mg-gopalan Reviews

Zordaar (1996)

A diligent migrant worker stumbles on a secret. His son Ravi and his friends son Shiva are trapped in a web.

[8/10 · 21 June 2014]

Govinda as Ravi, cares for his blind and sick mother while his diligent dad works in a distant place. Shiva is the son of the dad's friend who are all snared in the web of a gang who are involved in concealing explosives in toys.

Both Govinda and Jack Daud carry the film, while most of the support cast are props. The storyline could have improved Mandakini's role from being just a lovey dovey person who emotively responds to stimuli.

The bad guys are a wee bit exaggerated and stereotyped, but that is the nature of most B-Grade movies. Songs and dance sequences are a bit insipid, the choreography could have been better. Stunt sequences are a bit contrived.

The plot however is nicely developed through to the denouement. There are boring spots, where one would wish the the director would mosey things along. Thankfully there are no rape or attempted rape scenes, but with the violence I would give it a PG rating, in other words, watch it first before you let your 14 year old watch. Definitely not recommended for younger children.

Shatru (1986)

When does society change? What is an agent of change?

[9/10 · 9 June 2014]

I am writing this in 2014, where rapes and other violence is in the press each day. I did never watch vernacular films, when I lived in India, during part of my youth. I am more than making up for it now.

This is a clean movie about an honest and upright officer, who comes across departmental corruption, power of landed aristocracy and the role of politicians in the decay of the moral and social fabric of India.

As other reviewers have said, this is a film with a difference:

1. No rape scenes 2. No overt violence 3. No mushy love songs

The social aspect of the lovely movie is the role of an orphaned boy and and a widowed woman. Further masala (spice) is added through the role of money and power in rural India.

Even 30 years later, in my travels, I find that nothing much has changed. People have cell phones and TV, but they are crippled through corruption of bureaucrats and other authorities.

Kartavya (1979)

Vijay Kumar, a Forest Officer is on a mission. He has to clean the forest of ivory poachers, sandalwood thieves and traffickers of animal hides.

[8/10 · 23 May 2014]

Vijay Kumar is transferred to the very forest, where his father served creditably in the Department.

To catch poachers, ivory and sandalwood thieves, he first has to clean up his own field office. The arrival of his mother poses complications, right to the very end of this simple story line, with strong environmental conservation and anti poaching messages.

Rekha, as Neeta a wildlife photographer, danseuse turns in a saucy and sinuous performance. To the very end of a tightly edited and well directed movie, her loyalties are not clear. A creditable performance.

Farida Jalal as a simple village belle is quite convincing with her village-speak. It is only after the intermission that the plot unfolds to reveal her loyalties.

All in all, the direction is tight, Dharmendra's performance as Vijay Kumar, a Forest Officer defying all odds to emerge is characteristic of him. Stunts are sometimes a bit boring, but generally well done.

Immense amount of research has obviously gone into development of the storyline, direction, script and editing.

Two good hours of entertainment. If the songs had been better, I would have give it a #9 rating, so have to be content with a #8.

Mera Karam Mera Dharam (1987)

A social drama in a rural setting. Accumulated wealth, over generations can do good. But what are the obstacles.

[7/10 · 19 May 2014]

Wealth in rural India is power, as elsewhere in the world - but more so.

Ajay Kumar has an inheritance mandate to improve living conditions in his ancestral village.

A close relative is the villain of the piece, who wishes to retain control of the village, its people and continue to exploit.

While the plot is thematic, direction is weak, editing is worse. Stunts in the denouement are good.

The movie exposes conflict and collaboration between rural and urban India.

Worth watching if you have an interest in rural India.

Daku Aur Mahatma (1977)

This is about a boy brought up among bandits - can he have a change of heart? It is about rule of law, humanity, sacrifice and bravery.

[7/10 · 5 May 2014]

The film opens to an old man emerging from jail,being met by a middle aged woman and being escorted to inaugurate an irrigation facility. The plot is developed as a series of flashbacks.

Dacoits attack a village in what looks like the Chambal valley in Madhya Pradesh. Little Vandana is spared, because she was hidden and Lakshman, her older brother taken away by the dacoits.

Years later, two notorious dacoit bands emerge in the area. One is headed by Sangram Singh (Kabir Bedi) and the other by Dilwar Singh (Rajinder Kumar).

The village decides to raise funds for a dam, that will help improve the lot of farmers. The touching thing is the pandit (scholar / priest) offers to give up a meal each day, to save for the dam.

