s based on a book or not. You are welcome to do an interesting compare and contrast (in which case both the book and movie ought to be critically acclaimed, or at least you should love both, the book as a book, and the movie as a movie) [E.g. Virgil, John Keats, Oscar Wilde & Joan Harrison, were born in the Month of October]
If you are writing on a movie starring an actor/actress, then it ought to be more of a character analysis, played by the ‘October born’ star. If there are more than one person born in October, appearing in the same movie, the review can be about the movie, but please focus more on the characters played by the ‘October born’ stars.
If it’s a film of an ‘October born’ director, then a movie review is more than enough, yet attributing to his unique directing techniques, as to how well the director crafted it.
If you want to speak about a cinematographer/music composer/playback singer/costume designer/set designer (in other words, a non-actor/actress or director, attached to the movie), please highlight this ‘October born’ person’s contribution, besides the film critique. [E.g. Costume Designer, Edith Head, and Music Composer, S.D. Burman, were born in the Month of October]
You are welcome to write about the personal life of an ‘October born’ film personality, instead of a movie they worked on, if you wish. Again, it ought to be a non-judgemental, non-sarcastic, sympathetic look at a person’s life and career. Exceptions are allowed, if the particular person was highly notorious (like a Nazi spy or a serial killer or something, who was/is a famous film personality).
If your, or your own Blog’s, birthday falls in the Month of October, you are welcome to include a bit about yourself/your Blog, within a film context.
Duplicates are allowed, but I would prefer, there were none, as there is a vast array of people born within the 31 days of October.
You are welcome to write about recently released movies and film personalities of the 21st century, as well; BUT I’d prefer if you were write about a movie/celebrity from the past centuries. There are so many forgotten gems of the past; from Roundhay Garden Scene (1888) (the oldest surviving moving picture – private family footage) to the Lumière Brothers 10 short films released in 1895 (the very first ‘Big Screen’ cinematic releases) to more contemporary greats from post war 40’s to the 1990’s; that need more exposure, and should to be spoken of.
Once you have decided, please mention what you shall work on, as a comment below; and once you’ve blogged about a film related subject matter, for this Blogathon, kindly post the link, as a comment below.
Kindly share my post, and invite other bloggers, to join in. And, last but not least, please help yourself to one or more, out of the 10, banners below, I specially made for the Blogathon.
One of the main reasons, I shan’t work on a post for this Blogathon, is, ’cause am very sick (physically, mentally and otherwise). Since, I’ve been working on these banners, and a few more pictures/collages, within the last six days, to host this Blogathon, this month, I am forcing myself to somehow get this post done today, with a heavy sinus filled head, as the forces of Lankan nature are acting against me getting anything done. Am feeling quite exhausted, parched, dehydrated, with tired eyes, a cold and heaty throat and chest, as we speak; and writing this in a sort of a daze. I was down with the flu, when this year started, and am just as sick, as this beautiful month starts. I wonder whether am having an allergic reaction to the new diabetic meds I’ve been on for the last two weeks. I need to speak to my endocrinologist.
Anyway, I hope you shall all take part in this, my fellow Blog-pals and lovers of everything cinematic. I shall do three special posts (including your links of the posts you do) between 20th & 22nd October 2018, and a fourth n’ final one, for latecomers, on the 31st of October, 2018.
Also check out my twitter handle (https://twitter.com/Nuwansenfilmsen) I plan to post an ❝October Birthdayz❞ special, on twitter, each day of of this month, as well.
Asha Bhosle, one of two most prolific singers of Bollywood (the other being her elder sister, Lata Mangeshkar) turns 85 today.
Born as Asha Mangeshkar, on 8 September 1933, in Sangli State, in the Bombay Presidency of British India, she started her singing career at the age of 9, in 1943; especially to earn for her family (her father died a year earlier, in 1942, Lata Mangeshkar was 13). Though Lata started acting in stage plays at the age of 5, both sister’s, Lata and Asha took up singing professionally, after their father’s demise. At 16, Asha eloped with 31 year old Ganpatrao Bhosle. Her husband and in-laws mistreated her. One day, the ever suspecting Ganpatrao Bhosle, threw a very pregnant Asha Bhosle (pregnant with their third child) out their house, along with their two kids. The Bhosle’s divorced in 1960. Somewhere in the 1960’s, she met music composer, Rahul Dev Burman, six years her junior, with whom Asha Bhosle collaborated on a number of songs. The two first worked together on Teesri Manzil (1966). A decade and half later, Asha Bhosle married Mr. Burman, in 1980. They later amicably separated due to financial difficulties. Yet they worked together until his death in 1994. In the mid-90’s, Asha Bhosle joined the the latest trend at the time, of remixing songs. She experimented with remixing old tunes of the 60’s & 70’s, that she had worked on with her second husband, the love of her life, R. D. Burman (whom she adoringly called “Panchamda”). Her two albums, dedicated to Burman, titled, Rahul and I (Volume 1 & 2), were hugely popular in the 90’s; despite criticism by many, against Bhosle, for tampering with good old melodies. Well into her 60’s by then, she joined the indipop scene of the 90’s, and went along with the India’s MTV and Channel V craze of the times. On 8th October 2012, a month after Bhosle celebrated her 79th Birthday, tragedy struck. Her unhappily divorced daughter, Varsha Bhosle, a singer and journalist, committed suicide.
Today, the very versatile Bhosle; who has over 12,000 songs to her credit (including 20 odd songs in, non-Hindi, Indian languages and various other foreign languages), recipient of the Dadasaheb Phalke Award and the Padma Vibhushanand, and who has been named the most recorded artist in music history, by the Guinness Book of World Records (in 2011), still leads a very active life in Mumbai, India. AND she is showing no signs of backing down, and is in no hurry to retire. In 2016, she released her most recent album, titled 82 (named after her age at the time).
I’ve grown up watching Bollywood movies, and from her 75 year career, here are my Top-25 favourite Asha Bhosle songs, she sang for Hindi Feature Films, only (she has sung, as a playback singer, for non-Hindi language films, as well as, for non-film songs in various languages, including in English).
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TOP 25
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1. “Dum Maro Dum” from Haré Rama Haré Krishna (1971)
This drug infused number, from one of my favourite Bollywood movies, became a Hippie Anthem in the 70’s. Miss Asia Pacific winner, from 1970, Zeenat Aman (a new comer in the world of the cinematic arts at the time, and not really known for her acting chops), was close to brilliant as a Hippie woman (whom Bhosle, lends her vocals to for this song), in this movie. Aman won a a Filmfare Award for ‘Best Supporting Actress’ and a BFJA Award for ‘Best Actress’. Soon she would be the ‘it’ girl, the Bollywood sex-symbol, of 1970’s decade. Unfortunately her sex-symbol avatar would overshadow her talent, and she was used by directors more as a bikini bombshell, than an actress. But she does have some good character roles to her credit, yet isn’t really known for her acting prowess. Director and co-star, Dev Anand (who plays Aman’s estranged brother, estranged due to their parents divorce, in the film), didn’t use the song in it’s entirety, in the movie; as he felt the hip number would overshadow his movie.
None the less, Asha Bhosle’s future husband, composer R. D. Burman’s, “Dum Maro Dum”, was a big hit, and a Hippie favourite. Bhosle went onto win a Filmfare Award for ‘Best Female Playback Singer’; and the song reached a cult status in India and abroad.
This film happens to have one of the best depictions of a Hippie Commune, on celluloid. Haré Rama Haré Krishna (1971) itself, revolves around a group of Hippies, set within few days, in Kathmandu, Nepal. Although Hippiedom was a counterculture youth movement born in the 1960’s, in USA, it spread around the world (the late 60’s was a time when globalization truly took place). With Hippie’s interest in Hinduism and Buddhism, many made their way into India (especially North India) and Nepal. Soon many modern youth from cities like New Delhi and Bombay, embraced Hippiedom with their open-minded, all inclusive, attitudes, and rebelled against tradition Indian notions. The Hippie sub-culture, was very prominent throughout the 70’s decade (and to some extent in the early 80’s), in Northern India and Nepal. Which in turn influenced Bollywood films of the time. Another reason American influenced Hippie lifestyles gained popularity as a subculture, amongst the literary elitist Indian youth (up north), was thanks to the British band, The Beatles, going and living in India, at the ashram of Maharishi Mahesh Yogi, in Rishikesh, in 1968. Other western celebrities followed suit, and young, well educated, Indians from prominent families, were not far behind. Of course, most Hippies were too drugged to remember how cool they were. But, none the less, Hippie influence played a major role in modernizing India, back in those decades.
2. “Chura Liya” from Yaadon Ki Baaraat (1973)
A pair of glasses clink, then she strums a few chords in a guitar. And some of the most melodious lyrics come to life.
From playing a Hippie girl, in the previous movie, we see her transform into a sophisticated young lady, for this movie.
Picturized yet again on Zeenat Aman, this is a mesmerizing melodic tune. Romantic, dreamy, with the guitar strumming a lovely tune and words to die for, this song pulls at your heart strings. Although, it’s not a completely original composition. The opening lines of “Chura Liya” were copied from the 60’s song, “If It’s Tuesday, This Must Be Belgium”, sung by Dutch singer, Bojoura. None the less, this Hindi song is pure seduction, hypnotically transporting us into dreamy romanticism. Composer, R. D. Burman, used actual cups and saucers to create the tinkling sound of the song.
Zeenat Aman, looks amazingly chic and elite, in that fashionably simple white culottes, adorned with a choker neck, broach and earrings. This elegant white outfit is my favourite from any Bollywood movie ever. Simple and sophisticated, it compliments and contrasts beautifully, with her light cappuccino skin tone. Naturalistic sense of style, a look that is very 70’s!!!!!
3. “In Ankhon Ki Masti Ke” from Umrao Jaan (1981)
Bejeweled from head to toe, a courtesan, from mid-19th century Lukhnow, sings “In Ankhon Ki Masti Ke”. The movie was Umrao Jaan (1981), based on the 1905 Urdu novel, Umrao Jaan Ada by Mirza Hadi Ruswa. Based on a true story, the real life courtesan, Umrao Jaan, had shared details of her life story, with the author, Mirza Hadi Ruswa.This historical bio-pic is made with such perfection, from the set designs to the costumes, and make-up (down to the Mehendi on her hands and feet), made to resemble the period it was set in. The mid-19th century was a very chaotic time in Indian history, under the British Raj, which gave rise to the Indian Rebellion of 1857.
The classical poetic rendition by Asha Bhosle, is a melancholic ghazal, performed by actress, Rekha! Rekha (later nicknamed as Madame Ré), happens to be one of my favourite Bollywood actresses ever. A very versatile actress, she made her mark in both, commercial Bollywood films, as well as Indian Art House Cinema (Parallel Cinema) made in Hindi and English (i.e. Indian English Language movies). Rekha won the National Film Award for Best Actress, for Umrao Jaan. She was honoured with the Padma Shri by the Government of India, in 2010.
