CID - Flashback May 22, 2007

As Apoorva Lakhia’s cop thriller Shootout At Lokhandwala gets ready for release this week, we flashback half a century back to CID, one of Hindi cinema’s most loved crime thriller, with a cop as a hero.

Raj Khosla’s film combined the ‘noir’ style of Hollywood thrillers with pure Bollywood romance and masala. The film, like a lot of crime films of the time, had a dancing vamp, a precursor of today’s item girl, and in this film, making her Hindi cinema debut as bad girl was Waheeda Rehman.

Dev Anand played CID Inspector Shekhar who is assigned the investigation of the murder of a crusading newspaper editor, who was about to expose the nefarious links of an influential person. The suspect arrested is Master (Johnny Walker), a petty thief, but the killer is Sher Singh (Mehmood), who was seen at the scene of the crime by Shekhar. But the cop knows that Sher Singh was acting on orders by someone big and important and continues probing. He is warned off the case by a mysterious woman Kamini (Waheeda Rehman), and later when Sher Singh is killed in jail, Shekhar is framed.

He is found guilty and convicted, but he escapes to get to the real killer, and reaches him with the unexpected help of Kamini, who has fallen in love with him, though he is in love with his superior’s (K.N. Singh) daughter Rekha (Shakila).

Director Khosla was an assistant to Guru Dutt, who then produced this film for him under his banner. A huge hit in its time, the film in style and technique is remarkably modern and realistic. It also had a fantastic crew including V.K Murthy as the cinematographer, whose sensuous black and white camerawork captured the light and shadows of Mumbai with impeccable artistry. In spite of its dark tone and somber content, CID was a highly entertaining film-and today’s filmmakers with their gun-toting encounter cops and evil gangsters, can’t match the magic of this classic crime caper.

OP Nayyar’s music had the unforgettable gem, the ode to Mumbai-Aye dil hai mushkil jeena yahan, zara hatke, zara bachke, yeh hai Bombay meri jaan. Plus other evergreen hits like Kahin pe nigahen kahin pe nishana, Ankhon hi aankon mein ishara ho gaya, Leke pehla pehla pyaar and Jaata kahan hai deewane.

Interesting Trivia: Guru Dutt had reportedly gifted Raj Khosla a swanky foreign car after the success of CID. The choreography of this film was done by Zohra Sehgal-now famous for her ‘granny’ roles. The costumes were credited to a Bhanumati, who is better known as Bhanu Athaiya. Assisting Raj Khosla on CID were Pramod Charavorty and Bhappi Sonie who went on to become successful directors in their own right. One of the lyricists was Jan Nissar Akhtar, father of Javed Akhtar. The scriptwriter was Inder Raj Anand, father of actor-filmmaker Tinnu Anand.

Credits
Director: Raj Khosla
Producer: Guru Dutt
Screenplay, Dialogues: Inder Raj Anand
Cast: Dev Anand, Waheeda Rehman, Shakila, Mehmood, Tun Tun, Johny Walker, K.N.Singh
Music: O.P.Nayyar
Lyrics: Jan Nissar Akhtar
Cinematography: V K Murthy
Editing: Y G Chawhan
Costumes: Bhanu Ahtaiya
Choreographer: Zohra Sehgal

First Look - Speed May 21, 2007

After being in the making for around two years, Harry Baweja’s Speed would finally be seeing the light of the day.

A thriller which stars Urmila Matondkar as the central protagonist, Speed has Sanjay Suri paired opposite her. While Zayed Khan plays a key role in the film with the story moving ahead with his character, Speed also boasts of Aftab Shivdasani playing a kind of character he has never enacted before. In addition, there is Ashish Chaudhary starring in the film as well in the role of a cop.

Directed by Vikram Bhatt who would be looking at Speed to revive his box office standing after twin disappointment in the form of Red and Life Mein Kabhie Kabhie, the film has music by Pritam and is slated for a July release.

