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Will there ever be another man or woman who could reach the level of Raj Kapoor´s story telling? Because had it not been for Raj Kapoor, Ram Teri Ganga Maili just might have been a whiny story with two non-actors, one of which is not even an eye-candy. But it was Raj Kapoor on a director´s chair, and he did manage to create yet another beautiful, though not flawless film.

Disgusted by his rich and corrupted father (and oblivious to pretty Divya Rana´s feeling), Narein (Rajeev Kapoor, who looks very much like his older brother Rishi, yet lacks his charisma and talent) joins a group of young men traveling all the way from bustling with life and filth Kolkata to Gangotri and place where the river Ganges/Ganga begins her journey. Keeping in mind a promise given to his loving grandmother, Narein brings along a jug with an intention to bring clean and unpoluted water of the holy river back home for her. Almost instantly upon his arrival he meets a local village girl Ganga (Mandakini, looking more Russian than Indian with her Slavic bone structure and blue eyes), and both young people are instantly attracted towards each other.

So much that they actually get married according to a tradition of Ganga´s people and engage in pleasant nightly activities. Alas, Narein has to return home, but promises his kind-of-wife to return for her. Alas, alas! The family meanwhile fixed his marriage with rich and pretty Radha (already mentioned Divya Rana). Alas, alas, alas! The news about Ganga shock Narein´s beloved grandmother so much she dies. And Narein is stopped from going back to Ganga by Radha´s influential father, who is determined to ensure his daughter´s happiness by marrying her to Narein. Thus Rajeev Kapoor, a boring hero if there ever was one, becomes sad. And stays sad.

Meanwhile Ganga gives birth to his son, and to ensure he grows up with his father´s name she decides to look her kind-of-husband up. And with nothing but her baby and utter naivity she sets out on a long journey, that actually makes it seem everybody in the world wants to rape her, and she ironically finds shelter in a kotha. Indeed, Narein teri Ganga maili ho gayi.....

Mandakini and Rajeev Kapoor were two non-actors, and it actually played to their advantage they were both so talentless, so they actually fitted together well. At least Mandakini has a certain X_factor, a screen presence, and she is definitely the life of the movie. The tale itself gets a bit tiring in the second half, with hero sitting at home and heroine meeting various creeps, but the finale was definitely worth all that, even if only for the wonderful Radha/Meera´s love comparism in a song. Music of the film is brilliant overal, and this last song has to be a crowning jewel.

Ram Tera Ganga Maili, skillfully drawing parallels between the holy river that is polluted by sins of others and a girl Ganga, polluted by pretty much the same source of dirt, is also (in)famous for the semi-nude and completely-nude scenes that would be shocking to many even today. Raj Kapoor, after all, liked to show female body (remember Zeenat in Satyam Shivam Sundaram or even Simi Garewal´s booty in Mera Naam Joker?). Yet it is again a part of Raj Kapoor´s art that the nudity never seems out of place or vulgar. It is not there to lure anyone into Mandakini´s lap (makes me think if she was actually cast because no other actress agreed to reveal herself as much?), it is not there to shock. It is used to show her purity, her acceptance of the natural part of life. And I loved that. I loved pretty much everything about this film.

Remember my next to ecstatic review of Dabangg? Well, this one is going to be almost fully non-ecstatic. Because Dabangg 2 is one of those movies that are witnesses to the fact really good films should not be milked just for the sake of it. Most sequels do not turn out as half as good as their predecesors and Dabangg 2 is just another one of those. Not memorable from any angle and relying way too much on Salman Khan´s X-factor as well as overdoing references to the awesome original movie, Dabangg 2 is not a „horrible“ film, but it was probably, together with Jab Tak Hai Jaan, the biggest disappointment of the last year, failing to meet expectations by far.

We meet Chulbul Pandey a lot more joyful, mellowed and chilled than before. He has settled with his wife Rajjo and accepted a transfer into a bigger city. His family life is happy and content. Not only Rajjo is pregnant and glowing (and my, does she looks wonderful!), but his step-father and brother become a full-time caring relatives. The Pandey family harmony takes up the most part of the film and I felt like instead of a masalla film I was watching a TV soap educating me on how a proper family behaves. It does have sweet moments (Rajjo reminding Chulbul he forgot his trademark sunglasses) and funny moments (Pandey sr. getting fake calls from an unknown „lady“), but there is really nothing much to talk about. This storyline was still the best one – which doesn´t really shed favourable light on the rest of the movie.