4. “Do Lafzon Ki Hai, Dil Ki Kahaani” from The Great Gambler (1979)
With the breathtaking backdrop of Venice, this song sung in a gondola, is one of the most beautifully lyrical love songs ever. Picturized around, Bollywood’s Badshah, the Big B himself, Amitabh Bachchan (my favourite Bollywood actor, since childhood); accompanied by Zeenat Aman (lip syncing to Bhosle). It’s basically Aman’s character translating the gondolier’s love song, into Hindi, telling a story of love and woe, to her lover (played by the Big B).
Amitabh Bachchan, voted the “Star of the Millennium”, happens to be the most influential actor in the history of Indian cinema, nationally and globally. Bachchan, was appointed as an International UNICEF Ambassador in 2005, and was awarded the Padma Shri (1984), the Padma Bhushan (2001) and the Padma Vibhushan (2015) for his contributions to the arts. The Government of France honoured him with its highest civilian honour, Knight of the Legion of Honour, in 2007. He made his Hollywood debut, at the age of 70, in Baz Luhrmann’s The Great Gatsby (2013).
5. “Yeh Ladka Hai Allah” from Hum Kisise Kum Naheen (1977)
Kajal Kiran, looking trés chic, in a fuchsia pink short kurta and bell-bottoms (a very 70’s, casual chic, fad), runs around singing, how difficult it to make any sense to this uptight man. Hilarious and clever, the entire song is a dialogue, that neither interprets, what the other is trying to say. Especially towards the end, the girl has no actual idea, what he’s talking about, through his lyrics.
6. “Duniya Mein, Logon Ko” from Apna Desh (1972)
Sung alongside her husband, composer, R. D. Burman (who lends his voice to Rajesh Khanna), this was a hit, mainly thanks to unusual gruffy gurgling vocal sounds made by Burman. That distinct sound and rhythm, became a R. D. Burman trademark. Bhosle wasn’t far behind (singing for Mumtaz), matching vocals perfectly in step, to Burman. Again worth to note the stylish attire. Rajesh Khanna looking slick as ever, in those gold-rimmed octagon shades with green lenses (somewhat resembling John Lennon’s rose tinted round sunglasses, and Khanna looks like a ‘Beatle’ himself, to some extent, here), and that red velvet n’ white designer suit. Mesmerizing Mumtaz, with her natural peaches n’ cream skin, and a blonde wig, looks like a Scandinavian beauty. The eclectic music and dancing is well in sync, and the flawless beauty, Mumtaz, with her deep plunging neckline, double slit, maxi dress, glides barefoot on the smooth terrazzo floor with such ease. In the movie, the duo are in the guise of foreign (Caucasian) investors, to expose corruption at the hands of a conniving trio.
R. D. Burman revolutionized Indian music forever, with this song.
7. “Raat Ke Hamsafar” from An Evening in Paris (1967)
Shammi Kapoor and Sharmila Tagore roam around the streets of Paris, to this romantic tune, colour coordinated in navy blue. From the 70’s, now we go back to the 60’s. The era of bouffant hairdo’s, mini-skirts and shift dresses. Here we see Tagore in a tightly draped saree, with a small, tie-knot on the back, blouse. Sharmila Tagore was the first Bollywood actress to appear in a bikini, on a magazine cover, in 1966 (see my Blog-post Classic Movie History Project Blogathon – 1966: The Year dubbed as Nineteen Sexty Sex from June 2015). She wasn’t the first to dare to wear a bikini, but no Indian actress had appeared in the skimpy two-piece on a cover of glossy publication before. Tagore was another versatile actress, who transcended genres, appearing in Bollywood commercial films, as well as Art Films, made in Bengali, Hindi and English (again, Indian English Language movies). She led the Indian Censor Board, between 2004 and 2011, became the National UNICEF Goodwill Ambassador for in India in 2005, and she was one of the “International Competition’s” Jury Members at the 2009 Cannes Film Festival.
8. “Sapna Mera Toot Gaya” from Khel Khel Mein (1975)
Aruna Irani laments in chains, on the loss of her lover. In flashback sequences we see, her lover was Rakesh Roshan. Beautiful, heart rending, stage performance on the tragedy of falling in love and surviving after tragically losing one’s lover.
9. “Kya Dekhte Ho” from Qurbani (1980)
70’s sex symbol, Zeenat Aman, shows her assets, in a heavily cleavaged top, in this song, alongside director and co-star, Feroz Khan. Interestingly in the song, she asks, what he is looking at and what he wants? Of course he replies he is looking at her face and desires her affection, as she flaunts her gorgeous feminine body and unabashedly her soft female sexuality. This ever-green song bagged Qurbani (1980) a special award. Qurbani, was a Bollywood remake of the, English Language, Italian film, Un Uomo da Rispettare (1972), a.k.a. The Master Touch, directed by Michele Lupo.
10. Namak Halaal (1982)
This movie stars three out of five of my favourite Bollywood superstars of the 70’s & 80’s (See my list Bollywood FIVE from July 2018 on IMDB); Amitabh Bachchan, Shashi Kapoor and Parveen Babi. Parveen Babi sizzels in a one-piece gold attire, with gold stilettos. Glittering away, she looks sexy and sophisticated, without looking cheap and gaudy. Parveen Babi, is known for her trade-mark hair-do, straight long hair, with the famous parted Parveen Babi bangs. But here, she sports a loose perm, and the style looks very early 80’s, and very up to date. Yet, she makes that look her own as well. Her simple n’ stylish dance steps, in high heels (except for one long shot, panning around the room, Babi does barefoot), works well with Bhosle’s vocals. The glamorously expensive set design gels well with this night club number.
The late Shashi Kapoor, hailing from the Kapoor clan (Bollywood’s Royal family) was India’s International star. Not only did he act in, direct and produce, movies in Bollywood and non-Bollywood (including Art Films and Indian English Language films), Kapoor also appeared in British Films of great repute. He is also known as Merchant Ivory Productions’ very first hero. He was honoured with the Padma Bhushan (2011) and Dadasaheb Phalke Award (2014). Sadly, both Shashi Kapoor (the most beautiful man of Hindi Cinema, inside out, both looks and personality wise) and Parveen Babi, are no more. Both suffered from depression, in their lives. Kapoor, due to the loss of the love of his life, actress, Jennifer Kendal, to cancer in 1984 (he never fully recovered from it); and Babi, due to sad life experiences, failed relationships, loneliness and paranoid schizophrenia. She became a recluse later in life, and distrusted everyone. She died all alone, due to organ failure and diabetes, and nobody was aware of her death, till her body was discovered, three days later.
Both Shashi Kapoor and Parveen Babi, were well literate, and two highly intellectual minds, of the Indian film industry. Babi was a graduate of English Literature. Earlier this year, Hollywood paid tribute to actor Shashi Kapoor (along with actress Sridevi), when they honoured Kapoor and Sridevi, in the “In Memoriam” segment, at the 90th Annual Academy Awards 👠 held in March 2018.
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11. “O Saathi Chal” from Seeta Aur Geeta (1972)
Bollywood’s Dream Girl, Hema Malini (another of my favourite Bollywood actresses, growing up), skirts through obstacles as she sings skating with Sanjeev Kumar. In real life, Sanjeev Kumar was madly in love with Hema Malini, but she didn’t reciprocate. She was in love with Dharmendra (who also acts in this movie), whom she later married.
Hema Malini, along with Parveen Babi, held the Number.1 Bollywood position, in two decades, the 70’s & 80’s, a rarity for an actress in Bollywood. Hema Malini can be see in the picture atop, in a pink saree, walking behind Asha Bhosle. This song again, is a good insight into the casual fashion, of the times. Well tailored trouser suits, and Hema Malini, matches hers with a lilac blouse with long cuffs, stylish purple (tie-down) waistcoat and a purple scarf tied like a hairband, and earrings, while Kumar dons a (buttoned-up) jacket with a khadi collar/Nehru collar.
12. Medley of Several Songs from Hum Kisise Kum Naheen (1977)
This dance n’ song competition from Hum Kisise Kum Naheen (1977) is super enjoyable. We grew up watching this movie, a kazillion times. Bhosle lends her vocals towards the end, to the song “Mil Gaye, Hum Ko Saathi, Mil Gaye” lip synced by actress, Kajal Kiran, in red bell-bottoms, a red poncho over a halter-neck top, with red platform shoes. Seriously!!! The stylish fashions of the 70’s! WOW!!!! The tailored trouser suits, wide belts, bandanas, floppy long hair, naturalistic minimalist make-up!! One of the main reasons I love the styles of the 70’s, most probably is because I grew up, in 80’s & early 90’s, watching Bollywood films from the 60’s, 70’s and early 80’s. The late 60’s & the 1970’s decade, were truly eras of cool. And their disco numbers were fun, stylish, avec a very modern outlook. And these songs are truly Timeless!!!!!
Added to which, the stylish set design, with the dual circular stage, just amazing. This compilation short-songs, is a really good insight into the sights, sounds and styles of a truly unique decade. Again, very 70’s!!!!!
13. “Yeh Mera Dil” from Don (1978)
As the sultry “Mata Hari” type character, played by Helen (of Anglo Indian & Burmese roots, in real life) seduces and Underworld Don, played by Amitabh Bachchan, to get him arrested by the cops, she sings and dances to this seductive club number. Don is responsible for the death of her fiancé. Of course, her plan backfires and is killed by the Don, instead.
14. “O Haseena Zulfanwaali” from Teesri Manzil (1966)
From watching Helen play a spy seductress, we go back a decade, and see Helen do a sexy cabaret, from the 60’s thriller, Teesri Manzil (1966). Helen happens to be the most popular Bollywood dancer, till date. She was known as Bollywood’s own “Nautch” girl, of the 1950’s, 60’s, 70’s & early 80’s. Yes, she reined the on-screen cabarets, for four decades. She looks great in the Spanish flamenco dress (she is seen in three different attires, including a reddish-pink flamenco dress). The late Shammi Kapoor, too, looks dashing in that platinum toned blazer with salmon pink lapels.
Teesri Manzil was the first collaboration of Bhosle and Burman.
15. “Zuby Zuby Jalembu” from An Evening in Paris (1967)
From one 60’s Bollywood cabaret to another 60’s Bollywood cabaret. This time picturized with Sharmila Tagore. Donning what looks like a blend of a playboy bunny suit and a burlesque attire, a la‘Moulin Rouge‘, Tagore foxily prances around to this rhythmic number. She does justice to the slutty character she essays, in this song.