First Look - Naqaab May 21, 2007

Fasten your seat belts and keep your popcorn away. That’s because come July and you would be a witness to  ’The most shocking thriller of the year’!!

This is what the publicity material of upcoming Naqaab claims from which the curtains were raised as its theatrical trailer was premiered during the screening of  Metro. And there is one word to describe this promo - Stupendous!

Nothing but the best is expected from the Masters of Suspense -  Abbas- Mustan. They do not disappoint with Naqaab as expectations soar to an all tie high as one looks with bated breath at the screen when the promo is on.

Resembling a Hollywood film from all angles,  Naqaab showcases the three protagonists of the film - Bobby Deol, Akshaye Khanna and debutant  Urvashi Sharma - as a plot about love, deception, intrigue, passion and greed unfolds on screen. While it is exciting enough to see two men trying to prove their love for the woman they want in their lives, a mysterious twist to the tale comes in the form of a third person who is shown to be capturing the three of them through a video camera.

In the meanwhile there are usual thrills and chills by means of trademark Abbas-Mustan shot taking, background music and crisp editing which makes Naqaab a film to look out for this summer.

A Tips production, Naqaab has music by Pritam and brings together the superhit team of  Abbas-Mustan, Bobby Deol and Akshaye Khanna once again after Humraaz.

Apne Hindi Cinema Ke Laal! May 21, 2007

If this picture doesn’t make you nostalgic, then what will?

Here is a photograph taken at Anil Sharma’s latest film Apne’s audio launch party. No prizes for guessing who these stars are. Clockwise from left: Sunny Deol, Dharmendra, Saira Banu, Dilip Kumar and Dev Anand.

Not many would recall that once upon a time Dev Anand and Dilip Kumar were the leading protagonists of their era. In fact, we heard that there was rivalry between the two during the 40s, 50s and 60s.

Dev Anand said, “No… Never…. we all were competing with ourselves. Raj Kapoor, Dilip Kumar – they all were great actors, great stars in their own place. We all had worked hard and therefore we were accepted. All of us had made our loyal audience. In fact, we all admired each others work and never ever had any sort of cut-throat competition.”

Dharmendra can probably be considered as the little brother of the three considering that he is more than 10 years younger than the other two. Flashback to the year 1997 and recall the time when he received the Filmfare Lifetime Achievement award from the hands of none other than Dilip Kumar and his wife Saira Banu. It is remembered that Dilip Kumar had spoken of Dharmendra’s good looks and chiseled features. “Whenever I get to meet God Almighty I will set before him my only complaint – why did You not make me as handsome as Dharmendra?”, said he.

Saira Banu may be feeling nostalgic as well as she has co-starred with all the three veterans during her career.

Sunny Deol who alongside papa Dharam and lil’ brother Bobby star in Apne must be feeling great as well. Though he hasn’t been seen with Dev Anand or Dilip Kumar on celluloid, he has shared screen space with his father umpteen times.

Now Ram Gopal Varma Ka Gabbar Singh? May 21, 2007

Ram Gopal Varma’s Sholay has been in controversy right since its inception. Earlier it was over the copyright issue on its story. Now it’s on the title. The Delhi High Court has issued a stay on the use of the film’s title ‘Ram Gopal Varma Ke Sholay’.

Ravi Prakash from Ram Gopal Varma’s Factory confirms, “The case has been going on in Delhi HC for quite sometime”. There was also a rumour that the film’s title will be changed to Ram Gopal Varma Ka Gabbar Singh. Corny as it may sound; RGV’s self-obsession in the title doesn’t end. But Ravi Prakash denies, “It’s not true. We are only waiting for the verdict of the Court to see if the title can be retained”.

It may be recalled that Sascha Sippy is the copyright holder for the original film Sholay and he had issued a notice against RGV for remaking the film without officially acquiring rights.