If you are making a sequel to a movie that had a truly menacing and memorable villain like Sonu Sood as a corrupt politician, you absolutely need a villain even more menacing, memorable and ideally even more corrupt. And saying he is like that, not showing it, is just not enough. That Prakash Raj is among the finest when it comes to being a villain has been proved in the past more than once. However Dabangg 2 doesn´t take an advantage of having him in the slightest. There is not a single scene in which you would actually feel concerned for Chulbul, because his enemies seem helpless in spite of some threatening. The way the villain is weaved into the story (or rather lack of it) is too predictable and almost copied from the previous film too. Chulbul insults the corrupt guy. Corrupt guy threatens Chulbul. Chulbul is not afraid. Corrupt one kills/harms a member of Chulbul´s beloved parivaar. Chulbul wrestles shirtless with another shirtless villain. Chulbul kills the villain. The end.

Referencing to the previous movie is fine, as long as it´s not overdone, but Dabangg 2 does just that. „Chalte hain“ becomes „Aate hain“, the „you´ll be confused from which hole to fart“ is back as well as a guy with mummy calling him in the least appropriate moment. There is an item song, just lot less fun than Munni (and Kareena Kapoor does have adorable expressions but cannot dance for peanuts), we get Munni, just lot less fun than last time, we get a song about Sonakshi´s eyes, just lot less good than last time...... There is nothing fresh about the film. It is probably the most boring masalla movie I´ve seen in the past few years. And the thought there is supposed to be Dabangg 3 does not fill me with any excitement whatsoever.

To say something positive: performances are good, direction too isn´t bad, and there is nothing that would offend anyone´s sentiments I feel.

No fun, no twist, no originality. Dabangg 2 is not worth being an heir to the original.

So I finally ventured into the Khiladi franchise with Main Khiladi To Anari (because in spite of its title Khilad 786 cannot be counted as a part of it as far as I know). As someone who is not impressed with Bollywood action scenes, I was a bit apprehensive, because it is action scenes Akshay Kumar is mostly (and unfairly cause he has a lot more to offer) known and applauded for. Also, while Saif Ali Khan today is among the best actors and my favourites, young puppy-like Saifu in those films of the 90s I´ve seen seemed rather awkward. And that Shilpa Shetty cannot act became clear within first ten minutes.

When an honest and uncorrupted police officer is murdered by a drug dealer Goli (Shakti Kapoor), his lover Mona (Shilpa) spills the beans to a handsome police inspector Karan (Akshay), only to have her long skirt torn (cause showing her long legs is essential for the film) and to be killed. As it happens the murdered inspector was Karan´s older brother, and so the chhota bhai sets out to avenge his sibling. But what to do? He has nothing against Goli now that Mona and her sexy legs are gone.

Meanwhile, in some other part of the city, a popular actor, an ultimate romantic hero Deepak Kumar, is having an existential crisis. Not that his films wouldn´t be doing well, but he hates them and himself in them. Sick from the image he has he is longing to kick ass at least once in some „asli mard“ movie. While unsuccessfully explaining this to a producer (who is also a mafia boss), he encounters the ultimate kick-ass machine inspector Karan fighting for justice, and immediately decides this is the exact image he needs to create for himself. To be able to study Karan´s mannerism and behaviour he manages to pull some strings and soon tough and rather anti-social inspector (still trying to get his revenge) is officially stuck with a naive, flamboyant and oh so filmy superstar. At the same time Karan finds Basanti, a girl who acts exactly like the annoying Basanti from Sholay and looks exactly like the deceased Mona, and after one night lasting English course she transforms from an illiterate thief into a high profile bar dancer, planted into Goli´s closeness under a pretext of being a Mona, who survived, but is not dangerous for him because she lost her memory...

The film has its share of loopholes and flaws. I wasn´t comfortable with the „love“ twist that brought Basanti and Karan together. I don´t care he didn´t really rape her, and it was actually set up by her so he would think that. The idea behind it – that a raped girl should marry the one who raped her – is just repulsive. If in the middle of Bollywood a writer cannot come up with a better idea of how to push two characters together, let them rather stay single. It was better to watch Deepak romancing Karan´s sister, although here too one wondered how much there is to actual love, considering she was a nutcase of a fangirl. But both love stories and even the plot involving Goli and all the avenging are really just a background – for some seriously awesome Akshay/Saif bonding.