While in jail the two fierce leaders of bands meet, and an unlikely friendship is formed. They join together and raid the village to loot the dam fund, and in the process massacring most of the able bodied men and women. Only a few children who had been sent away escaped and eke out a living in the forest.

There are thematic nuances from the Lord of the Flies, the children care for each other and help each other survive, till they come across an injured man in a police uniform.

Enter Dr Kiran (Reena Roy) who nurses the injured and takes care of the sick, and becomes a member of the band. The children have sworn vengeance on the killers of their parents.

What will happen when they find out that the injured policeman is the feared and hated Dilwar Singh?

It is a social drama cum action film, reflecting the fears of its times, film is technically moderate, with some nice and unexpected changes from the usual dacoit filmi formula. An enjoyable movie.

Chhoti Bahu (1971)

Mischief in a joint family - are there any happy outcomes?

[8/10 · 5 May 2014]

Madhu and his sister Paro are orphaned young and brought up by his elder half-brother (Amrit) and sister-in-law (Seeta). Madhu becomes a doctor and establishes practice in the village where he grew up. Continuing to discharge their responsibility as surrogate parent, Amrit and Seeta arrange for his wedding with Radha, heir of wealthy parents.

After the wedding they discover that Radha has epilepsy, which fact was hidden during the marriage. This causes a rift, which is soon patched up.

Chhoti Bahu is a story of lies, deceit, envy, beauty, sacrifice and a sense of community within a joint family environment where three couples live under the same roof, in rural India.

The story-line is good, the acting is moderately good, though not award winning. Editing and photography is good and I would certainly recommend this movie on a rainy afternoon if you wish to reconnect with or find out more about a joint family.

Sherni (1973)

Dharamdas is a Zamindar who rules his fief with an iron fist and ruthlessness.

[9/10 · 4 May 2014]

Banjara, a farm worker is framed by Dharamdas, in collusion with the local police and jailed. Escaping from jail Banjara swears vengeance and turns bandit (dacoit) and establishes a band of loyal followers. Durga, Banjara's daughter elects to stay in the village with her mother and two young siblings, eking out a living through street performances, rather than receive money from her father.

Arrival of Rajoo, the long lost son of a demented woman, changes the equation - when he challenges Dharamdas' goons and the police who are in cahoots with Dharamdas, saving Durga from a fate worse than death.

Will Rajoo be able to protect Durga and her family? What happens when he fails? What turns the demure village girl into a tigress (sherni)? This story is well told, with some superb acting by Sridevi, Shatrugan Sinha, Praan and others.

The storyline is tight, with rarely a dull spot in the film.

Keemat (1973)

Detective Gopal lands the job of solving the mystery of many young women disappearing. This search leads him to a vortex of violence, drugs, crime gangs and white slavery..

[8/10 · 29 April 2014]

Little does Gopal know that he has acquired a shadow who watches every move of his. This leads to a comic set of interludes. Pandurang, the constable is funny, and is the epitome of the Bombay sakharam as depicted in Hindi films.

Rekha (Sudha) is the younger sister of one who has gone missing, has taken it upon herself to track her missing sister. Gopal and Sudha's path's cross. It is not love at first sight. They have many obstacles to hurdle.

Prem Chopra, as Shaktiman is as usual credible crime boss, with iron control over his vast empire, with the help of his goons with guns. He has the usual trappings of power, palatial mansions and people at his beck and call to deal with every whimsical order. He is no fool and uses advanced technology to manage his fiefdom.

Rajendra Nath, is a comic dealer of antiques, who lives alone with a passion for gin.There is another forgettable song. He gets drawn into this complex masala of deceit and violence.

Gopal introduces an undercover operative who proves to be quite useful, till unmasked, which puts the operative's life in danger. Commando style operations, and other action scenes keeps the plot moving quickly. Fight sequences are typical of the period, though the music is generally uninspiring.

The end, when it arrives, leaves one feeling that this film has some good acting, a pertinent storyline, good plot development and good fun.

Resham Ki Dori (1974)

An orphaned brother brings up his little sister, through sacrifice. Bad elements challenge this love and put it all to test.

[9/10 · 27 January 2014]

Ajit and Rajoo become orphans. Ajit, as the older brother takes care of his younger sister, at great personal sacrifice.

When he tries to save his sister from sexual assault, death occurs. Is Ajit responsible? He emerges as Vinod from jail.

In English the loose translation of the title would be "a silken thread" a compact translation would be a "silken skein".