Anupam Kher and Satish Kaushik join hands May 21, 2007

After Vikram Bhatt, Anupam Kher and Satish Kaushik have joined hands along with friend Manoj Mittal from Delhi to launch a film production company called Karol Bagh Film & Entertainment Pvt. Ltd.

Long time friends Anupam and Satish have started this venture so that they can make films which they believe in. The production will make its debut with a love story called Tere Sang, starring newcomers.

Reportedly they are also planning to produce a children’s film. According to Anupam the script for the film has been submitted by a director and he himself will be directing the film next year.

Amu : A Film on Indira Gandhi’s Assassination! May 21, 2007

Writer-director Shonali Bose says her award-winning Indian film Amu brings to light what she calls the ’suppressed history of genocide’ after the 1984 assassination of Prime Minister Indira Gandhi.

Set for its US theatrical debut in New York City on May 25 following its controversial release in India, Amu is not about the past but about the present too, Bose said. It presents the contemporary and politically volatile tale of a young Indian-American woman’s search for the truth about her past, she says about the first feature film about the events of 1984.

She was a 19-year-old student in New Delhi when Indira Gandhi was assassinated by her Sikh bodyguards, Bose recalled. “In the days and nights that followed, thousands of people of the Sikh faith were massacred in ‘retribution’ in a carnage organised by those in political power. The story of the riots and relief camps of 1984 insisted on being told. I knew that was the film I had to make. No matter how hard it was going to be, this was the story I had to write and the film I had to make, to bring to light the suppressed history of that genocide. And so Amu was born,” she said.

It was not a Hindu-Sikh riot as projected by powers that be, but state sponsored genocide or carnage in which police, administration and every other organ of state connived, Bose alleged wondering, ‘how is it possible that 5,000 people were killed in cold blood’ with impunity.

What was more shocking was that some of the worst propaganda followed dividing the communities and branding the Sikhs as terrorists, she said, but insisted that her film did not reopen old wounds about an event best forgotten.