16. “O Mere Sona Re Sona Re” from Teesri Manzil (1966)
A blend of the old and the new (at the time), a style that should be out-dated, has surprisingly stood the test time, and aged pretty well. Must have something to do with the fact, the remixed release by Bhosle, herself, in the 1990’s, brought about a new found appreciation for this number. Also check out the very 60’s, shift skirt style, skin-tight slawar-kameez, worn by Asha Parekh. In the 60’s, the slawar-kameez, became really tight, and instead of having two side slits, the tops had one slit in the back, to ape the tight skirts of west. Very 60’s, very Indian!!!!!
17. “Hum Ko To Yaara Teri Yaari” from Hum Kisise Kum Naheen (1977)
This use to be my favourite song from this movie, as a kid, but growing up, as I matured, and understood the lyrics and tunes, “Yeh Ladka Hai Allah”, with its deeper meaning (See no.5, atop) became, my favourite from Hum Kisise Kum Naheen (1977). None the less, this is a fun filled song, and again, the stylish bell-bottom trouser suits of the 70’s. So cool!! Especially the camel coloured leather suit worn by Rishi Kapoor. Kajal Kiran’s white bell-bottom attire with the red shawl, and white purse/handbag, too looks really hip.
This fashionable generation most probably didn’t expect to grow old. It’s truly hard to believe, such stylish modern Indians of the 70’s, are in their 70’s today (some would still be in their 60’s). These were stylish attire our parents, in their prime, wore, and for younger generations, grandparents. They were so much more cooler than people today. In fact, our dress sense seems pretty bland, in comparison.
18. “Raat Baaki Baat Baaki” from Namak Halaal (1982)
As Bhosle croons “Raat Baaki Baat Baaki”, picturized around Parveen Babi (alongside Shashi Kapoor and Amitabh Bachchan), we see Babi’s tensed character in a dilemma. She is hosting a party in a ship, and her mission is to help kill Kapoor’s character, or her mother shall meet her end. Might seem pretty clichéd, but women in history have found themselves being put in uncomfortable situations. Here we see Babi, in her trademark hairstyle, with the famous Babi bangs, and minimalist make-up, she was famous for, back in the 1970’s. She sure had think, luscious, long tresses. AND, she looks gorgeous in that figure hugging black dress, with a long slit at the back, adorned with simple long earrings and high heels. Very Classy!! There is a thing about wearing black badly, not everyone can carry it with grace and elegance. Babi sure could, and she looks bewitchingly beautiful in it.
19. “Aaja, Aaja, Main Hoon Pyaar Tera” from Teesri Manzil (1966)
Back to the “Third Floor”, i.e. Teesri Manzil (1966), this time with a night club scene of the 60’s. And yes, the twist was a craze in 60’s India as well. Asha Parekh (playback singer Bhosle, of course) looking mod, in tight black pants and a pink top, twists around with Shammi Kapoor, to this crazy beat.
20. “Sare Shahar Mein” from Alibaba Aur 40 Chor (1980)
Based on the, 18th century, Arabian Nights tale, Ali Baba and the Forty Thieves, this Indian-Soviet Russian co-production, has some memorable songs. More interesting for children than adults, it’s set designs and Arabian costumes are amazing, as well. This particular Arabian style song, is more memorable, for it’s a duet, Bhosle sings with her elder sister, Lata Mangeshkar. This song is picturized with Hema Malini (for whom Mangeshkar sings) and Zeenat Aman (sung by Bhosle), who are stuck among two groups of gangs. Hema Malini’s real-life husband, Dharmendra, playing reel-life husband, Ali Baba, makes an appearance at the end of the song, wondering what’s wrong with these two women.
21. “Reshmi Ujala Hai” from Sharmeelee (1971)
Picturized on, Marathi actress and dancer, Jayshree T. (who also worked in some Bollywood movies), we see her do a striptease at an elite club. We also see, the lead actress of the movie, Rakhee, in a dual role; one watches the show from above, as the other enters the club later, with her husband (played by Shashi Kapoor). Lyrically seductive, Jayshree T. dances (and strips) holding a pair of, aesthetically placed, still rings. She’s also joined in by a muscular male stripper, later.
22. “Parde Mein Rahne Do” from Shikar (1968)
Another Arabian dance, and another Dharmendra – who walks in the middle of song, still looking quite confused (see no.20, above); or rather surprised in this case. This time though, the film has a contemporary setting, and the Arabian style number, is actually a stage show. The lead actress of this murder mystery, Asha Parekh, performes as an Arabian princess, who pleads people not to lift her Pardah (or Purdah), and expose her identity. Another beautiful song, by Asha Bhosle, sung in an Arabian style. Shikar, literally means The Hunt!!!!!
Past, Present and future clash!!!!! In this song, the couple ask one another; when they grow old, and their youthful looks have faded, all wrinkled up, and unable to do much for each other; whether the other will still be there for them. What’s truly fascinating is that, Randhir Kapoor and Babita (the couple the song is picturized around), married in real life, after the release of this movie, in 1971, itself. They later separated, in 1988, due to their elder daughter’s desire in pursing an acting career (conflict of interest). Babita, left with her two daughters. Several years later, Randhir Kapoor finally came around, accepting his two daughters’ film careers, and showing his support. AND thus, almost two decades after the couple split up, Randhir Kapoor and Babita reconciled in 2007. So now they are actually together again, in their old age. Both are 71 years old now.
This movie, Kal Aaj Aur Kal (1971), literally translating to Yesterday, Today and Tomorrow, has three generations of Kapoor’s starring as three generations in conflict. The Grandfather (played by Prithviraj Kapoor) and the grandson (Randhir Kapoor) are constantly at loggerheads. Caught in the middle, is Raj Kapoor (son of one, father to the other). He understands his son’s progressive thoughts, who rebels against foolish backward traditional notions, such as the cast system, and a woman’s place is in the home by her husbands side, and all that archaic rubbish. But at the same time, Raj Kapoor’s character, is afraid to speak up against his ageing father, who is stuck in his old ways of habit, foolish and ignorant, who still believes in cast system, blinded by religious faith, and finds it difficult to accept the changing times (of the late 60’s & 70’s), including influences of American Hippie lifestyles on Indian society. Prithviraj Kapoor’s character, can’t stand women’s lib, feminism, women daring to wear skirts instead of Indian clothes, women driving, women daring to divorce their husbands, hippies, unmarried couples, premarital sex and promiscuous lifestyles of modern youth. So there are good and bad points, brought out from both sides. But mainly, the open-minded grandson brings out the good points. There is this one hilarious moment, when the grandfather is repulsed at seeing a write-up in a newspaper about a woman divorcing her husband. He speaks of how great Sita (from Valmiki’s Ramayana) was, where she has to undergo an Agnipariksha (trial by fire) to prove her chastity to her husband (after being saved, post her kidnapping by the ten headed Ravana, king of Lanka); and how now women have no qualms about leaving their men. Randhir Kapoor wittily retorts, that there was no such as divorce in ancient times, otherwise Sita would have divorced Ram as well. It’s a rib-tickling moment, and seeing the annoyed horrified look on the Grandfather, is priceless.
This movie came out during the height of globalization of human attitudes and it reflects the changing times in India, at that period. Ever progressive, especially amongst the city folk and the well educated, specially in Northern India, it’s a country that has always moved forward. Of course, it’s a slow n’ steady progress. Transgender acceptance as a ‘third gender’, and India’s Supreme Court ruling from day before yesterday (6.9.2018), legalizing gay sex, thus decriminalizing it as a sexual offense, overturning Section 377 (a colonial rule, introduced in 1861, during the British Raj), is proof of it’s slow and steady rise. India being a third world country, and that too a (hard to maintain) massive one, with an equally massive population of over a billion people, with a high illiteracy rate – mainly due to poverty (something impossible eradicate in such a vast nation), it’s surprising how far they have come, despite their pitfalls. With progressive Indian cities (economically and psychologically), press freedom, freedom to voice one’s opinion, Indian intellectuals and artistic society’s constant leap forward; one can just imagine – if India were a tiny nation, with a small population, less poverty (which practically equals to no illiteracy) – India would be a first world country floating in the Indian ocean, today.
Another strip-tease, this time, yet another cabaret performance, by Bollywood’s famed “Nautch” girl, Helen. The stage show, in the movie, is an entire story being told by an unhappy woman, waiting for her man, at a club. The clock strikes midnight, and slowly customers start to leave. Ultimately it’s just her, drinking her misery away. Soon, her lover comes. She’s ecstatic!! She daces, strips, twirls on a pole, and ends up with him in a birdcage. The song, the performance and the props are very symbolic, to the runaway girl (played by Asha Parekh), seated watching the stage show. Caravan (1971) was inspired by the low-budget, 1950’s American Independent film, Girl on the Run (1953).
25. “I love You – Haré Rama Haré Krishna” from from Haré Rama Haré Krishna (1971)
Back to the Hippie Haven (see no.1, right at the top), with another Hippie melody, from Haré Rama Haré Krishna. Composer R. D. Burman’s later trademark style is visible here, before he himself lent his voice to “Duniya Mein, Logon Ko” (see no.6, above), from Apna Desh (1972).
With lyrics like “Black or white, we are all inclusive, nobody here is an alien” in Hindi, it’s no wonder many modern Indian youth openly embraced Hippie’s bohemian life styles, and rebelled against ignorant traditionalist, back then. Bhosle sing for Zeenat Aman, and Usha Iyer (now known Usha Uthup); who use to be a famous (literally underground) nightclub singer of the 60’s, in Madras, South India (before she made it up north, in Bollywood); sings the English verses. Noticed by actor Shashi Kapoor, the first two songs she sung as a playback singer, were for, the Indian English movie (Merchant/Ivory Production), Bombay Talkie (1970) starring Shashi Kapoor along with his wife, British actress, Jennifer Kendal (where Usha Iyer did an English number), and of course, the English verses in this song, “I love You – Haré Rama Haré Krishna” from Haré Rama Haré Krishna.
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English Couplets
Besides my Top-25, Asha Bhosle numbers, I thought I’d add a couple of, non-film, English numbers she appears in.
As Asha Bhosle was experimenting with re-mixing her old tunes, and Cable TV’s MTV and Channel V phenomena, of the 90’s, Bhosle sang this English number (in English) with the 90’s British Boy Band, Code Red, for the Indian version, of their song “We Can Make It”, from their album, Scarlet, released in 1997. Code Red, was a group, that only lasted five years.
Australian cricketer, Brett Lee, wrote and recorded the song, “You are the One for Me”, with Asha Bhosle, when he was in India, for the 2006 ICC Champions Trophy. Not such a great song, and the tune feels like a cheesy copy of the country song, “Juke Box Blues” by June Carter (later known as June Carter Cash).