Ajit, and his little sister are separated by powers that neither he or she understand. Resham ki dori - is the thread that brings them back together.

This is a story of three generations of arrogance of wealth. It is also a story of great wealth, dishonest managers, anger, arrogance in semi- feudal India.

In a social context, it is a story of the death of the textile industry in Parel, Lower Parel in Bombay. It is a story of the exploitation of labour. Some scenes of labour poverty is gut wrenching.

It is a vision of a person who could reverse the process of attrition in the textile industry, if only till the textile mill was set on fire for insurance.

It is a great movie to watch, if you are looking out for the social context. Dialogues are predictable, mostly studio shot, editing is a bit loose but overall, a slightly differently managed film than the usual movies of the time. 1980's.

Excellent storyline, and some superb acting.

Do Dishayen (1982)

Two directions. What does a man do when he is torn in two directions. Two women and social values.

[7/10 · 27 January 2014]

Aroo is brought up by Ajit in comfortable circumstances, as a single parent. One day, little Aroo sets out to buy a mother. He does manage to buy a mother. But what about his real mother?

When the blood mother, and the foster mother come face to face, it creates a dilemma for Ajit and his aunt. The loyal family retainer, through his comic simplicity is rather pivotal in the plot development.

During Ajoo's wedding reception, a thief is caught. But she did not come to steal? Why did she come to the reception?

In a series of flashbacks, the story-line progresses, till the viewer is convinced that all the main players acted in good faith. Obligatory villains do their bit to thwart good intentions.

Can Aroo ever acknowledge his real mother as his own?

There are a few location sequences such as the Century Bazar in Worli, a couple of Versova shots and repetitive Kulu and Kashmir outdoors. Mostly shot in studios, the editing is good, camera work is a bit spotty, direction and acting is better than average. Dharmendra runs pretty much true to type. Hema Malini displays her versatility in playing the mother and the foster mother. In the view of this reviewer, she excels in the role of the biological mother.

Worth watching - Bollywood in 2014 would not get away with some of the dialogues. But then this movie was released in 1982. Recommended.

Policewala Gunda (1995)

The minister and his cronies have taken over Ashok Nagar, using guns and goons. What sacrifices will Ajit have to make to clean up?

[6/10 · 24 January 2014]

Politicians and criminals rule the roost in this city, hand in glove with the police.When an honest police officer tries to clean up his police station, he meets with the power of the politicians and gangsters, and his gory end.

Concerned, the Commissioner despatches Assistant Commissioner of Police, Ajit (Dharmendra, armed with special powers to bring some law and order into this lawless town of Ashok Nagar. Ajit meets and overcomes many challenges only to be beaten down by the gangsters and politicians. There are some comic interludes.

Another Bombay masala (formula) film, turned into B-Grade because of insipid acting, poor cinematography and forgettable songs. The title of the movie translated into English would be "Police Gangster" which would give the viewer a glimpse of the methods used by Ajit.

Dharmendra is a bit old to be cast in this role and he does appear to struggle with his tried and tested formula of "angry young man" in being an "angry middle aged man".

While not gripping or engaging, this movie is a good way to pass time while playing scrabble on a rainy Sunday afternoon. The viewer does not need to concentrate much, because both the dialogue and plot are predictable.

Suraj Aur Chanda (1973)

A story of a poor student going from rags to riches. This is a story of love of a brother, bhabi, a wife and an angry man.

[7/10 · 7 January 2014]

Suraj is a medical student, supported by his elder brother, Chand, an accountant in a private firm. Kiran is the haughty daughter of a wealthy businessman.

Chand labours at work, and provides private tuitions after working hours so his brother not only goes to medical college, but also to save money so Suraj can go abroad for specialisation. This is a promise that Chand made to his deceased parents, and he is well supported in this aspiration by Kamala, his wife.

Suraj has been raised in an atmosphere of indulgence and love by his brother and sister-in-law; who live a lower middle class life, so that Suraj can realise his dreams.

Mohan is a barrister who had been previously engaged to marry Kamala.

Dharmendra plays his role as Suraj with his characteristically successful "angry young man" bit as well as the "lover boy" with credibility and verve.

Chhaya as Kiran - the spoilt hoity toity daughter of a wealthy man acts with refined restraint throughout the movie.

Ashok Kumar as Chand is eloquent and is credible as a loving older brother.

