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Thursday, 25 August 2016

Dance, dance...(Dirty Dancing)

Everyone loves the underdog story. How a nondescript personality comes to the forefront and
snatches the glare from front rankers. Emile Ardolino's Dirty Dancing is one such instance. Apparently this 1987 low-budget romantic drama wasn't expected to run more than a week at the theatre, but strangely it went on to become a massive sleeper hit and was also the first film to sell more than a million copies on home video! However, if you watch this Patrick Swayze-Jennifer Grey movie today, this mammoth success will hardly come off as uncalled for. It's a film tailor-made to reap in the moolah. It's smart, simple, sexy, freewheeling, passionate, has a social message and yes... it has Patrick Wayne Swayze, the smooth smouldering dancer!

Monday, 2 May 2016

Dangerous liaison (Fatal Attraction, 1987)

What depths can a woman plunge to for love? I say depths because Alex Forest does not rise in love.

Or should I call it obsession? She plummets into the most obnoxious and deplorable levels of behaviour in order to get the due attention from the man she starts believing she has a right to. These are all her beliefs. On any given day, a mind with a rational thinking capacity would not like to give any benefit of doubt. But then as they say, 'Hell hath no fury like a woman scorned'. And in Alex's case, like a psychotic woman scorned!
Adrian Lyne's psychological thriller, Fatal Attraction, the second most highest grossing film of 1987, has an undercurrent of eeriness from scene one itself. There is that constant hangover of danger lurking in the corner. A sense of foreboding, an air of premonition clouds every frame. Even the camera angles and the tints used suggest that things will soon turn awry in Dan Gallaghar's life. Dan (Michael Douglas is tailor-made for these roles) is a happily-married and successful attorney living in New York. His wife, Beth (Anne Archer) is a quintessential home-maker, taking care of the family. She's the loving and doting wife and mother who would not care to challenge her husband's fidelity. The equation is pretty safe and comfortable between Dan and Beth. They have a cute six-year-old girl, Beth. But nothing can be taken for granted...

Tuesday, 21 July 2015

Triangle A (Amar Akbar Anthony)

I am not too fond of Manmohan Desai films. Neither do I like Amitabh Bachchan in them. Oh yes! I really don't. The films are loud, hardly have good music, except for a feet-tapping song or two in passing and Amitabh was so in-your-face in them. The other day, I got rebuked by a dear friend for ridiculing the 'Mirror scene' in Amar Akbar Anthony which I'm told that no one else but Amitabh could have pulled off. May be. But I did not find it funny at all! And, I don't like him in these 'dhishoom dhishoom' films. I'd much rather watch him as the egoistic husband in Abhimaan, a scheming jaggery-seller in Saudagar, or the revenging husband in Ajnabi. Those are my kind of films. And I certainly like Amitabh in them.

Monday, 20 July 2015

Songs that have stayed (Zamaane Ko Dikhana Hai)

Yes, yes, yes. My sincere apologies for keeping you all waiting. Those of you who thought I've abandoned this space, well, think again! For, I'm too much a movie-lover to give up this blog of mine. It's taken me time, a lot of time indeed, to come back to it, but here I am, once again. Yes, Malhar's fine. He's now turning three, is as hyperactive as an Energizer Bunny, and extremely (that's an understatement) naughty. And work is very hectic as well! But again, here I am...

Padmini Kolhapuri is a powerhouse of talent. Her energy was palpable in all the films starring her as a child actress so when you see a film where she makes her debut as the heroine, the expectations are obviously huge. Mine were too. I must say I am extremely fond of this bubbly, photogenic actor who has an effortless charm about her. No role is too tough for her. Being in the industry from a very young age, she makes the characters look like a cakewalk. So, when I saw her in Nasir Husain's 1981 romance Zamaane Ko Dikhana Hai, I was waiting for some real fire-cracking in the scenes she set foot with yummylicious Rishi Kapoor. But I was left waiting for more...

Wednesday, 4 September 2013

A courtesan's tale (Ghungroo)

There are many good things about Ram Sethi's 1983 drama, Ghungroo, as well a few bad. Lets start with the good, because it's not quite recommended to start off with negatives.
The film, a drama set against the backdrop of a royal family, is well-scripted. The editing is quite taut, till the editor looses steam mid-way. The actors do their job quite well. One song seriously stands out for its strength and emotional quotient (I actually thought I saw Malhar's nanny wipe her tears during Tohfa kubul hain sung by Asha Bhonsle). And yes, Ranjeet is slicingly devious without being OTT.

Monday, 20 May 2013

Love lost and won (Harano Sur)

Would I be lying to myself if I said that Harano Sur is one of the best 'memory-loss' films to be ever made? I
don't think so. At least, it is definitely my one of my favourite films of that genre. Not because a delicate love story is weaved around the incident of memory loss, but because the way the happenings following the retrieval of the lost memory brings together the man and his wife is really commendable. There are heartbreaks, anticipations, misunderstandings and tension galore, but what triumphs in the end is true love. And that's what really makes the journey of these separated lovers so special.

Friday, 29 March 2013

Anchored on lies (Manzil)

Give me one good reason why I should sympathise with Ajay Chandra when the going gets tough for him. In
my opinion, he is a big liar, an opportunist, a shirker and a glib-talker. So, even when at last he does get down to work and puts in some effort to save his business from downing shutters, I can hardly say that I feel satisfied with the happy end to his love story. For, a relationship that is founded on lies and false identities will need much more than one sweeping effort to withstand the tests of time. And, how come Aruna and her father does not realise that.