Bhosle’s Ode to a famed British Band
The song, “Dekho, Ab To, Kisi Ko Nahi Hai Khabar” from Janwar (1965), is not just an out and out direct copy of The Beatles “I Want to Hold Your Hand“, but an ode to them. The famed British Invasion of the American music industry, had invaded India too. This was the second British Invasion to hit India, but this musical invasion was one that India embraced and welcomed openly. “Dekho, Ab To, Kisi Ko Nahi Hai Khabar” features a boy band aping The Beatles, giving the background vocals, while Shammi Kapoor, looking like a ‘Beatle’ himself, prances around singing and dancing. Actress, Rajshree (whom Bhosle lends her voice to), in that blonde wig and tight dress, looks a bit like, Bulgarian-French singer, Sylvie Vartan. Rajshree most probably was modeled on her (also see my first two posts regarding The Beatles trip to Paris in January 1964, from January 2014).
The setting of the song is that of a Wedding Reception. Towards the end, the Bride and Groom, join in the twist. Yes, as I said before, the twist was a craze in India, in the 60’s. Some Bollywood movies of the noughties, still had musical numbers which showcased the twist, in all it’s splendor. Towards the end of this song, we also see, the late Shammi Kapoor’s father, the late Prithviraj Kapoor.
The Brits tribute to Asha Bhosle
In 1997, the British alternative-rock group, Cornershop, paid tribute to Asha Bhosle, with their song, “Brimful of Asha”. It was an instant hit, in the UK, and India.
A Tête-à-Tête between an Indian Legend from the previous Century & a 21st Century British Singer (of Indian roots)
To round up the number of videos added here, to ’30’, I thought I’d add this conversation piece, between the legendary Asha Bhosle (who was presented with the ‘The Lifetime Achievement Award’), and British singer, Jay Sean, at the 2nd Asian Awards, held in the United Kingdom. The two sing a few lyrics, from my 2nd favourite Asha Bhosle song, “Chura Liya”.
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Saaz (1997)
Saaz (1997) is a brilliant movie, which was loosely based on the lives of the two sisters, Lata Mangeshkar and Asha Bhosle. The movie shows a sibling rivalry, which both sisters deny. The siblings were actually very close as kids, but when Asha ran away and got married (mentioned above), Lata felt her sister had been irresponsible and abandoned her, and Lata was left to earn for the family alone. The two were not in speaking terms for a long time. But it had nothing to do with their singing talent, or that Asha Bhosle playing second fiddle to her elder sister, as the movie suggests. Lata openly disapproved of the alliance. Later, the two made-up. Asha Bhosle called Saaz, a three hour exaggerated waste-of-time. Why couldn’t the filmmakers simple ask the two sisters, for their real-life story and make a proper bio-pic.
None the less, Saaz is a beautiful movie, and Shabana Azmi does a brilliant job, essaying the role loosely based on Bhosle.
Mai (2013)
Asha Bhosle stands next to the film poster, of her movie, Mai (2013)
Though Asha Bhosle, has appeared in cameos as a singer in a film or two, and a couple of short films, she made her acting debut, at the age 79, in Mai (2013). A very good movie, and Bhosle was superb in it, as a 65 year old lady, suffering from Alzheimer’s disease, and neglected by her children and grandchildren (except for one daughter who cares for, played by Padmini Kolhapure). Critic’s praised her amazing performance. So far, she hasn’t appeared in any movie, post Mai.
Wishing the very versatile, Asha Bhosle, a very Happy 85th Birthday. Keep on Singing!!!!!!
I had made way more than 35 lists on IMDB, but for some reason, IMDB has removed lists involving Characters. There were quite a few character studies I had posted on IMDB (Sad!). It has all the rest though, lists of people, titles and pictures.
Immaterial of how accurate the facts from Sanjay Dutt’s life depicted in Sanju (2018) are, as a movie, this cinematic adaptation works flawlessly. Especially thanks to Ranbir Kapoor’s brilliant performance, as actor, Sanjay Dutt. Kapoor encompasses the essence of Dutt jr. to perfection. He feels Sanju, in every way possible, not just thanks to the prosthetics and make-up (although they do help), but the way Dutt moves, talks, his mannerisms; Kapoor manages to capture the Dutt persona, with excellence. Amazingly, Ranbir Kapoor is not a fan of method acting; denouncing great method acting skills of the likes of classic method actors, Marlon Brando, James Dean & Amitabh Bachchan to Aamir Khan & Leonardo DiCaprio (from more recent times); but Kapoor feels like he’s turned himself into one, to become Dutt, inside out.
Am generally not a great fan of Ranbir Kapoor (with his stale jokes, unfunny idiosyncrasies and a boring on-screen personality), but when he wants, he has proven himself capable of doing good roles; with movies like Barfi! (2012) – another excellent movie (a movie that almost made me a fan of Ranbir Kapoor), Bombay Velvet (2015) – an average fare (veering towards bad than good), yet Kapoor is quite good in his role, and now with Sanju (2018) – Ranbir Kapoor’s best role to date. If he follows this with similar good film choices with a good script, he’ll be going places.
Ranbir Kapoor belongs to Bollywood’s film royalty, the “Kapoor” clan. He is the fourth generation of Kapoor’s to grace the screen, along with his successful cousins, Karishma (also credited as, Karisma) & Kareena Kapoor (stars of the 90’s & noughties, respectively). Ranbir Kapoor is the great-grandson of the renowned theater & film personality, Prithviraj Kapoor, grandson of the legendary, Raj Kapoor, and son of chocolate boy hero of the 70’s & 80’s, actor, Rishi Kapoor. Ranbir Kapoor’s mother too, is a well known Bollywood actress, 70’s superstar, Neetu Singh. AND if young Kapoor comes in more movies, like Barfi! and Sanju, he’ll definitely make the family name proud. The sad thing about young Kapoor, is not that he comes in bad films, but sometimes he takes on some really really cheap roles. Box office failures are fine, critically bad movies, are fine too; but so long as he stops doing really cheap ones, even if he doesn’t have good movies to his name, at least he won’t be looked down as a lowly cheap comedian. Look at Barfi! it was mostly a comedy (an ode to great comedians like Charlie Chaplin and Donald O’Connor), but there was nothing cheap about it. So if he loves comedy, he ought to do more of it, without being cheap and tasteless. He is such a good actor, when he wants to be. AND he’s proved himself, with his portrayal of; a member of another family belonging to another Bollywood royalty, the second generation of the Dutt’s, to grace the silver screen; Sanjay Dutt (a.k.a. Sanju).
The Women in ‘Sanju’s’ Life (the reel & the real)
Manisha Koirala as Nargis Dutt
When it comes to women in Dutt jr.’s life, who best to start with, but his graceful mother; ‘Mother India‘ herself, Bollywood superstar of the 50’s, Nargis. Nargis, was a talented actress and a beautiful star, of classics like Andaz (1949), Awaara (1951), Deedar (1951), Shree 420 (1955) and (her most notable) Mother India (1957), to name some. It’s during the shooting of Mother India, when during an accidental fire on the set, actor Sunil Dutt (who was playing her wayward son, in the movie) ran in and rescued her. Both sustained injuries, and film was halted. Dutt was hospitalized, and Nargis nursed him to back health, and they soon fell in love. Eventually they got married, resulting in Sanjay Dutt’s existence, his controversial life, which in turn inspired a magnificent movie. If the sets of Mother India, never caught fire, during a shoot of a fire scene (both were professional actors, and neither used stunt doubles), Sunil Dutt and Nargis might never have happened (a Hindu-Muslim love story of the late 50’s), and Sanjay Dutt would never have been born. Sadly, Nargis Dutt, succumbed to cancer, and died at the young age of 51, in 1981 (less than a month away, from her 52nd Birthday).
Manish Koirala, a brilliant actress of the 90’s & early noughties (who has actually worked with actor Sanjay Dutt, as well), does an incredible role, as a middle-aged Nargis Dutt. Back in 1994, when 1942: A Love Story (1994) starring Koirala alongside Anil Kapoor, was released; there was this famous umbrella scene which was reminiscent of a scene from the song “Pyar Hua, Ikrar Hua…“ from Shree 420, beautifully showcasing an on-screen romance between, Raj Kapoor (Ranbir Kapoor’s grandfather) and Nargis (off-screen too, Raj Kapoor and Nargis were known to be lovers, and were in a long term relationship, back in the late 40’s & early/mid-50’s, but as he was a married Hindu man, not willing to leave his wife for this beautiful Muslim actress, he was madly in love with, Nargis finally broke it off. This was before Mother India happened, and fate took a different route). The fact is, back in 1994, everyone spoke of how the Nepali born, Manisha Koirala, felt a lot like Nargis; especially thanks to that red umbrella scene, at the start of the song, “Rim Jhim Rim Jhim“ from 1942: A Love Story. And almost 2½ decades later, we see Koirala play, an older version, of the renowned actress of 50’s Bollywood.
Manisha Koirala does not feel like Nargis in Sanju. But she essays the role with grace and elegance, and one can imagine, a middle aged Nargis being just as beautiful, kind and elegant. The few scenes with the Mother and son (a mother, who tries to hide her ailing health from the son; and a drugged out son, who witnesses his mother’s death, but is unaware of whether what happened moments before she died, was real or was he hallucinating – something Dutt jr. would regret for the rest of his life) are truly heart rending.
Manisha Koirala, herself, is a cancer survivor. She mentioned how difficult it was to relive the trauma, while playing another person, and that too such a well reputed actress, suffering through cancer.
Sonam Kapoor as Ruby
Adorable Sonam Kapoor, does a touching portrayal of Sanjay Dutt’s girlfriend of the early 80’s. In the movie, the character is fictionalized, and named Ruby. Yet, it’s obviously based on actress, Tina Munim (now Tina Ambani), who was his beautiful girlfriend, at the time. We see Ruby and her parents ridiculed and suffer, at the hands of Dutt jr., again and again. Young Dutt, is so heartless, even when Ruby’s father (a comical cameo by Boman Irani) dies, he has no feelings for Ruby’s family, but his own selfish desire to own her.
Even, when his friend convinces Ruby (as she is about to marry an NRI, as per her parents wish) that Dutt truly loves her, and she leaves her fiancé to marry Dutt jr., Sanju is way too drugged and enjoying an acid trip at home. He has sold the ‘mangalsutra’ (a necklace that an Indian groom ties on the bride’s neck, during an authentic Indian wedding ceremony) he made for her, with a Penguin (Ruby’s favourite bird), for drugs. She had been waiting for ages at the registrar’s office to get married to him (in a civil marriage). The scene where she confronts the drugged out Sanju, inquiring where her ‘mangalsutra’ is, and the drugged-out Dutt insultingly puts the toilet seat on her neck, breaks your heart. How much more can she take? She of course, comes to her senses and breaks up, but feels no animosity towards him. Did young Tina Munim really go through so much, because she loved him?? It’s hard to say, how much is fictional, how much real; but young love can be blind, blind to their partner’s faults. Kudos to her for braving up, and finally leaving him. Which Munim actually did, and she later married Anil Ambani, son of Indian business tycoon, Dhirubhai Ambani; whose life inspired the excellent epic movie, Guru (2007) starring Abhishek Bachchan and Aishwarya Rai.