The storyline draws on the social evils of dowry, status of the family in marriage considerations and the role of a widow in the family. Considering it was 1964 when the movie was made, widow remarriage was not looked upon favourably. Today in 2014, while in urban India things may have changed, rural India still has pockets of these lingering social ills.

A great movie to watch, even in monochrome. Most of the film is shot in studios, so not much of the Bombay of those years is captured on film, but the few location sequences gives the audience a view of Bombay as it was. All in all, highly recommended.

Prateeksha (1993)

Are the sins of a father visited on her daughter? Can a woman retain her humanity after spending 14 jail years? Does a son have an obligation to avenge his father's death?

[7/10 · 7 January 2014]

A modestly successful performer, Vijay, his wife Lakshmi, his secretary Tom and Lakshmi's ex admirer Dinesh figure in a scuffle. Vijay dies.

Years later, his son by Lakshmi, who grew up almost as an orphan because his mother went to prison, becomes a successful performer. He adores his mother and Govinda's (Raja) acting in the role of a son is spectacular.

He meets Renu, another performer and love bells start to ring. Renu (Shilpa Shirodkar) is the only child of a well heeled businessman, Dinesh whose ethics, morals and values are questionable - but Renu has no idea of the dark side of her father. Shilpa's acting is rather mediocre in this role.

Moshumi Chatterjee turns in another notable performance as Lakshmi, Raju's mother, and Renu's mother in-law.

S. Ramanathan's direction is tight, editing good though the cameras could have been better positioned for some of the more emotive moments to capture expressions realistically.

Though the story line is pretty much tired through over use by the Bombay filmi Moghuls, the acting, music and some unexpected twists to the plot make this a wonderful way to spend a lazy week-end afternoon.

Neela Akash (1965)

Can a daughter support her family when an alcoholic and gambler father trips and falls? What does society say about a daughter going out to work?

[8/10 · 7 January 2014]

Delhi 1962. An alcoholic brings his family to the brink of disaster, only to be saved by his daughter who graduated with a Bachelor's degree.

Neela means blue and Akash means sky. The movie title is aptly chosen, and so are the names of the two lead actors. Neela (Mala Sinha) and Dharmendra become work colleagues and fall in love. As a wealthy, handsome and well spoken man many women have designs on him, none more so than Rita and her mother.

The film begins with Akash and his sidekick Madan Lal driving in a targa (open top) Standard Herald and a ball lands in the car. Akash and Neela have a rhetorical conversation,laced with irony about return of the ball. Little do they know then that their lives will intertwine, and they will sing together to the tunes of Scottish bagpipes.

Madan Lal (Mehmood) provides some comic relief through his amorous interludes. His oft repeated dialogue "one button-hole, one button. One heart, one woman" is put to the test when three women buttonhole him as he emerges from a shower.

Shot mostly in Delhi, the picturesque Lodhi Gardens forms a scenic backdrop for romantic interludes, while the specter of Chinese aggression looms in the background.When Akash receives his call-up, he is ready, and ready to give up his life to fulfil his mission of delivering documents. In a fit of pique, he throws away the safety talisman given him by Neela, but lives to see the value of love.

From a social perspective, the values that Akash and his mother espouse, such as "sins of the father shall not be held against the daughter" are pioneering for the time. Very few families allowed their daughters to work in those days. Neela went to work because of the failure of her father; but her road was not easy.

The acting is superb, the plot is rather intense, songs are forgettable, though the lyrics are appropriate to the sequence context.

A great movie to watch to see Connaught Place as it was in the sixties, Race Course, Lodhi Gardens etc.,

Suhana Safar (1970)

Sapna is in love with Ujjwala a poet she has not met. A psychiatrist says she needs treatment. She runs away to find her Ujjwala. This is the story of her journey.

[9/10 · 6 January 2014]

Sapna (Sharmila Tagore), flying back to India from the USA is involved in an airplane engine "flameout". She loves poetry, in particular the work of a poet called Ujjwala. Unable to distinguish between the poet and the poetry, she sets out on a journey to meet the poet in a place called Phulwari. Sapna believes that Ujjwala is her dream man.

Her wealthy father, worried by her distraction consults a psychiatrist who pronounces that Sapna needs treatment and must be sent to his clinic for an extended period of time. Running away from home, in a beautiful red MG TF (probably a 1954 model) she comes across Sunil (Shashi Kapoor) working on his Jeep (one of the early right-hand drive versions that Mahindras produced).