Exclusive Interview with Aamir Khan May 21, 2007

Everyone talks about Aamir Khan. They tell you he is a control freak. They tell you he has shelved the much-awaited Mani Ratnam film Lajjo. They tell you he fired debutant director Amol Gupte from his home production. They announce his marriage with Kiran Rao is over. Sometimes, once every couple of years, he chooses to do the talking. And then, everyone listens. In an exclusive interview with Harneet Singh from Screen Weekly, Aamir broke his silence and made a big announcement: yes, he has turned director with Taare Zameen Par You have been quiet for a long time now. When I’m doing a film, I find myself too absorbed in it; so I’m unable to spare time for interviews. I’m not good at multitasking. Creating time for the interview is not an issue, but creating mindspace for it is. Also, I don’t see the point in saying the same stuff every three weeks to different people. I’d rather be working and talk when I feel I need to. But how do you explain the fact that people remember the one exclusive interview you decide to give? I don’t know. I’m not making an attempt to make statements that people remember. I try and give honest answers. So maybe that’s why. Last year, you gave us a double whammy with Rang De Basanti and Fanaa. One would have expected grand things of you but you turn around and sign a very small and personal film like Taare Zameen Par. My choice of films is governed by my heart and instinct. I’m not governed by what the market demands. I loved the script of Taare Zameen Par and that’s why I agreed to be a part of it. It’s very simple. When I’m reading a script, I react to it as a member of the audience. If it excites me, I want to do it, irrespective of the budget. Could it also be that since you have acquired the reputation of being different, you have to do something different each time? I’m not trying to be different. There is no such pressure on me. I pick scripts based on what I like and the ones that I pick will be different because I follow my taste. Rang De Basanti and Lagaan were rejected by everyone, but I did them because I liked them. So you think it’s the industry’s misconception to suggest you’re different? I don’t know about that. All I know is that in the last six years, all my films have been diametrically different from what other people are making. Perhaps my choice is different. I do think that what you choose reflects on the kind of person you are. In that case, you must be quite a secure actor. Rang De Basanti had six other equally important characters. Almost all other big stars had turned it down. I don’t think I’m an insecure actor. To me, filmmaking is about the film, not the individual. If I like a film, I like it because it has all the elements. If it is tampered with, its beauty will be destroyed. As an actor, I believe my job is to get the script right. How do you explain the tags of “control freak” and “interfering actor”? The fact is that I haven’t spoken to the film media for the last 15 years. The result is that they hit out at me whenever they get a chance. Today, any and every untrue story is being reported. What’s more disturbing is that even the national media has become like the film media. You must have seen that recently a film magazine carried a story on my marriage being on the rocks. Soon, the national channels also picked it up. I call that yellow journalism. You are referring to the Stardust story. Let me first ask: is the story true? Is there trouble between your wife Kiran and you? Not at all. That news is all wrong. It’s utter crap. I don’t usually comment on my personal life, but unfortunately these meaningless rumours are forcing me to comment. All this talk about my marriage being over is a figment of someone’s imagination. Why don’t you sue the magazine? If the legal system in our country were strong enough, I would have filed a case. I checked with my lawyers and they tell me that I should take it up if I want to spend the next 20 years of my life fighting a case. All this distracts me from my work, which I love doing. What is your reaction to these stories? Sometimes I laugh and sometimes I get irritated. There are moments when I also feel sad, especially when I think that some people have to earn money by lying about others. The only thing that keeps me going is that I know in my heart that my audience knows me. I know that they won’t believe the crap that is written about me. How do your family and kids react? My family is used to it. So they don’t believe it. As for my kids, if anything has to be told to them, I’ll tell them. They will never find out what’s happening in their father’s life from the media. It’s almost as if you operate in an alternative industry: you work with your own group of people, you don’t attend award functions, don’t sip coffee on talk shows and hardly give interviews. Is it by design? (Laughs) I think that’s a wrong way of putting it. I’m very much a part and product of this industry. It’s just that whatever I do in my life, small or big, I like to do it on my terms. I like doing things that I believe in. I can see that I’m an oddball and I don’t fit the requirements of what is recognised as a star today. What is your definition of being a star? In my opinion, a star is defined by the number of seats he can fill in the theatres in the first week on his own merit, irrespective of the director and co-stars. I’ve been fulfilling that requirement so far. Will we ever see you acting in a mindless comedy and a mushy romance? I don’t want to use the words ‘mindless’ and ‘mushy’ loosely. I would like to do a purely romantic film, which may not be in the realm of logic, which is what Fanaa was. It was not a logical film but it was from the heart. But I have to confess that I’m comfortable doing different kinds of cinema. I want people to be