The song “Mein Badhiya, Tu bhi Badhiya…“, from Sanju, which was originally picturized with Sonam Kapoor (and I had seen, and loved the retro 60’s/early70’s style song on Youtube), had been edited. The first bit of the song is there, but the entrance of Sonam Kapoor, driving into the studio, and consequent dance sequence, are not in the movie. The rest of the songs aren’t that entertaining. Except for “Kar Har Maidaan Fateh“, which has a deep meaning dealing with with Dutt’s victory over his drug abuse, Dutt’s surreal LSD fueled trip with “Ruby, Ruby” and the fun filled, “Mein Badhiya, Tu bhi Badhiya…“, the rest songs from the soundtrack are not that great or memorable, and quite unnecessary. The few classic tunes hummed by various cast members are interesting, and nostalgic.
Sonam Kapoor, happens to be one of my favourite actresses of today. Initially, I loved her as a fashionista (see my post Bollywood’s young Fashionista turns 29 today from June 2014), and since watching her brilliant role in Neerja (2016), a movie I got to see on the big screen, she’s gained more of my respect as a film artiste (also see my post TEN (Plus+2) Movies released Last Year from January 2017). Sonam Kapoor is the daughter of Anil Kapoor, star of films like Mr. India (1987), 1942: A love Story (which I spoke of earlier), and of course the Oscar winning British Film, Slumdog Millionaire (2008) – which propelled daddy Kapoor towards Hollywood fame and international appreciation.
Dia Mirza as Manyata Dutt
Dia Mirza does a decent enough role as, Manyata Dutt, Sanjay Dutt’s second official/third unofficial (explanation further down) and current wife. Dia Mirza was an Indian Beauty Queen, who went onto win the title of Miss Asia Pacific 2000. She later appeared in quite a number of Indian films, but wasn’t that great a success, besides being quite a capable actress. Even here, she doesn’t have much of a role, but she still manages to make it her own, and be noticed, as the ever supporting wife. Sanjay Dutt has two little children (twins) from his current wife (i.e. from Manyata), and an older daughter from his first marriage. Dutt was married to actress, Richa Sharma, in the late 80’s. They married in 1987, and within two years she was diagnosed with a brain tumor. Dutt and Sharma separated, apparently sometime after the diagnosis. She died in 1996, in her parents home, in the United States of America. After a major court battle, the custody of their child was handed over to the maternal grandparents (i.e. Richa Sharma’s parents). Dutt’s eldest daughter still lives with her maternal grandparents, in New York, USA. Soon Dutt was involved with model, Rhea Pillai, with whom he had a long-term relationship, who stood by his side, during his first jail stint. In fact, Rhea Pillai was his second wife, through a temple marriage (which makes her his second wife, in an unofficial/unregistered sense). But they went their separate ways/divorced in 2008. He married his third wife (officially/registered second marriage), Manyata Dutt, in 2008, itself. She has been standing by her man through thick and thin, since.
Both, his first wife, and his unofficial second wife, are missing in this bio-pic, Sanju. The movie does mention, he is a notorious womanizer, and has slept with 300 odd women, including prostitutes; but portrays him in a monogamous relationship, since his marriage to Mayanta Dutt (which might be true). Yet the film fails to even mention his first two marriages, let alone that he has an older daughter, from his first marriage. Not to mention how many illegitimate kids, he might have spawned.
Manyata Dutt, celebrated her 40th Birthday, on 22nd July 2018.
Anushka Sharma as Winnie Diaz
Anushka Sharma plays Winnie Diaz, a fictional writer, who is roped into write Sanjay Dutt’s biography. Such a person, apparently never existed. It’s through her eyes, we mostly see Dutt’s life unfold, as she does her research. Though fictional, she is an interesting addition to the movie, where she records different aspects of Dutt’s life through different interpretations, by an interesting array of people. But, it’s mostly Sanju’s character that narrates the story (flashbacks into the 80’s & 90’s), and the rest is shown in real time.
Karishma Tanna playing a slut
Karishma Tanna, plays the love interest of Kamlesh Kanhaiyalal Kapasi (Vicky Kaushal), a village idiot and Sanju’s best friend, who is still a virgin. Through jet lag, Kamlesh Kanhaiyalal Kapasi falls asleep, and Sanju (being the notorious playboy who self-admittingly has slept with over 300 women) screws Pinky, with no hang-ups whatsoever. What a jerk?? He might be a playboy, BUT at least, in this context, he ought to have though of his friend, who has been there for him throughout. Sure, the woman is a slut, herself, and has no calms of sleeping with her boyfriend’s best friend, who also happens to be an actor; but Dutt could have walked out, for the sake of his friend. What’s worse is, Dutt jr. has no conscience, he does not feel bad for his friend, for hurting his best friend. Dutt feels devoid of any feelings, in this instance.
It’s hard to say how real the character of Pinky is, but Karishma Tanna most probably portrays, any random slut, responsible for Dutt’s arousal. Yeah, the bugger is so innocent, right???
The trio of actresses playing Sanjay Dutt’s two sisters
Three virtually unknown actresses, play Dutt’s sister’s (the two daughter’s of Sunil and Nargis Dutt). In real life, Namrata and Priya Dutt played a major role in their brother, Sanjay Dutt’s life. Especially Priya Dutt, who was there supporting him, throughout his prison years, along with their father, Sunil Dutt. But the two sisters are hardly noticeable, and have practically no dialogues. Blink, and you’ll miss them.
Back in November 2010, during a visit to New Delhi, India, I came across this non-fiction book, Mr and Mrs Dutt: Memories of our Parents, written by Namrata Dutt Kumar and Priya Dutt. A wonderfully written book, about their family life, struggles and what not. A really interesting biographical read with a spread of a stunning collection of Black&White photographs (colour photographs have been printed in Black&White, for a monotonal viewing pleasure). The fact it was written by Sunil and Nargis Dutt’s daughters made me more interested in reading it, and it was truly worth it. A keepsake. Sadly, more prominence hasn’t been given to these two girls, in the movie, especially Priya Dutt.
‘Sanju’s’ Two Male Anchors
Paresh Rawal as Sunil Dutt
Paresh Rawal, plays the ever worried father, Sunil Dutt. Worried about his wife’s deteriorating health, worried about his son’s drug addiction and later jail terms. Rawal, feels nothing like Sunil Dutt, but he does a good enough role of a worried father. Any father, worried about his son’s life. He doesn’t play Sunil Dutt, but he plays a concerned father, beautifully.
As much as the movie is about Sanjay Dutt, it is also about Sunil Dutt. The great bond between a father and son, and the father’s never ending trials and tribulations for the sake of his wayward son. Sunil Dutt comes across as a saint, and in a sense he was. Both Sunil and Nargis Dutt were known for their humanity. And humanity is the religion they preached to their kids, even though Dutt jr. didn’t adhere to their preaching.
Though we see the father going out of his way to save his son, in various instances, one crucial fact is missing. To get bail for his son, through an opposing political party ruling the state of Maharashtra, at the time, Sunil Dutt, a Congress party politician, did not contest in Mumbai’s next election. That’s just one of the things he had to forgo, for the sake of his son.
The scene where Sunil Dutt, a Hindu, mentions he was threatened by an underworld Muslim don, when he wanted to marry Nargis, a Muslim; is bogus. As Nargis was in a long-term relationship with Raj Kapoor, a Hindu, and that too a married man, long before she met Sunil Dutt. Plus, the Bombay (now Mumbai) underworld was not that powerful in the 50’s, when Sunil Dutt and Nargis got married. In fact, Haji Mastan (whom Dutt refers to in the movie), gained power only in the 60’s & 70’s. Haji Mastan’s life was inspiration behind, the Bollywood movies, Deewaar (1975) and Once Upon a Time in Mumbaai (2010).
Vicky Kaushal as Kamlesh Kanhaiyalal Kapasi
It’s hard to say, who Kamlesh Kanhaiyalal Kapasi is based on, but he is way too good a friend for Sanju. Various sorces attribute the character to be either Dutt jr.’s close friend Paresh Ghelani, or actor Kumar Gaurav. I don’t know much about this Paresh Ghelani, other than the fact that he is a close friend of Sanjay Dutt’s. So it’s hard to say, whether the fictional character played by Vicky Kaushal is based on him or not. But Kaushal’s character is definitely not based on Kumar Gaurav. True, Kumar Gaurav too is a close friend of Sanjay Dutt’s. Yet, Kamlesh Kanhaiyalal Kapasi comes across as an unsophisticated village fool, with a good heart, and genuine personality. Kumar Gaurav too might be known to have a good heart and down to earth personality, yet he was a highly sophisticated young man, and 80’s film star, and is truly a sophisticated mature gentleman, today. Gaurav, son of Rajendra Kumar (Rajendra Kumar played the other son of Nargis, and brother to Sunil Dutt, in Mother India) married Namrata Dutt in 1981 (and since then she goes as Namrata Dutt Kumar). Gaurav and Sanjay Dutt had a falling out, when Gaurav married Dutt jr.’s sister, but they regained their friendship, and Gaurav too stood by his brother-in-law, throughout his prison term. So like Sanjay Dutt’s sister’s, Gaurav doesn’t have a part in the movie, in fact he is missing altogether, more like Sanjay Dutt’s first two wives.
Though we see Dutt jr. being a good, though somewhat troublesome, friend; in real life Sanjay Dutt is known to have put several friends in trouble, to the extent of them getting arrested along with him.
The Verdict
There are lot of discrepancies in the movie, on the facts from Sanjay Dutt’s life, which has led to criticism of whitewashing Dutt’s image (after all the film was directed by Rajkumar Hirani, a close friend of Sanjay Dutt). Which could be true, as despite all his flaws, he comes out a troubled human with a good heart, whom we sympathize with. But if you had never heard of Sanjay Dutt, didn’t know anything about his life, and watch this movie; immaterial of the source material being fact or fiction; you’d love this. And that’s how a film ought to be judged. A movie should be able to stand on it’s own merit, it doesn’t matter that it’s based on a book, a play, a real-life incident, et al. No harm in doing a comparison, with your knowledge of it’s source material, but what truly matters is, how well it works as a movie. So, although mostly fictionalized, with removal of key characters and moments applicable to Dutt’s life, is a pity; overall it’s an amazingly well made movie. And I loved it.
Sanju (2018) My Rating: Excellent – 10/10 !!!!!
I watched Sanju, on Thursday, 19th of July, 2018, at the Liberty Cinema.
