October 20, 1980 - THE CANADIAN INDIA TIMES - Page f
1EK GUNAH AU� SAHI
produced, directed and otiory % Yovgf Kathuria
Screenplay and dialogue by Set-ten Bhatnagar
Evidently; Yougi Kathuria has seen a lot of French arid German films whose influence is more than clear from the story and treatment. Satish Bhatnagar, .who4-himself has spent a lot of time in London as BBC producer and writer, has understood what Kathuria wanted and has written the screenplay accordingly. The film is so different from an average Hindi film though not devoid of sex and sadism. The screenplay has both erratic and dynamic shadings which at times might appear heavy to an average filrhgoer.
Not less than, half a dozen bedroom scenes, including a rape on a drugged girl, will make the film appeal to a certain section of audience. Though the Censor's scissoring is there (triangle in the Censor Certificate), yet the film has escaped much that is little short of a miracle of daring and baring for a Hindid movie. Parveen Babi, perhaps the most liberated actress Indian cinema has seen after Hansa Wadekar (the Marathi actress whose living style inspired Shyam Benegal to make a film on her, [Bhoomlkm], has gone ahead of the kiss-and-cuddle girls like Zeenat Aman. Parveen has reached the heights (or, is it depths?) of Jaya Bharathi of Man Kaa Aangah fame and is advertised as "Cleopatra of the South."
Actually one more crime-in the title stands for the murder of Madan Puri when he is shot at by his rape-victim but remains alive. Finally he. is done to death by Sunil Dutt by managing a fall from she roof of a multtstoreyed hotel. For this one more crime he is sent to jail while his wife Parveen Babi waits for him -as she waited earlier for over four years when he was sentenced to six years' imprisonment bt|t released for good conduct.
As we hinted earlier, Ek Gunah Aur Sahl is an admixture of three/four foreign films. The first half has trappings of sweet romance and sexy escapades, the second half is action and crime. The finale is a straight lift from an Italian western - Sunil Dutt with
a noose around hjs neck and feet resting on the shoulders of Parveen Babi. It is new for the Indian cinema. The suspense is there but one knows that finally the hero and heroine would escape the torture and, take revenge on the villain.
The film has a new story,; and a western stySe screenplay and ' treatment.
Among the Itndian audiences mythologicals have been a great draw. But the first mythologicals that created box-office history was Prabhat's Gopal Kriahna (1938) directed by Damle and Fatehlal, with Master Krishna Rao's musical score. Ram Mar-athe's Krishna was a very haughty and loveable characterization. Many want to see the film over and over? again to watch the pranks, and playfulness of Lord Krishna. (tadha, played by Shanta Apte,: a great star in her time, was not an enchantress but with her well-developed physique she came up ito the expectations of people of what Radha, a milk-maid, should be. No other actress has been able to play Radha an the image of Shanta Apte. �" V� �
GOPAI KRISHNA
Screenplay, dialogue ' and. / direction by Vljay Shanna
Produced by Tarachaiad Bmrjptym
SRIKIRSHN^ IK A RASA LEELA (Oriym)
Directed by Son* Mukherjee
A mythological, Raja Harish-dumdra, directed by the father of the Indian film industry, Dadasa-heb Phalke, was the first "completely indigenous story film of India to be screened as a feature"- on May 3, 1913. . But a couple of months earlier, Cinema deLuxe produced two short films on Indian mythology: The Gan-pall Festival (September 1912) > and Am Eplaod* from Raxnayan* (November 1912). Dadasaheb Phalke was inspired by fhe We of Christ which he had seen a few vefxc earlier! in �' Bombav ;.;���/'�' �
A decade earlier Frabhat had made a silent movie on the same with Suresh, Kamladevi arid Baj-ar Battoo. Jt was also entitled Gopal Krishna. The theme of the film was mostly, the birth of Lord Krishna till the death of his uncle, Kansa, at the Lord's hands. Many regional' film-makers borrowed the theme and made their own language versions in Bengali, Tamil; Telugu, Kanhada, Gujarati, and later Oriya. In 1952, a South Indian film; Krishna Kanbalya was dubbed in Hindi and released all over India. Other episodes about the life of Lord Krishna were also tackled on the Indian screen - like Krishna-Sudama, Krishna-Arjuna, Arjuna Yuddh, and a few, important episodes of Mahabharata. A commercial film-maker in Bombay is working on the Mahabhair-ata - which is claimed to be the costliest mythological ever produced in Jn&ia. In a country, steeped in ignorance, superstition and miracles, mythologicals are always popular.. .�
In 1965 we had another version of Gopal Krishna, directed by D Raman and music by N Dutta^ Jayashree Gadkar,.'.'the Marathi actress, became so popular as Radha that she has since then become, a must in almost all mythologicals, playing one char; acter or the other, including Mata. Vaishnp D�vL
But it was left to an Oriya theatre enthusiast, Chrtta Ranjan Moh-anty, to produce a ballet film on the legendary love of Radha and Krishna. Its director, Son a Mukherjee, is an expert cine technician - cameraman, editor and screenplay writer. Sri fcrfs-fananka Rasa teela, in colour, and danced mostly in the style Of Odissi, has a lovely musical score^
For an Oriya film, no effort has been spared to create lavish, though gaudy, sets and impart it a tinsely glamour. The film won the award for the best Oriya film of 1979 for 4-an entrancing portrayal of the eternal theme of the divine loves of Radha and Krishna, replete with effective music and colourful dances.
