A decent crowd of all youngsters coming to the theater in its first show was quite a pleasant scene unexpectedly and further a few cheers on its opening titles with the catchy music forced me to accept that may be I was wrong in underestimating another typical masala film before its wide release.
But within an hour the whole scenario changed into something entirely different. The cheers went silent, mobiles could be seen flashing and the energy suddenly vanished into the thin year as the film turned out to be a complete dud with absolutely nothing to offer even to the die-hard fans of its famous cast and director (except the music). In few words, the experience was just like watching one of those routine South dubbed films regularly coming on the channels in a repeat mode when they have nothing else to play in their timeline. With neither anything new in the story department nor something novel in its execution, performances or direction, R….RAJKUMAR simply seemed to me as a loud, over-confident and careless work of a director who has probably formed a fixed outlook towards film-making and has also assumed that the viewers are just a bunch of fools who can convert any crap into a hit if presented with the right packaging, over the top action, fast edits and catchy music.
In fact to explain it differently, I would like to call R….RAJKUMAR a very COURAGEOUS film for the following strong reasons related to its entire team.
A. It is a courageous venture since it has been made with such a lame but confident mindset as if it is to be shown to all dumb men and women sitting in the theater who have not grown their minds and thinking patterns since decades (or since the 80s).
B. It is certainly a brave attempt by the director, who is fast moving on the path of losing his status of a LEGENDARY dancer & choreographer, with all repetitive dance direction and a pinch of vulgarity too in his ‘Tapori’ kind of steps (more noticed in the last 5-6 years of his career). Moreover, with almost nothing in the name of solid content in his recent films it seems that we are now having quite ‘less read’ directors around who really are unable or not capable of finding a good subject for their next ventures and just keep making the same kind of movies regularly taking their viewers for granted.
C. The film is a bold move by its leading male star visibly, who despite of giving continuous flops, still displays no intelligence to choose his next projects and also carries a lot of attitude and arrogance in his onscreen portrayal of drama, action and comedy altogether.
D. It is a courageous step on part of its female lead too, who has now done exactly similar roles in so many films that probably she herself would not be able to recall any particular film if few selective shots are shown to her in a random order taken from her various films. Further, her expressions and mannerisms have such acute similarities that you often get a Deja-Vu kind of feel watching her repeatedly doing the same things again and again in her latest movie.
E. The project is surely a confident ‘at your face’ kind of attempt since it feels no shame in using lyrics such as “Achhi Baatein Karli Bahot, Ab Karunga Tere Saath, Gandi Baat” and “Kaddu Phatega To Sab Mein Batega” as its item numbers. No doubt there are some good tracks too like “Saari Ke Faal Sa” but here I wish to add that it seems to be quite weird that when a song has already been composed and arranged so well, then what’s the need of getting it written in such a vulgar and silly manner, following a completely sick vision to gain some extra attention.
F. The film is also a courageous one, since the makers here show no respect, sympathy or admiration in using the veteran actor Asrani in a same routine act, shouting, laughing and babbling even at this age, wherein he even gets slapped more than once by Ashish Vidyarthi in an utterly useless or silly sequence.
Hence as mentioned in the above points, R….RAJKUMAR is surely a brave film made by a courageous team, who thinks as if they have mastered the art of fooling the audience and can make anything in the name of cinema served with few catchy songs. The film has its few moments lead by loud music but you must have the same amount of courage to sit through it till the end and would only be able to tolerate this if you a regular viewer of numerous low grade South dubbed films shown on the cable channels as their filler programs.
Rating : 1 / 5 (And that too just for its catchy composing and musical arrangement.)
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Considered as one of the most insightful, thought provoking and experimental films made on the subject of ‘Love and Loneliness’, KHAMOSHI raises a very valid question through its intense content revolving around the psychiatric treatment of the patients. And therefore needs to be seen or studied with a completely different outlook as compared to the other popular Hindi films made on the Love-theme.
Based on a Bengali short story, 'Nurse Mitra' by renowned Bengali writer, Ashutosh Mukherjee, the Hindi version is a remake of director Asit Sen’s own Bengali film, DEEP JWELE JAAIi (1959) starring Suchitra Sen and it talks about a psychiatric hospital run by a Colonel (Doctor) treating his patients with a new questionable technique or vision. The patients are particularly the ones suffering from acute mania, caused by a male’s inner urge of an unconditional love, which he keeps searching in other women after being separated from his mother. And when he doesn’t get the same for long, the frustration turns him into a cynical personality, full of hatred and distrust requiring medical care.