entertained in different ways and I want to be able to entertain them in different ways. Of late, you’ve worked with a lot of new or less successful directors. Do you want to give new people a break? My purpose is not to give other people an opportunity. My purpose is to do films I like so that I can entertain people. I do films with directors in whom I have faith. It doesn’t matter how their last film fared, as in the case of Rakeysh Mehra and Ashutosh Gowariker. My choice of what film I’m doing depends on three factors: trust and faith in the director, the script he wants to make and the producer. I don’t compromise on any of these. There are rumours that you (and not Amol Gupte) have directed Taare Zameen Par. Yes, that’s true. But that’s not how it started out. A couple of years ago, Amol came to me with a script that I fell in love with. He wanted me to act in it and produce it. I was happy to do both. Amol wanted to direct the film and I agreed since I felt he was capable. But one week into the shooting of Taare Zameen Par, I wasn’t happy with what I saw of the rushes. I lost faith in Amol and his capability of translating on screen what he had so beautifully written on paper. At which point, I expressed my feelings to him and did what was fair and returned the script back to him so that he could direct it for another producer, with another actor. But Amol came back to me and said he wants me to continue as the producer and he decided to step back as the director. After going through various names and options, Amol suggested that I take over as director. Our main concern was the child who has a pivotal role in the film. Both of us felt that we had found a magical child in Darsheel Safary. Any new director coming in would mean a delay of six to eight months and we were afraid Darsheel might grow up. It was Amol’s suggestion that I take over as director. So I took on the responsibility and did the best I could. How was the experience? Emotionally, it was very difficult for me as I’m sure it was for Amol because we have been friends for more than 25 years. Amol is an extremely talented person and I’m certain that he will direct a film soon and direct it well. Amol’s contribution to the film is immense. He was with me every day on the shoot, guiding me and, at times, even correcting me. I’m grateful that he stayed on and helped me make the film. But did you enjoy direction? I must confess that it was one rough journey because I had to jump in without any preparation. I’d always wanted to direct a film but this was not an ideal situation. I’d have liked to spend time on the script and visualise it. Working with kids can be tough but we had a great bunch of kids, especially Darsheel, Sachet and Tanay Chheda. It was extremely challenging and a great learning experience. Despite all that, it was fun. (Taare Zameen Par will release on December 21.) Is it true that you’ve rejected your wife Kiran’s script thrice? Not true. Kiran will direct soon. I must confess that I was bowled over by the script she has written. I’m definitely going to produce it. Unfortunately, there is no role for me in it and I’m extremely sad about that. But I’ve requested her to tweak one of the characters to fit me in. I hope she does. What is the philosophy of Aamir Khan Productions? To do films we believe in and enjoy making them. What will it take for an Indian film to win an Oscar? The film just needs to be able to impress the committee that is judging the foreign language films. When people ask me what made Lagaan reach the top five, I say it was because the people who saw Lagaan loved it. And when I’m asked if I was disappointed that Lagaan didn’t win the Oscar, I say reaching the top five is an achievement itself. Is winning an Oscar important? It’s of minor importance. I’d be happy to win one. But I give more importance to the audience’s reaction to my work and what I feel about it. What is the status of Lajjo? Trade reports suggest that the film has been shelved. The last that I know of it is that Mani (Ratnam) is working on the songs and the script. If there is any change, I’ll check and get back to you. This one is a personal request. Can’t you drag Mansoor Khan (Qayamat Se Qayamat Tak, Jo Jeeta Wohi Sikandar) back to direction? (Laughs) I’ve tried my level best. In fact, I requested him to be the creative producer of a film I’m producing, Jaane Tu Ya Jaane Na, wherein I’m launching my nephew Imraan. He was kind enough to agree. That was my way of getting him back ki thoda sa chaska lagega. Mansoor tells me that he’s working on something; so let’s wait and watch. Shah Rukh, Salman and you have dominated films for over 17 years now. What makes The Khans so special? I’ve no idea. You need to check with the audience. Who, in your opinion, can take over after The Khans? I don’t think we’re planning to move out soon. But Hrithik (Roshan) is a good actor and a popular star. Even Abhishek (Bachchan) is doing well. What was the last film you saw that you wished you had acted in? (Thinks hard) I can’t think of any. Karan Johar has said you don’t respect him as a filmmaker. I’ve seen all three films by Karan. I loved Kuch Kuch Hota Hai but I was extremely disappointed with Kabhi Khushi Kabhie Gham and Kabhi Alvida Naa Kehna. I think Karan is capable but his last two films have disappointed me as an audience. What has been your most satisfying performance as an actor? (Thinks hard) It’s a very tough question. It’s very difficult to be objective. I’m happier with my last four-five films like Rang De Basanti, Fanaa, Mangal Pandey, Dil Chahta Hai, Lagaan and Sarfarosh. As I grow as an actor, I find I don’t like my previous work. I feel there were too many mistakes. It’s a process, I guess. Has there been a performance that makes you cringe? Oh, there have been quite a few. I’d rather not name the films.