It´s between the two of them that the actual relationship happens, a relationship that truly deserves a label of „bromance“. They have wonderful chemistry and even in acting they were complimenting each other. Their comic timing is wonderful, especially Saif got me in splits with his almost childish stubborness and yet being clueless about what to do most of the time. The purpose of his character is not lost in the progress, he doesn´t loose the bohemian spirit and never abandons his aim to build his new image.

Main Khiladi Tu Anari is nothing but an unapologetic fun. To analyze it and nit pick on the story is almost irrelevant, because the fun is what matters, not any moral values. Extremely enjoyable with the (today) unintentionally (?) hilarious songs and dancing, as well as Kader Khan being a movie star fangirl, the movie also has a great repeat value and doesn´t get old.

Mahaanta is one of those films I tend to pretend do not exist, because it is one of those films that cause me an acute pain as a Madhuri Dixit fan. In making for almost 9 years, by the time Mahaanta came out it was badly outdated in all aspects. The star-cast, that must have been extremely impressive in the late 80s, when the film shooting actually started, was, by the time it released, almost exclusively considered veteran and non-happening (apart from Sanjay and Madhuri). The story too was one of those bloody thrillers about revenge so popular at the time, but no longer relevant in the post Hum Aapke Hain Koun and Dilwale Dulhania Le Jayenge era. It wasn´t handled well either.

Honestly, I don´t know where to begin. The film is extremely boring from the start, and to be honest I couldn´t really follow what was happening. There was Jeetendra, already looking 60, but playing a young man, I caught a glimpse of the beautiful Poonam Dhillon (and my, does she disappear like a rock in the ocean not to be heard of again in this film!), but mostly the story seemed to focus on devilish Amrish Puri, who runs illegal business and has brave, but stupid police officers murdered. And then, out of nowhere, Sanjay Dutt appear to save the day and Jeetu´s ass (just like that, no explanation given). And in the next moment he´s wearing a tight yellow Speedo T-shirt, buying sarees for his bhabhi in a supermarket, and falling in love with the gorgeous, though horribly dressed Madhuri, as she´s passing around. However, Amrish Puri´s „son“ falls in lust with her (no, that isn´t a typo) and to get her he tries to rape her, and when he gets a beating, asks daddy to get him the gal.

All those years it was in making ruined the film completely. I´m completely sure Sanjay and Madhuri´s story was just a supporting one to the main of Jeetendra and Poonam Dhillon, or at least there was loads more of Jeetendra and Poonam than what we´ve got to see eventually. Scenes were being rewritten and reshot, which we can perfectly document by seeing fresh and happy Sanjay vs. tired and weary Sanjay who just got out of jail, Madhuri with skin problems and black curly hair from the times of Saajan and Madhuri with flawless skin and brown messy hair she sported post 1996, and of course Sanjay´s mullet is ever-changing, not staying the same in two scenes.

Mahaanta is a pain. In the hearts of Madhuri fans like me, in the brains of all the sane movie-watchers, and if you manage to sit through it all at once, it can easily give you a pain in the...

There couldn´t be a better title for this film, because it is indeed primarily a movie about searching, where every character is on a lookout for something else. Ad to it that the full titles is „Talaash – the answer lies within“ - and wah! Rarely you stumble upon a title summing up the movie as perfectly, yet not revealing anything, just capturing attention. And the movie itself proves to be just as captivating. Before I go on, talking about the story and such, better be warned: if you have not seen the movie yet, and actually want to enjoy it, stop right here. I know what I´m talking about. This is one movie, that spoilers not only „spoil“, but extremely take away from an impact that the movie has a potential to make otherwise. I was, unfortunately, not lucky, and knew beforehand what the twist was. Talaash still made for an engaging and even thrilling watch. But I can just imagine how much more I would be taken by it if it wasn´t for some people who enjoy spoiling fun for everybody else.

In the dead of a night a fast speeding car, just like that and seemingly entirely without reason it takes a sudden turn and crashes into the sea. The driver, a famous actor, drowns. And so police inspector Surjan starts his search – for the reason of the tragedy, because nothing indicates a sabotage neither a suicide. The case doesn´t seem to have a satisfactory explanation, and the more police knows, the more mysterious and tangled it all looks. Surjan spends his days and nights at work. Not only he is driven by desire to solve the thing, but he is also trying to escape his own personal pain. He has lost his 8 years old son in a tragic accident some time ago. His shattered wife is only slowly trying to recollect her life. Her search is for the lost understanding with her husband. 