Now Colonel Saab uses his beautiful nurse, Radha (Waheeda Rehman) to treat such passionate patients and he intends to do the same for their new patient Arun (Rajesh Khanna) too who has been just brought in. Radha, who has earlier successfully cured another similar patient named Dev (Dharmendra) takes up the assigned case, but in the process gets to encounter her own inner pain, longing for love and discomfort, seriously playing the lovable mother, lover and friend altogether for her new patient. So as the girl gets more involved in Arun’s personal trauma, forgetting her own hidden feelings following the moral path of a nurse, she goes into a depression and then meets a tragic end as a lonely person deprived of any real love & care by the people around.
The film proudly included in the list of All Time Classics of Hindi Cinema has Waheeda Rehman giving one of her career best performances as Radha, the nurse. And the actress says a lot with her speaking eyes conveying the hidden pain of loneliness, betrayal and unreciprocated love intensely. In fact her act of the lovable nurse should ideally be studied by every actress as her text book material to portray such deep expressions on the screen, so effortlessly and with an utmost devotion. In other words, though we have the superstar Rajesh Khanna too playing the lead role here, but still KHAMOSHI remains a Waheeda Rehman film from start to finish unarguably and that is the reason she was also nominated in the Best Actress Filmfare Awards category in the following year.
Admittedly more remembered for its mesmerizing soundtrack beautifully composed by Hemant Kumar and thoughtfully penned by Gulzar, the film has many hauntingly melodious tracks such as “Tum Pukar Lo…Tumhara Intezaar Hai”, “Woh Shaam Kuch Ajeeb Thi”, “Humne Dekhi Hai In Aankhon Ki Mehekti Khushboo” and more. Along with a soothing background score, another gem in its great execution is the Black & White Cinematography by Kamal Bose, who simply transforms many of its lovable scenes into sheer poetry, also winning the Filmfare Award for his spending work deservingly.
Yes, if looked upon from the medical profession point of view, the film does make you raise some valid questions on the irresponsible technique opted by the Colonel using her innocent nurse, neglecting her own emotional status completely. But despite this justified objection, KHAMOSHI still needs to be seen and cherished by every lover of Hindi Cinema unconditionally as such films get rarely made and they also remain the strong representative of the fact that why the people living in our part of the world are known to be highly emotional ones thinking from the heart.
(Note : As its hidden masterstroke, just notice the way director Asit Sen, uses Dharmender so subtly and softly without bringing him into the limelight, taking the focus away.)
Directed By Asit Sen
Starring : Rajesh Khanna, Waheeda Rehman, Nasir Hussain, Devan Verma, Lalita Pawar, Dharmender (Sp. Apperance) and more.
Music : Hemant Kumar Story : Ashutosh Mukherjee
Dialogues & Lyrics : Gulzar
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There is an exciting and inviting news for all book lovers here as The Times of India, one of the top newspapers of the nation, celebrates its 175th year of publication by releasing two precious collector’s delight books related with Indian History, Politics and Film Industry. The fabulous releases bring out memorable pages from TOI’s archives featuring many major events, articles, reviews, trendsetter happenings, controversies and rare, unseen photographs remembering the last two centuries, compiled in two well-designed Coffee Table books concisely reviewed below.
FLASHBACK Briefly commencing from the pre-film entertainment & early film shows from 1849-1910s, the book has news clippings and articles published on Dadasaheb Phalke, his ‘Raja Harishchandra’ followed by Bombay’s silent and early talkie studios in the subsequent pages.
Moving ahead, it takes you on to an immensely delightful journey of our Indian Film Industry from 1930s to the new millennium through many insightfully compiled and superbly designed quality pages full of quite unique information, news, reviews and many unseen pictures of all the reigning creative masters of 100 years of our Indian Cinema.
Its each turning of the page transports you back into that memorable era and looking at all those invaluable documents one strongly feels like thanking its publishers for giving us this rare chance to witness these historical pages once again. Following the ten decades of growth of our Indian Film Industry, though it majorly focusing on Hindi films and its related issues in most of its pages but still it gives enough attention to the regional cinema too as required, making it a must buy for every Indian movie-freak for his personal home library without any doubt.
Researched & Conceived by : Sharmishtha Gooptu, Avijit Ghish and Srijana Mitra Das.
MOMENTOUS TIMES Taking into account the last two centuries, this nostalgic book brings together 175 landmark events of pre and post independent India, from 1838 to the present times. And it is quite an amazing experience to re-visit those different times through the individual pages dedicated to every major event selected carefully. The book begins with the news on Indian Penal Code in 1838 and ends with the Nirbhaya’s Martyrdom in December 2012 devoting each page to a memorable event with some exceptional news clips and photographs. Particularly its truly like being in a time machine reading the news reports around the Indian Independence in the mid-40s, about the wars with our neighboring countries post the 60s, the politically tense 70s with the reference of emergency and even the release of SHOLAY and articles written on the epic given the deserving space.
In short if you are interested in Indian politics and its progress over the last two centuries then this is certainly a not to be missed chronicle by all means and it needs to be there in your private collection as a must.
Compiled by : Sandipan Deb Cheers!
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