“The essence of spirituality lies in being a good human, and following, good, positive principles” – Parveen Babi (1949 – 2005)
Parveen Babi with Shashi Kapoor, in the late 70’s, on the sets of Kaala Patthar (the film was released in 1979) The Film was based on the Chasnala mining disaster of 1975
Amitabh Bachchan & Parveen Babi in a scene from Deewar (1975) This tragedy was loosely based on the life of notorious Indian gangster, Haji Mastan
Parveen Babi with her (then) life partner, Kabir Bedi, in ROME, in 1976
Lovers in Rome: Kabir Bedi and Parveen Babi, in 1976
Amitabh Bachchan & Parveen Babi, in the biggest Bollywood blockbuster of 1977; Amar Akbar Anthony A comedy about three brothers, brought up in three different faiths; Hindu, Muslim & Christianity. The Big B and Babi starred in a number films together, and all of them super-hits
Pink n’ Blue, I Love You Hema Malini (dressed in pink) in the titular role, of Raziya Sultan (1983), along with Parveen Babi (in Blue) This bio-pic is based on the life of Queen Razia Sultan (1205 – 1240), the only female to ever rule the Delhi Sultanate; and this was one of the rare Bollywood commercial films to tackle Lesbianism (although the lovers were shown in a purely platonic sense, it was well hinted)
There’ve been quite a few fantastical tales, on celluloid reels, of humans falling in love with the unreal, and vice versa. Lets take a look at some great, and some far from great, renditions of this unusual phenomena, explored mainly on the Big Screen. Fairy tales for more mature audiences (teenagers and/or adults), if you may. What brought about this sudden urge to write about unrealistic romances, portrayed in a realistic style on celluloid? I watched, Her (2013), back in March 2015 (on 22nd), and never got to write about it (of course films today aren’t made on celluloid, but am speaking in a general term, to reference cinema of the past). Plus it brought about memories of some really great films (as well as certain terrible movies), I’ve watched in the previous decades, going way back to my childhood.
In Her, a writer, Theodore (Joaquin Phoenix) falls for an electronic voice, without a body (voiced by Scarlett Johansson). In Lars and the Real Girl (2007) a lonely, simple headed, man, Lars (Ryan Gosling) falls for a sex toy, a female without a voice.
In Ruby Sparks (2012) a writer, Calvin (Paul Dano) creates a fictional character Ruby Sparks (played by Zoe Kazan) that comes to life. He fall in love with her, but treats her like his possession, in contrast to the sex toy, to whom, Lars, tends to show so much respect and affection towards. Ironically Lars doesn’t treat the sex toy as play thing, but Calvin treats Ruby, as a toy, making her do what he wants. An egoistical male’s god complex, of being in control of his woman. While Lars of Lars and the real Girl and Theodore from Her, are the exact opposite. Of course, when Theodore finds out the voice of Her is ‘in love’ with thousands of other human beings, he starts to feel jealous, knowing he wasn’t special. While we sympathise with Theodore and Lars, we can’t help but feel Calvin is a bloody prick. Stranger than Fiction (2006), has a similar unreal premise, but am yet to watch it, so I shan’t comment on it further.
In the animated movie, Corpse Bride (2005), a man, Victor Van Dort (voiced by Johnny Depp), accidentally marries a corpse (voiced by Helena Bonham Carter). Of course in this case, it’s the corpse, who falls for the human. Yet, the corpse, itself, was a human being once, who was tricked and murdered by her paramour, on her wedding day. Similarly in the comedy, Memoirs of an Invisible Man (1992), an Invisible man (Chevy Chase) and a woman (Daryl Hannah), fall for each other, yet the invisible man, being an actual human being, it makes it comparatively realistic. As in the case of Mr. India (Anil Kapoor) in Mr. India (1987), a vigilante who can become invisible with help of a devise created by his late father, happens to be the romantic object of many a women. He is still a human being. Yet, we see, the reporter, Seema (Sridevi), fall for the invisible vigilante, than his human self. In fact, she initially despises ‘Mr. India’ in his human form as Arun Verma, unaware that he is in fact her invisible hero. In Hollow Man (2000) and Invisible Strangler (1978), once the protagonists of these movies, find they can get away anything, in their invisible form, nothing stops them from acting on their lustful desires, committing rape/murder, on beautiful women.
In various superhero tales, you find a similar dilemma, as in Mr. India, faced by the love interest of the story. In Superman (1978), reporter Louis Lane (Margot Kidder) falls in love with Superman (Christopher Reeve), who actually is an alien from a distant planet. But she refuses to acknowledge, the affectionate advances from her co-worker Clark Kent, who happens to be her superhero in his human avatar. There have been quite a few ‘Superman’ films since.
Of course Superman is from another planet. But if you take other superhero’s; American conceptions like Batman (played on the Big Screen by many stars from 1966 till date), Spider-man (Nicholas Hammond, in the 70’s, Tobey Maguire, Andrew Garfield & Tom Holland, this century), or Bollywood creations like Shahenshah (Amitabh Bachchan) from Shahenshah (1988) and Krrish (Hrithik Roshan) from Krrish (2006) and Krrish 3 (2013), sequels to Koi…. Mil Gaya (2003); in all these stories, the superhero happens to be human, with superpowers, but their leading ladies don’t necessarily, easily, fall for the man, but have more of a desire for the vigilante, unaware the two are one and the same. In love with not just the unreal, but impending danger as well. Dangerous, risk taking, hero’s, seem sexually more appealing to the fairer sex, than a realistic human companion. These kind of films actually also put pressure on growing young men. As kids, most guys like the idea, of imagining themselves as superhero’s, for fun. But when in their teens, it’s more to do with appeasing the opposite sex, through false perceptions of masculinity, showcased in such movies. Sometimes foolishly young men might try and take unnecessary risks, just to get the attention of their female peers, with disastrous consequences. If you take classic fairytales, we read as little children, like Beauty and Beast and Princess and Frog, this phenomena of man and beast is nothing new. Yet at the same time, both the ‘Beast’ and the ‘Frog’, are actually human beings, making it somewhat acceptable for children. If you take Greek mythology, there is the famous tale of Minotaur, where the Minotaur is the result of the Queen of Crete mating with a white bull. Added to which there are plenty of tales of Gods and human love stories, as well, in Greek Mythology. Then there is Shakespeare’s A Midsummer Nights Dream. There have been plenty of movie versions of these classic tales and great old literature. In I, Frankenstein (2014); as I stated on twitter ‘another 21st century ruination of a 19th century classic’; this dull horror movie ends with the hint, that Frankenstein’s monster, a man made being, has found a human companion, after searching for over 200 years. On a lighter vein, in not so great films (yet no where as near as terrible as I, Frankenstein), like the comedy, Hercules in New York (1970), Arnold Schwarzenegger falls from the skies (and not to forget Schwarzenegger’s ridiculous Terminator franchise, from 1984 onwards, with the craziest and cheesiest storylines, ever). Like in Corpse Bride, a man accidentally awakens a goddess, in the near pathetic, Goddess of Love (1988), while in Love-Struck (1997) we see a woman who doesn’t believe in love (Cynthia Gibb) fall for Cupid (Costas Mandylor) and vice versa; and Cupid has to decide if he wants to leave his immortal form, and become human. Similarly in City of Angels (1998), an angel (Nicolas Cage) gives up his human form, for his love for a human being (Meg Ryan). Date with an Angel (1987) is about another union between a man and beautiful angel.
In the 80’s and 90’s, there were quite a few teen comedies, based on this concept of unrealistic love, helping a young man find the perfect looking partner, especially if the lead character is a geek or considered a loser, who cannot attain the affections of the opposite sex.
Weird Science (1985) and Virtual Sexuality (1999), are two films I haven’t watched, but the concept of the two teen movies, are the same. In Weird Science, two geeks create a ‘perfect’ woman (Kelly LeBrock), while in Virtual Sexuality, a girl creates herself a ‘perfect’ man (Rupert Penry-Jones).
Similar to Corpse Bride and Goddess of Love, in Mannequin (1987), an artist (Andrew McCarthy) falls for a Mannequin (Kim Cattrall). Big (1988) and Date with an Angel; the two movies combined resulted in the crappy Bollywood take, that was Chandra Mukhi (1993). The film was so bad, that it was credited as being a Salman Khan idea (the lead actor of the movie). Getting back to Tom Hanks, star of Big, back in the 80’s he did a lot of run on the mill comedies; that weren’t great, but were enjoyable enough, thanks to Hanks. In Splash (1984), we see Hanks falling for a mermaid. This adult fairy tale, is similar to the classic children’s fairy tale, The Little Mermaid. Funny though, how all these Hollywood romances, dealing with unreal love, where the perfect looking lover, be it a mannequin, a fairy, a goddess or mermaid, were all hot white women. What happened to the browns, blacks and yellows? Where are the gays and lesbians? Are they considered less than perfect???? Added to which why is it most of time a man finding the perfect mate? And that too preferably a Blonde one? Even better if the blonde’s in a red hot attire? Like the sequence in The Matrix (1999), where Neo (played by Keanu Reeves), suddenly turns to take a good look at a blonde in a red dress. Why did she have to be blonde? What if he saw an African-American? or an Indian beauty? What if he turned to look at a man? Even in Virtual Sexuality, though it’s creation is a male, the man is a white male, Blond, with a perfect physique. Of course when it came to the Bollywood films, the perfect hero/heroine are both Indian’s, obviously. But United States of America, is a diverse country with all colours and creeds, where the indigenous people of the country are actually Red skinned, not white. Yet the 80’s (and 90’s to a certain extent) target audience, were the straight white American youth. Even though these reached beyond borders. And in a way, 80’s was one of the worst periods for Hollywood, with a load crappy B-movies, being made. Not all, but most, including these fantasy flicks.
Getting back on the topic of films based on unrealistic romances, there are some interesting films of ghosts and people falling for one another. Like in Corpse Bride (discussed above), these dead spirits were humans at one time, and are scavenging earth ’cause of some unfinished business. In the classic Bollywood film, Ek Paheli (1971), a modern man, Sudhir (played by Feroz Khan) falls in love with a mysterious woman (Tanuja), whom we discover later, to be a spirit of a dead pianist, who had committed suicide, during the Post-war era. The only way for the two to be together is, if Sudhir leaves his bodily form, releasing his spirit. Similarly in Somewhere in Time (1980), a modern day Chicago playwright, Richard Collier (Christopher Reeve) falls for a photograph of an Edwardian beauty, a stage actress, Elise McKenna (Jane Seymour). He manages to travel back in time through self hypnosis (see my post DVD Films From Last Month PART-II from December 2014). Yet, they can’t be together, as he’s thrown back into the late 70’s, due to a small mistake, he made, where she doesn’t exist anymore. The only way for them to be together, is for him to die of a broken heart, and letting their spirits unite in heavenly paradise forever.
In Paheli (2005) the exact opposite happens, a woman falls for a ghost, who’s taken her husband’s human form, and trapped her real husband’s spirit.
In Ghost (1990), when a banker, Sam Wheat ( Patrick Swayze) is killed by his best friend, he tries desperately to communicate with his fiancée, an artist, Molly Jensen (Demi Moore), with the help of psychic, Oda Mae Brown (Whoopi Goldberg). While in Love Can Be Murder (1992) a ghost of a former private detective brings chaos into the life of a living private detective, (Jaclyn Smith).