 

Surjan´s investigation brings him into the red light district of Mumbai, where he meets Rosy, a prostitute, who gives him some truly invaluable information. And more. Her presence seems to calm his nerves. He cannot talk to his wife, but he feels free to do so with Rosy. With her, he can finally rest for a few moments, without nightmares. Even Rosy is in search of something. She is searching – for justice, a revenge for her own death...

Spooky! That Talaash is a ghost film becomes apparent quite some time before Surjan himself realizes the truth behind Rosy, her tales of a lost prostitute three years ago and also a „special place“ she leads him to. Ad to it communicating with dead son through a medium, and you could almost classify the film as a horror. But the supernatural is not really the core of the film, neither is police investigation, nor are small episodes of side characters, who are also searching – pimps for wealth, prostitutes for freedom, and a crippled crook for a decent life of the woman he loves. Ultimately Talaash is a human tragedy and coping with the greatest loss a parent can bear. Whatever Surjan goes through, every person he meets, all that is slowly leading him to forgive himself and breathe freely again in the end. His search is for inner peace.

Talaash is not the best film of the last year, but it could be ranked among top 10. The concept is not entirely new overall, but it is new for Bollywood. It is different and well made. Performances are very good from everybody. There is both subtlety and realism to all of them. The film has three major stars, but none of their auras and personalities overshadows the film, making it a background to their own shine. If anyone around you is in search for a don´t-leave-your-brain-at-home film, Talaash might be what they are looking for.

One of the most famous stories of both Indian literature and cinematography, Umrao Jaan could be easily described as a tale of a woman who got as much as bad luck as possible. Thrown into the middle of undesirable circumstances, Umrao Jaan accepts her fate, tries to make the best of it, dares to hope and being heart broken tries to cope with her fate yet again, every single time a little less hopeful, until a nearly indifferent attitude becomes her main character feature. From unknown enemies to her own family, they all have a share in her misery. The woe story has been adapted on the big screen several times, yet the 1981 version starring the legendary Rekha in her, possibly, most memorable role ever, is without a doubt the one lauded by many as the ultimate and best presented one.

The story begins in 1840. A little girl Amiran is kidnapped as a revenge to her father, who had previously testified in court against a rapist (who naturally feels offended). At first the kidnappers plan to kill the girl, but ultimately their greed and hunger for money produce a better idea – they would sell the girl into a brothel. That way they will get paid, and the girl will be as good as dead to the rest of the world anyway. Little Amiran tries to run away from the brothel, but is caught, and has to bow to her fate for the first time. She gets a new name – Umrao, is treated well by everyone in her new „home“, and she is given a proper education for a future courtesan. She is taught to sing, to play musical instruments, and her greatest passion becomes writing poetry. Years keep flying by and in no time a slightly awkward girl blooms into Rekha (aka into a creature with sweet, intoxicating voice, eyes burning with an inner flame and in possession of unique, mysterious beauty).

It is her poetry though, that brings the love of her life to her. Young and dashing Nawab Sultan is a lover of shayari, and it doesn´t really take much time, until he is head over heels in love with the prostitute as well. The fairy-tale romance, however, is cut short, when under pressure of circumstances (and his mother), Nawab Sultan is forced to stop visiting thr brothel and Umrao refuses to step into a house of his friend, where she is treated like dirt. And not even several outdoor meetings save anything. Nawab Sultan bows down to his mother´s wishes and gets married, leaving devastated Umrao forever. There is more bad luck in store for Umrao, as she tries to create a new way of life for herself, taking some rather dangerous steps, but being always struck down by one blow of fate after another. For no fault of hers, she is ultimately only left with herself and her verses. All the more sad since other two female characters, also destined to be courtesans from the star, both not only find a way out of their personal hell, but also a happiness and love.