Tarachand Barjatya's Gopal Krishna is in cinemascope, perhaps the first mythological in this gauge. It has all the elements of a popular mythological-costumes, decor, trick photography, music, dances, deceit and bravery, grand sets and good acting. Sachui fits the role of an adolescent Krishna.
Zarina Wahab as Radha however a disappointment.
is
Ravindra Jain's music and lyrics are appealing but the best part of the film is Babubhai Udeshi's cinematography. Going by the audience reaction, it is the pranks of baby Krishna which create a better response thatv the adult Krishna's deeds of defiance and bravery.;'.. .
[ SALAAM MEMSAAB
Written aid directed by AaramS
Produced by V D Kafara
Ambition arid achievement are two different things. I've no quarrel with Asrani's ambition to be India's Charlie Chaplin, To be ambitious is a sign of setting a target for oneself on one's life. But to be ambitious to reach the heights of �'Cinema's only genius," (the words of George Bernard Shaw; is too high a target. Asrani may be, a good comedian of Hindi cinema, but he doesn't have the talent arid equipment to be India's Charlie Chaplin. This appraisal is based on three of this films, directed by him so far, Cbala Miirarl Hero Bann-ne, Hum Nahin Sudharen Ge, arid Salaam Memsaab. DW has already reviewed the earlier twoi
The story; idea of Sallam Memsaab is credited to Manju Bansal, Asrani's wife who along with- Asrani was a student of the Pune Film Institute. Both of them might have seen the Italian film, A Shoeshine Boy. But one cannot give credit to Manju Bansal for its Originality. Why do our filmmakers fight shy of giving credit: where it is due? The story has been changed only slightly. If Asrani had followed thej Italian film to a tee he would hale come up with a really poignant and; funny film. By mixing crime with comedy he messes it up, like he messed up Hum Nahin Sudharen � Ge. . \,: 'y'� r:-:
Salaam Memsaab's script is topsy-turvy. It is a melange of so many sequences borrowed from many celebrated films, likfe Shri 420, The Gold; Rush and of course A Shoeshine Boy, The best part \ of the film is the imitation by i Asrani and his streetsinger coll- j eague Zarina Wahab of Raj j Kapoor and Nargis in the rain) sequence of Shri 420. - J
The fantasy-dinner sequence in | The Gold Rush is another seq-t uence Asrani has borrowed from ; Charlie Chaplin's The Gold Rush I when the latter relishingly eats: the boiled shoe and shoelaces and: when Charlie Chaplin invites his: lady-love and her two companions j to his log cabin for a Christmas-; �Eve dinner,.i Asrani's imitations;, � are no match to the original. In,; the dance sequences, Zrina Wa-; hab steals the show from Asrani,; being a better dancer and having! a good sense of timing. Many; comic situations fall flat/ v
Asrani indulges in another^ gimmick. He thinks that his filni will click by the guest/special appearance of top stars and veterans. He tried it in Chalai Murari Hero Bann-ne but the film did not make the grade. Salaam Memsaab has Ashok Kumar; Sunil Dutt, Yogita Bali and Rishi Kapoor. .
The Crime film may be popular these days but why does Asrani give a crime twist to his comedy^ And he does not tackle it aN a spoof - which many film-makers do when they want to make fun of crime thrillers. The crime angle did not carry Ham Nahin Sucl* haren Ge anywhere, so is the case with Salaam Memsaab.
Zarina Wahab's spirited street-singer puts some life in the film; Manju Bansal has to go a lorig way to be as good a vamp as Bindu. In dance numbers she attempts to create the Bindu sensuality but fails miserably. [
Ranjit's tatoo Work on his boiy differs from scene to scene. The only person who never fails to. evoke laughter is Keshto Mukherjee especially when he plays t^ie alcoholic - a tottering figure with his eye-balls at cross angles. -Ahd he has never boasted that hejis going to be this or that comedian of Iridia. ;�-:v '���]
gas to replace
i:.
I New Delhi, (UNI) - A generator operated by bib-gas and capable of producing electricity for lighting rural homes, driving irrigation pumps and operating farm machinery has been devised by jthe Indian Institute of Tech no!-;6gy, Delhi. '�� ":; � ;;-i:;
JAPNEPARAYE . ..'
Screenplay, dialogue and dlirec-jtion by Basu Chatterji V
Produced by MiBshlr-Rlas !
i Apne Par aye is a sort of follow-up of Basu ChatterjiTs earlier film Swaml, based on: Sarat Chandra Chatterji*s story though the great Bengali writer was not given credit for the original which was re-written by Manu Bhan-dari, a local Hindi writer. Apne Paraye gives due credit to Sarat Chandra Chatterji's NishkritSo
The basics of Apne Paraye story are different from Basu Chat-erji's pet theme - conundrum of marital love or the problems of two lovers and the hurdles in their marriage or consummation of marriage. It is about an: upper middle-class;joint family and a series of estrangements and reproach ments.