Then, there are on-screen figures/cartoon characters, where the real world intervenes with the celluloid/animated characters. In Who Framed Roger Rabbit (1988), an animated character; based on classic Hollywood stars, Rita Hayworth, Veronica Lake and Lauren Bacall; seduces more than one human in the movie, and spectators alike. Purple Rose of Cairo (1985), has a movie character, walk off the screen and seduce his most ardent fan.
Getting back to man and beast/alien, PK (2014), sees a humanoid alien fall for a human. E.T. the Extra-Terrestrial (1982), shows a great friendship between an alien and a human child. Planet of the Apes (1968) there is a famous kiss, between a man and an ape. In The Animal (2001) a man becomes sexually attracted to a goat in heat. He talks to the goat while rubbing her back and sloppily kisses her on the head. He then slaps her butt. All the popular Hulk films have a love interest
The Sixth Sense (1999), Warm Bodies (2013), Transcendence (2014), The Fly (1958 & 1986), The Ghost and Mrs. Muir (1947), Bewitched (2005), Pleasantville (1998), Ex Machina (2014), all have similar unusual human and non-(real)human interactions. The Stepford Wives (1975 & 2004), tells of how an intelligent woman finds it difficult, to integrate into a narrow minded society, when she moves into a new neighbourhood. Of course, all the wives (in the original 75’ film) turn out to be machines (while in the 04’ version, only one husband turns out to be a robot, while the other wives have been brainwashed). This is also symbolical, of how difficult it is, when a lone intellectual person gets trapped in an archaic society, that constantly tries to drag him or her down with them. I personally know how hard is to stay afloat, without changing for the worse, living in an extremist narrow minded country. It’s not easy not to be influenced by negativity. And just like Katharine Ross (in the original), and Nicole Kidman (in the comical remake); I have to fight to stay sane, not to be swayed by the rest.
In Moon (2009), we see a clone in love with the image of a dead human; while in The Space between us (2017), a human born in Mars feels like an Alien on Earth; and falls for a human, who decides to leave with him to Mars. Then there are people who fall for wordsmiths, that they’ve never met. In Saajan (1991) we see a woman (Madhuri Dixit) fall deeply in love with a poet (whom, nobody knows what he looks like), when a man claiming to be the poet (Salman Khan) seduces her, she falls for him. But does she truly love him? If he turns out not to be the poet, would she still love this man? In the Bengali (Bengali/English bilingual)Art Film, The Japanese Wife (2010) and the Hindi (Hindi/English bilingual) Art Film, The Lunchbox (2013), two people have an entire love affair through letters, without ever meeting each other. In The Japanese Wife, they even get married; through ink.
Last but not the least, lets have another look at the union of onscreen humans & Aliens (besides ‘Superman’). Similar to Meet Joe Black and Paheli (as spoken of earlier) Jeff Bridges in Starman (1984), plays an alien who clones himself, into a dead man’s form; and gets the widow to help him escape. In The Man Who Fell to Earth (1976), David Bowie plays a humanoid alien, sleeping around with women of earth. And not to forget the Vampires/Werewolves and human unions; in films like, Nosferatu (1922), Nosferatu the Vampyre (1979), The Hunger (1983) and the recent Twilight franchise.
Some great films on this unusual conception, some terrible, and some in between. But when they bring out something exceptional, those films are really worth checking out.
An ode to unrealistic romances.
Nuwan Sen’s Film Sense
Special Note:I actually worked on this post, one day (on the 22nd of April 2015), exactly a month after I watched the movie, ‘Her’, in March 2015, I wrote most of In Love with the Unreal, and left it incomplete, hoping to work on it the next day or so. I never got back to it, and left it pending. Then, five months later, in September 2015, I re-worked on it a bit, stopped, and didn’t touch it at all through out the Sweet Year of 2016. So it was just hanging there, untouched and incomplete.…That is until today. This was my second incomplete post, from April 2015, that I left unpublished; the other being The Beatles in Art movements through the ages. But I did mange to post The Beatles in … the following month, May 2015. Anyway, back in April that year, I hardly got anything much done, so far as blogging was concerned. I only posted one blog-post, i.e. The Great Villain Blogathon: Juhi Chawla as corrupt politician ‘Sumitra Devi’ in GULAAB GANG (2014), on the 15th of April, 2015. Now there are no more pending posts. All done!!
Nuwan Sen (Pending Posts from April 2015 !! All Complete!!!!!)
Also see (my), Nu Film Site of Nuwan Sen – Nu Sense on Film (nu Sense on Film), started in August 2015.
From movies released last year, 2016; I’ve only seen 12 of them so far; 9 of them within last year itself; and only 2 on the Big Screen; from the rest, except for a couple of them, that I watched online, on iflix, the others were on cable TV (either On Demand, or a foreign television channel)!! Here are the Best to the Bad!!!!!
Left: Sonam Kapoor as Neerja Bhanot in Neerja (2016) Right: The late Neerja Bhanot
1. Neerja (2016) – Excellent: 10/10!
In 1985, Pan Am (Pan American World Airways) began an all Indian cabin crew for its India/Pakistan/West Germany routes. Neerja Bhanot was the Head Purser, of Pan Am Flight 73, when hijackers attacked the flight, on the 5th September, 1986.
The Pan Am flight had reached the Jinnah International Airport in Karachi, Pakistan, from India, that morning. Carrying 380 passengers on board, the flight was on it’s way to Frankfurt, West Germany, and was to travel to New York, USA. As the flight was ready to close it’s doors, at the Jinnah International Airport, four armed Palestinian men of the terrorist organisation, known as ANO (Abu Nidal Organisation), forced their way into the aircraft; disguised as security officers escorting a Libyan diplomat. The brave Neerja Bhanot, quickly warned the trio of pilots, who, following protocol, escaped through an overhead hatch in the cockpit. Thus, making sure the plane does not leave the tarmac. Neerja, though terrified, along with other attendants, hid American passports, so that the ANO couldn’t differentiate, Americans from non-Americans, as the terrorists were specifically targeting Americans. After 17 hours, of their demands being unheard, the terrorists went crazy, and opened fire on all passengers. Neerja Bhanot quickly opened the emergency exit, and managed to save the lives of 360 passengers on board (20 others were killed), and 19 crew members. Bhanot made sure, all the people, who were still alive had escaped, without saving herself first. Ultimately she sacrificed her life, saving the lives of three children, as she shielded them from gunfire. She died of gunshot wounds, just a couple of days, before her 23rd birthday.
Sonam Kapoor does justice to the role of Neerja Bhanot!! Kapoor was spot on. In an interview, when Kapoor was asked, whether she is looking forward to winning the ‘Best Actress’ trophy at the Filmfare Awards, this year; she replied, that she didn’t know, for that was not the reason, she did this movie. None the less, she deservedly won the Critics’ Award, for ‘Best Actress’ at the 62nd Filmfare Awards, held earlier this month. However she lost out in the popular vote, for ‘Best Actress’. The movie altogether won six awards, including the Critics’ Award, for ‘Best Director’ (for Ram Madhvani), the ‘Best Supporting Actress’ trophy (for Shabana Azmi) and ‘Best Production Design’ (for Aparna Sud). The Production Design was truly superb, the way they replicated the whole Pan Am Flight 73, by making the model of the flight and it’s interiors, to perfection. It looked like an actual plane, on the tarmac.
Watched Neerja, on the Big Screen, early last year (in March 2016)!!
Here’s to Neerja Bhanot, an innocent girl, a film buff, a model, an abused wife, a divorcée, an air hostess, and most of all, a humanitarian; who put others before herself! Bhanot was posthumously awarded the Ashoka Chakra Award, India’s highest peacetime military decoration award, for valour, courageous action or self-sacrifice, away from the battlefield. She was the youngest, and first female, recipient of this award. She received various more awards, posthumously; for her bravery, her loyalty to her passengers, and humanity.
A fun filled family film, with a gay character. Bollywood is becoming more progressive. It’s a beautiful family movie, about a dysfunctional family, that get together to celebrate, the family patriarch’s, 90th Birthday; post recovery from a heart attack. A lot of drama, secrets, pain, romance and comedy, unfold; into a complex family reunion. With a great ensemble cast, the movie is made in a way, that the whole family can enjoy; from tiny tots to the elderly!! Just loved this Dharma Productions, movie, directed by Shakun Batra.
The Film won five trophies, at this year’s Filmfare Awards; including one for the legendary, Rishi Kapoor; who deservedly won, in the ‘Best Supporting Actor’ category. 64 year old Kapoor, played the 90 year old, head of the house, with perfection; in this movie.
Watched Kapoor & Sons, last year, when it was shown on the Indian cable channel, Colors (July 2016).
“No means No!”, utters Amitabh Bachchan’s character; as he defends three girls (one of whom was molested), when the trio are charged with prostitution and attempted murder by the male culprits.
This is a brilliant Art House film, an excellent courtroom drama, and a women’s rights advocacy. Amitabh Bachchan proves, he is still the best actor around, in the aesthetic world of films. Bachchan plays a retired lawyer; taking care of his ailing wife, while suffering from his own health issues; who takes up this case, pro bono; for the sake of three innocent victims, who are being charged with a crime, and not the other way round. He does it for justice, and a woman’s right to refuse sexual advances.
Amitabh Bachchan lost out, in the ‘Best Actor’ category, to Aamir Khan. I haven’t seen Dangal (2016); for which Kahn won the Filmfare Award, earlier this month; but the 74 year old, Big B (i.e. Mr. Bachchan), was phenomenal, in PINK.
Watched PINK, late last year, on another Indian channel, Star Plus (November 2016)
From one fictional tale of sexual abuse, to another based on a real incident. Though in this case the abuse might be merely verbal, and not of a physical nature; it is still a case of abuse of power, and gender discrimination. This movie deals with the ‘Clarence Thomas Supreme Court nomination’ of 1991; when a law professor, Anita Hill; who had previously worked under Clarence Thomas; was asked to ‘confirm’ her allegations of sexual harassment, against Thomas. Another sad, excellent film, with an unsettling ending, for both the protagonist’s of the movie. Kerry Washington is superb as Hill, who is initially reluctant to come forward.
Watched this television drama, Confirmation, when it was shown on the cable channel, HBO Signature (July 2016).
5. Tere Bin Laden: Dead or Alive (2016) – Near Excellent: 9/10!
A hilarious piece of satire, set during Obama’s presidency, dealing with; making a false proof, of the actual; Osama’s death. Not amongst the greatest comedies ever, but I couldn’t stop laughing. The movie was really enjoyable. Thus, I think I’ve given it a tad higher rating, than I should have. For more details, see my post Mai May Movies 2016 from May 2016, as well.