Aishwarya’s next Hollywood project: Singularity May 21, 2007

The long-in-gestation Aishwarya Bachchan film Singularity is finally set to get off the ground by early next year.

Oscar-winning director Roland Joffé, best known in India as the man who helmed City of Joy, will direct the 35-million-dollar historical drama. Large portions of the movie are scheduled to be shot at locations in India.

Joffé, whose credits include modern classic like The Killing Fields and The Mission, has roped in legendary Italian cinematographer Vittorio Storaro to shoot Singularity.

Singularity is expected to feature Hollywood star Brendan Fraser opposite Aishwarya though no final word is available at the moment on the rest of the cast.

Purab Aur Paschim - Flashback May 20, 2007

Manoj Kumar was advocating the virtues of India before the NRIs had discovered Rajshri and Yashraj films, says Deepa Gahlot

Vipul Shah’s Namastey London is about an Indian girl raised in London with Western values, and an Indian boy who teaches her the value of the desi way of life.

The film may not be ripped off Manoj Kumar’s Purab Aur Pachhim (1970), but the inspiration is definitely there in the plot line. Not just Namastey London but plenty of films that have Indian men reforming NRI ‘mems’ have been inspired by Manoj ‘Bharat’ the song Hai Preet Jahan Ki Reet Sada and Dulhan Chali.. Pehenke Teen Rang Ki Choli, say it all.

Bharat (Manoj Kumar) is the patriotic son of a freedom fighter. When he goes to London to study, he meets Indians there, including the man (Pran) who had betrayed his father and his villainish son Omkar (Prem Chopra) and his father’s friend Sharma (Madan Puri) with his Westernised wife (Shammi) and daughter Preeti (Saira Banu) and hippie son (Rajendra Nath). (A typical Manoj Kumar scene– Francis, a French hippie sacrifices his life to save Bharat in a club brawl and then asks Bharat to sing Raghupati Raghava Raja Ram as he dies).

Preeti has long blonde hair, wears mini-dresses, smokes and drinks and has no idea of Indian values till she meets Bharat. He is, of course, shocked to see that many Indians in London are ashamed of their roots and even changed their names to sound Western. Or others who long for their country, but stay in the UK for economic reasons. Like Sharma with his stack of KL Saigal records.

Preeti is impressed by Bharat’s idealism and wants to marry him, but doesn’t want to live in India. Bharat wants her to come to India and see what it’s like before she rejects it. Of course, the purity of India redeems her—she gives up smoking, drinking and minis to adopt the traditional lifestyle. There’s the sacrificing Gopi (Bharati), Bharat’s silent admirer as inspiration.

By linking the story to the freedom struggle, Manoj Kumar was saying that freeing India from British rule is not enough if Indians do not feel proud of their Indianness. Manoj Kumar shot in London at the height of the ‘hippie’ phase and caught both the beauty and ugliness of the English landscape. However, his simplistic view of the West was greed, lust and depravity, while India stood for love, honour and piety. Amazingly the idea has endured, and in even in Aditya Chopra’s cult hit Dilwale Dulhania Le Jayenge, Indian boy (Shah Rukh Khan) does not touch the Indian girl (Kajol) though he claims a chain of foreign girlfriends, and neither does he want to marry her without her father’s consent. Then as now, Indian culture is represented with a lot of colour, rituals, song and dance. In 2007, Akshay Kumar sells the same version of India to the London gal Katrina Kaif– and a line in the film pays tribute to the original when he tells her that if she wants to learn more about India, she should see Purab Aur Pachhim.

Interesting Trivia: When Saira Banu did the film she was already married to Dilip Kumar. Neither he nor the audiences were shocked by her skimpy outfits. In Gurinder Chadha’s Bride and Prejudice, a fight scene set in a movie hall has a scene from Purab Aur Pachhim running on screen. Kamini Kaushal was Manoj Kumar’s favourite screen mother and she played the role in this film too. The story was credited to Shashi Goswami, Manoj Kumar’s wife.