The simple and peaceful living of a joint family - of two brothers, their wives and children - is broken by the visit of another brother, his wife and a naughty adolescent. The naughty adolesr cent looks down upon half a dozen children of � his two uncles. The hatred ahd mocking attitude of the visiting couple strain the stable relationship and family peace, first among children, later among^ adults. Resentful at not being given any importance in the house, the visiting brother's wife sows the seeds of discord between her sisters-in-law. Her plan works.;'�.
Driven out of the house, the youngest brother (an idler) and his wife go to the family house in the village. Here too, there is no peace for them. In the absence of any means of livelihood, they live on meagre resources. The eldest brother, who had all along been unmindful of what was happening in the family, visits therii, at the prodding of his Wife who cannot bear their absence. When he comes to know of the real happenings and the sufferings the separated couple had been driven to, he transfers his property to the youngest brother's wife, and thus settles the score with his other brother who was out to destroy the family at the behest of his cunning wife.
The film flows smoothly, even though it is packed with dialogue. Basu Chatterji cuts straight from scene to scene which makes it a compact, solid piece of excellent theatre. He builds many poignant moments through simple situations. It is a study of joint family system - that looks at the serious and the absurd sides of the system. �
Basu Chatterji introduces three new faces; Asha Lata, Bharati Achrekar and Moneesha - perhaps from the theatre. Asha Lata and Bharati Achrekar play their roles - of typical Bengali wives -with understanding and finesse. Shabana Azmi as the; youngest brother's wife pales before them though she has more importance in the script. Girish Karnad essays a spiteful type of character for the first time. Utpal Dutt's eldest brother, unconcerned with what is happening around him and steeped in his own work, is a serio-comic character. Amol Pal-ekar looks lost and wayward; may be that is what the writer wanted him to be, The kids behave natur;
The system is highly economical because it uses animal waste, farm waste and organic waste to produce biogas, says an official press release. /
A medium-sized plant, using nothing but agricultural waste or anima) waste, can produce enough gas to operate the generator for nearly eight hours a day. The engine used in the generating set is a conventional diesel engine with some modifications enabling its; operation with bio-gas as the main fueL 'r �;'.
Research is under way to do away with diesel oil and achieve 100 per cent bio-gas operation of the engine without loss of power or effieiencyv the official release says. �..
JUDAAI
Screenplay and direction by T Rama Rao" �'�;'
Produced by A V Subbk Rae
Hindi films from the South are almost always family melodramas, only occasionally does one come across an off-beat film like Red Rose. Judaai (Separation) is 'the story of a couple, who, separate owing to a misunderstanding - the wife suspects the _husband of infidelity (shades! of Thodisis Bewafafi). Its span is spread to two generations - the jolder one clinging to traditional values of life, the younger one discarding them to evolve a, new morality of their own. The film's theme is encaptured in a song by Mphd Rafi - a moment's misunderstanding could cause lifelong frustration; marriage is not a marionette's play, it is a bond of affection. It is a custom with South Indian film-makers to preach through songs - a custom fast catch ing up with the Bombay film icers. .. ' ' �
BARSHAK In I>TfflMJcra^k WvM* DARSHAK m Democratic Worido
The songs are not popular but are imtimately pictunied on the characters. K K Mahajan's camerawork though moving is not outstanding. :V:;:v; '
Judaai is almost a mini multi-starrer: Jeetendra as husband, Rekha as wife, A K Hangal and Ashok Kumar as the grand old menK Sachin and Arun Govil as the youngsters, Shoma Anand and Tamanna as the young coeds, Asha Sachdev as the lady who causes all the mis-understanding, and Aruria Irani, Madan Puri, Deven Varma in the supporting roles. Jeetendra and Rekha do make an attempt to look old when middle-aged. The screen chemistry between the two has reached a highpoint in the film. The other romantic jodis (couples) - Sachin and Tamanna, and Arun Govil and Shoma Anand - impart the right amount of youthful freshness to their performances.
It is nice to hear Shailendra, Amit, Anuradha and Indrani Mukerji singing for the younger
generation. Anand Bakshi and Laxmikant-Pyarelal make a succ-: essful team of lyric-writer and music-makers, and in the film they team together to create some meaningful songs: Dr. Rahi Masoom Reza as dialogue-writer is fuming put a lot of pictures these days. His speciality is that he is as good at day-to-day conversational dialogue' as at the literary, flowery one. In Judaai he makes effective use of both.;
Rekha arid Ashok. Kumar are superb almost on the same level as in Khoobsoorat wherein they conspired against the oppressor, lady of the house. It is time somebody wrote a film just about the two - Rekha as a. young, carefree lass, Ashok Kumar as a liberal, conscientious old man, and their crusade against the corrupt in society. They will make a marvellous team, may be much more marvellous than Ashok Kumar and Pran in Victoria No. 203 arid other .films.
DARSHAK if Demociallc Work!