6. Airlift (2016) – Near Excellent: 9/10!
A true account of Indians trapped in Kuwait, in 1990, as the country was being invaded by Iraq; under Saddam Hussein. Yet again, see my mini-review under, ‘Mai May Movies 2016’, from May 2016. 7. Michael Moore in TrumpLand (2016) – Very Good: 8/10!
Despite all Michael Moore had to say in this Stand-up/Documentary, Trump still triumphed; and now, 70 year old, Donald J. Trump; a business magnate; is the President of the United States!!
What I really liked about this documentary, is without directly attacking Trump, Moore slowly tries to make people understand, why he shouldn’t be the political leader, of America; and the dangers they face, if he came into power. This was almost an advertorial campaign for Hillary Clinton. Despite all this explanation, it is a pity, Mrs. Clinton; so much a better politician, lost out, to a business celebrity. I was rooting for her to be the first female President of America. Sad! And many, open-minded, Americans were distraught with the results. And the Women’s March 2017, is proof of that.
Watched this last year, as Trump won the elections, on iflix (November 2016).
I loved, Norwegian director, Morten Tyldum’s, The Imitation Game (2014); and his Hodejegerne (2011), a.k.a. Headhunters, is in my watch list. And when I went and watched, Passengers, in 3-D; I really enjoyed majority of the movie. BUT, unfortunately there is ‘But’!!
A spaceship carrying over 5000 people, under induced hibernation; travelling to a distant planet, in a span of 120 years; has a malfunction. As a result, more than one person, is woken up, approximately 90 years early. The film, with just two lead characters, who have to carry the burden of film, entirely on their shoulders, is very impressive. And it goes on really well, to near excellence; the whole while, a question of ethics, gnawing at you (the audience). But then (spoiler alert), a third person wakes up; and starts to ruin the film; turning the highly clever premise, and the intellectually stimulating story, into a silly, action blockbuster, waste. From here the movie becomes really, unrealistic (sure it’s set space, but the fictional aspects, still have to be believable enough) and, the romantic angle, pretty mushy. None the less, majority of this, stunningly, visually, beautiful movie, is worth checking out!!
Chris Pratt & Jennifer Lawrence in Passengers (2016)
For next month’s Oscars, Passengers, has been nominated for it’s Production Design; and the interiors of the Spaceship are magnificent; as are the special effects. But then again, CGI/special effects, are practically good in any movie today; and unfortunately, most of the time, that is the only good thing about a movie. I hope this movie bags a trophy for ‘Best Production Design’, at the oncoming Academy Awards. Passengers, might not be a great film, but still quite good, a very enjoyable movie; until they ruin it towards the end.
Watched Passengers on the Big Screen, earlier this month (January 2017)
9. My Sweet Audrina (2016) – Very Bad: 3/10!
A creepy thriller, with a really interesting premise. But a bore of a film. Don’t waste your time on it.
Watched this TV film, last year, online, on iflix (November 2016).
The concept of the wife going to work, and husband staying at home, and being a househusband/homemaker, may seem a bit outdated; but that is not reason the movie doesn’t work. It had it’s fun spots, and serious segments; but the movie as a whole, was pretty stale and dull. On the positive side, I love the fact, the man, by choice, decides to be a homemaker; and is very supportive of his wife; and I loved the role reversal, the Abhimaan (1973) moment, in the movie, where the wife pushes him to do an interview on TV, and as he starts becoming a celebrity, she starts to feel jealous. So the concept was enjoyable. The movie also reminded me of, this Hindi sitcom; we use to watch as kids; Mr ya Mrs (1987-1988). But the movie is a bit of drag, and ultimately a waste of time. Enjoyable premise, yet poorly executed.
Saw Ki & Ka, when it was shown on Colors, last year (October 2016).
10+1. 13 Hours (2016) – Very Bad: 3/10!
Based on real events, it’s such bore of film. On the 11th of September, 2012; the US Ambassador’s compound, and an unofficial CIA base, in Benghazi, Libya, is attacked. The movie starts off really well, but then drags on, and is way to long. I felt I sat through the movie for ‘13 hours’ myself.
Watched 13 Hours, on HBO On Demand, late Sunday night (29th January 2017)!! 10+2. Ae Dil Hai Mushkil (2016) – THE Worst film, of 2016, that I have seen, so far: 1/10!
It’s not even worth talking about, this crap of a film, by Karan Johar. Johar is a good director, and did a marvellous job when it came to his short film, within Bombay Talkies (2013); an anthology of four short films. In fact his directorial segment was my favourite. BUT, when it comes to feature length films, he sure mucks it up. And he is a good producer; Dharma Productions, is his company, the company that produced, the above mentioned, Kapoor & Sons. Plus, he is quite a good television talk show host. Really enjoy watching, most of his interviews on, Koffee with Karan (2004 onwards). Currently, the latest season, of Koffee with Karan, is running on the Indian cable network, Star World.
Watched Ae Dil Hai Mushkil, when it was telecast, on Colors, on Saturday morning (28th January 2017)!!
Special Note: End of last year, I watched a Sinhala documentary, called Usaviya Nihadai, which I tweeted as being released in 2016, for it was released in Sri Lanka, only last year; amidst a lot of controversy (of course, I watched it on the small screen; rented it out, when it was provided by our cable operator). But according to IMDB, it was released in 2015!!!!! Apparently it was released at a ‘Sakhalin Film Festival’, in Russia (I didn’t even know about an island called Sakhalin; let alone about this festival; till now). I gave Usaviya Nihadai, an Average Fare rating, of 6/10!!
Ki & Ka (2016) is practically a remake of the 70’s classic, Abhimaan (1973); with roles reversed!!
Unfortunately, from the releases of 2016, I haven’t watched any Oscar worthy, English language, movie (except for the great production design, in Passengers). BUT Amitabh Bachchan’s performance in PINK (2016), is definitely an Oscar worthy performance. Pity, I doubt Hollywood has even heard of this movie, let alone, nominate the Big B, for his outstanding acting skills, in general.
Looking forward to, watching the Oscars LIVE telecast, next month (February 2017).
What brought about this sudden urge to write about unrealistic romances, portrayed in a realistic style on celluloid? I watched, Her (2013), back in 
Stranger than Fiction (2006), has a similar unreal premise, but am yet to watch it, so I shan’t comment on it further.
If you take classic fairytales, we read as little children, like Beauty and Beast and Princess and Frog, this phenomena of man and beast is nothing new. Yet at the same time, both the ‘Beast’ and the ‘Frog’, are actually human beings, making it somewhat acceptable for children. If you take Greek mythology, there is the famous tale of Minotaur, where the Minotaur is the result of the Queen of Crete mating with a white bull. Added to which there are plenty of tales of Gods and human love stories, as well, in Greek Mythology. Then there is Shakespeare’s A Midsummer Nights Dream. There have been plenty of movie versions of these classic tales and great old literature. In I, Frankenstein (2014); as I stated on twitter ‘another 21st century ruination of a 19th century classic’; this dull horror movie ends with the hint, that Frankenstein’s monster, a man made being, has found a human companion, after searching for over 200 years. On a lighter vein, in not so great films (yet no where as near as terrible as I, Frankenstein), like the comedy, Hercules in New York (1970), Arnold Schwarzenegger falls from the skies (and not to forget Schwarzenegger’s ridiculous Terminator franchise, from 1984 onwards, with the craziest and cheesiest storylines, ever). Like in Corpse Bride, a man accidentally awakens a goddess, in the near pathetic, Goddess of Love (1988), while in Love-Struck (1997) we see a woman who doesn’t believe in love (Cynthia Gibb) fall for Cupid (Costas Mandylor) and vice versa; and Cupid has to decide if he wants to leave his immortal form, and become human. Similarly in City of Angels (1998), an angel (Nicolas Cage) gives up his human form, for his love for a human being (Meg Ryan). Date with an Angel (1987) is about another union between a man and beautiful angel.
Funny though, how all these Hollywood romances, dealing with unreal love, where the perfect looking lover, be it a mannequin, a fairy, a goddess or mermaid, were all hot white women. What happened to the browns, blacks and yellows? Where are the gays and lesbians? Are they considered less than perfect???? Added to which why is it most of time a man finding the perfect mate? And that too preferably a Blonde one? Even better if the blonde’s in a red hot attire? Like the sequence in The Matrix (1999), where Neo (played by Keanu Reeves), suddenly turns to take a good look at a blonde in a red dress. Why did she have to be blonde? What if he saw an African-American? or an Indian beauty? What if he turned to look at a man? Even in Virtual Sexuality, though it’s creation is a male, the man is a white male, Blond, with a perfect physique. Of course when it came to the Bollywood films, the perfect hero/heroine are both Indian’s, obviously. But United States of America, is a diverse country with all colours and creeds, where the indigenous people of the country are actually Red skinned, not white. Yet the 80’s (and 90’s to a certain extent) target audience, were the straight white American youth. Even though these reached beyond borders. And in a way, 80’s was one of the worst periods for Hollywood, with a load crappy B-movies, being made. Not all, but most, including these fantasy flicks.
The Stepford Wives (1975 & 2004), tells of how an intelligent woman finds it difficult, to integrate into a narrow minded society, when she moves into a new neighbourhood. Of course, all the wives (in the original 75’ film) turn out to be machines (while in the 04’ version, only one husband turns out to be a robot, while the other wives have been brainwashed). This is also symbolical, of how difficult it is, when a lone intellectual person gets trapped in an archaic society, that constantly tries to drag him or her down with them. I personally know how hard is to stay afloat, without changing for the worse, living in an extremist narrow minded country. It’s not easy not to be influenced by negativity. And just like Katharine Ross (in the original), and Nicole Kidman (in the comical remake); I have to fight to stay sane, not to be swayed by the rest.
Then there are people who fall for wordsmiths, that they’ve never met. In Saajan (1991) we see a woman (Madhuri Dixit) fall deeply in love with a poet (whom, nobody knows what he looks like), when a man claiming to be the poet (Salman Khan) seduces her, she falls for him. But does she truly love him? If he turns out not to be the poet, would she still love this man? In the Bengali (Bengali/English bilingual)Art Film, The Japanese Wife (2010) and the Hindi (Hindi/English bilingual) Art Film, The Lunchbox (2013), two people have an entire love affair through letters, without ever meeting each other. In The Japanese Wife, they even get married; through ink.
This movie deals with the ‘Clarence Thomas Supreme Court nomination’ of 1991; when a law professor, Anita Hill; who had previously worked under Clarence Thomas; was asked to ‘confirm’ her allegations of sexual harassment, against Thomas. Another sad, excellent film, with an unsettling ending, for both the protagonist’s of the movie. Kerry Washington is superb as Hill, who is initially reluctant to come forward.
7. Michael Moore in TrumpLand (2016) – Very Good: 8/10!
10+2. Ae Dil Hai Mushkil (2016) – THE Worst film, of 2016, that I have seen, so far: 1/10!
No Nonsense with Nuwan Sen 