The beginning of the film is not edited too well. Glimpses and hints of how the things go, and why the characters decide what they do, seem almost unrelated, and their motivations and reactions are so only a matter of assumptions on the part of the viewer. The story itself moves slowly, and could easily become tiresome (as was the case of the 2006 version of the film), but what keeps ones attention is Rekha, whose sensitive understanding of the character truly made Umrao Jaan a living person. Rekha is also one of those actresses, who don´t need to speak much, yet even their smallest change of mood can be visible in their eyes and on their face. And when she does speak, one wants to listen to her forever. She is almost equaled in the perfection of the performance by Naseeruddin Shah, playing a good-for-nothing Gohar Mirza, a helper in the brothel, who has a soft stop for the courtesan.

The settings, the costumes, everything seems extremely realistic, and as far as I know the makers managed to give the film an accurate historic feel to it as well. Nothing is blown out of proportions, yet the high class and richness of the culture of 19^th century courtesans is very apparent. The film, of course, is also famous for beautiful songs, likeable melodies and lyrics. Finally I have to say, that although not perfect, the film is a beautiful piece of cinema for many reasons, some of which I have mentioned and some of which I would be putting into words only with difficulties. 

There is nothing more poignant then watching a movie about a girl who is slowly dying, knowing that the actress herself will not live long and is actually slowly dying. This depressing thought was the only thing I really took from „Ek Saal“, a drama with some romance and hurting thrown into it. I suspect that my copy of the film had some scenes cut out and I thus did not get to see the entire movie as it was released. There was nothing too obviously missing really, but at times I wondered. After all, it wouldn´t have been the first time something like this happened to me with an old movie.

Usha, a girl of a simple name and manner, as well as extraordinary face and gazillion of gorgeous expressions (yes, Madhubala), is celebrating her birthday and everyone wishes her „A thousand years to live“. Unknown to her though, Usha has a brain tumour, something her rich rich rich father just found out, and his heart is breaking. As it appears his daughter doesn´t have a thousand years to live – not even several more. Just one. And the devastated man decided that the whole year that remains should be filled with happiness and not a single worry for his laadli beti. And so when Usha falls in love with their new estate manager Suresh, who doesn´t return her gentle feelings, father bribes him: for every month he spends pretending to love his ill-fated daughter, he will give him a considerable amount of money. Suresh accepts with head lowered in shame – and joy in his heart!

Because Suresh is in fact a conman, who is only trying to rob the rich family of as much as possible. And such an easy income as this he couldn´t have even imagined. And so he romances the girl and keeps counting his money, and planning a future of sorts with Rajni, his partner in crime. Since it is in his best financial interest to keep Usha alive as long as possible, Suresh searches for a doctor, who would be able to help her. But as the months are passing by, with unmerciful clocks tickling, he is becoming more and more aware that being greedy may not be exactly a virtue. And Usha´s innocence and love also start bringing their fruit. Suresh falls in love – for real. And unfortunately the possessive Rajni will have none of his lovey-dovey nonsense.

Why does Usha fall in love with Suresh? That was what I wondered in the first place. And I suspect that is where something was missing from my copy – because I don´t like an idea she simply falls for him just like that, in a matter of a few days, considering he didn´t show any interest in her whatsoever, plus was so bothersome to her at the beginning. Whatever the case, her love also chose to be quite blind. During the film there are several situations during which Suresh nearly shows his true face (like not believing in God and hiding suspicious letters before Usha), yet she never question him on anything, doens´t even stop to think about it. Then again perhaps Usha does have such a naive, almost childish mentality, considering her father decides she shouldn´t even know about her own state of health. Madhubala is as gorgeous as ever in the film, making Usha almost an ethereal creature, though not exactly someone you could relate to. She makes a nice couple with Ashok Kumar, who in his turn delivers a good performance too. Suresh and his change of mind (and heart) do not happen overnight and the inner struggle shown as a dialogue with his own mirror image/photo, who gain live for a few moments, is probably the most interesting aspect of the story.

Kuldip Kaur as Rajni is one sassy character with an attitude. She is no walk over, and she doesn´t just sit about making empty threats. She goes out and actually does what she wants without any delays. She does make you hate her, at the same time I realised I admired her to an extent. Same cannot be said for Johnny Walker with his completely useless comedy track, that gets way too much space for my liking and I recommend to fast forward through it, because it really IS useless.

Ek Saal did not win me over. It failed to make me feel emotional. As I have already said at the beginning, only the knowledge that Madhubala, playing a girl dying of brain tumour, was slowly, slowly dying of her weak heart, stayed with me once the closing credits kept rolling.