A couple of accidents later they find themselves in a luxurious Mercedes Benz tour coach (possibly a O 321 H - with a rear engine) and their journey of exploration begins. Faced with obstacles, raised by greedy people who want to get the informant's reward announced by Sapna's father Randhir Singh Chauhan; and going through some comic as well as dangerous interludes the screen couple arrive at the climax on their way to Phulwari. Sunil is doing his best to escort Sapna to Phulwari.

How Sapna reconciles her love for Ujjwala, who she has only met through his poetry and Sunil's unreciprocated love for her makes for an interesting denouement.

Roop Tera Mastana (1972)

Kiran is transformed from a poor woman into an heiress who stands to inherit millions from the estate of her late father.

[6/10 · 29 December 2013]

A good movie to watch if you like a slight variation of Bombay's filmi formula. Kumar (Jeetendra) is a wealthy man who has been betroth to Usha (Mumtaz) since childhood.

Both love each other, and the family nourishes the relationship. The last will and testament of Usha's father makes some provisions that only can be crystallised when Usha attains majority; and there are codicils to the will that only Kumar can fulfil. Usha grows up as an orphan, and has all the negative attributes of a wealthy, whimsical person.

The plot develops nicely with Ajit, the secretary of Usha's late father taking over the script, with his inside knowledge of the family affairs of his late master. A fine performance.

Kiran, a girl brought up in a poor family, with good values gets drawn into the plot hatched by Ajit wily nilly, because she is a look-alike of Usha. Her conflict between good and bad, right and wrong is well portrayed by the nubile and expressive Mumtaz.

The direction is tight, cinematography above average and the comic interludes are barely tolerable. The usual song and dance routine is mostly forgettable. The main theme song is rather good, and recurs through the movie in appropriate places.

A movie that many can enjoy.

Hulchul (1971)

Fear of police interference in day to day life prompts a civic minded Peter to take matters into his own hand. He has overheard a plan to murder.

[8/10 · 28 December 2013]

Three Mahesh Jaitlys are found in the telephone directory. While welding some parts of a bridge Peter (OP Ralhan) overhears a man saying to a woman, while holding hands "soon you will be Mrs Mahesh Jaitly. I have devised a good plan to kill Mrs Jaitley and you will soon be the new Mrs. Mahesh Jaitly". This takes Peter, his fiancée and foster mother on a suspenseful journey of participation in the lives of the three Mahesh Jaitly couples. The denouement begins when Peter, in an attempt to uncover the real (potential) killer traps one of the Maheses (Kabir Bedi)into a murder deal. For lovers of Hindustani cinema, this is highly recommended. The thought one is left with is, what does a good citizen do when s/he hears or sees some potential criminal activity.

Aamne - Saamne (1967)

Actors Shashi Kapoor and Sharmila Tagore carry this storyline well. Is Shashi a killer, you will find out in the last 2 minutes.

[6/10 · 24 December 2013]

Deepak transforms into Gopal (Shashi Kapoor) and marries Sapna (Sharmila Tagore). Deepak has a sordid past which he does not share with Sapna. Deepak had been accused but acquitted of the murder of his ex-wife Vimala. Through much of the movie Sapna lives a life of suspicion, fear and unease. Gopal (Deepak) loves Sapna, but the barriers of suspicion and fear are hard to break through. While the story is unusual and interesting, acting of the principals is good, direction, development of the plot is poor. Keeping a finger on the FAST FORWARD button is a good precaution for when you come to the bits that (1) have little to add to the storyline or (2) just a waste of time. Regardless it is a good movie to watch.

Vandana (1975)

Rekha (Sadhna) an orphan faces challenges that test her love and integrity. Will she fail the test?

[7/10 · 22 December 2013]

Rekha (Sadhna Shivdasani), an orphan is trapped in a web of deceit and crime that imprisons her in shackles. Expressive as in her other films, events take her through life's journey in a tale that is not quite your regular Bombay potboiler.

For one, there is a rare use of boats, the 28 metre Pamela (a cabin cruiser) and a couple of dinghies with outboards.

Bindu is the vortex of what becomes a love triangle, and acts with her usual flair.

Sure, the film is peppered with the usual Bombay filmi (celluloid) digressions and music sequences. But overall, the movie is worth a watch; if only to see the journey through lives that take (un)expected turns and twists.

Good does triumph over evil and lawlessness in the inevitable Bombay filmi end.

Kanoon (1994)

Does a son go beyond his father's expectations.A vapid movie..

[4/10 · 17 December 2013]

Judge Dharmadhikari is an honorable person. One son is a policeman, the other an aspiring policeman.

Raja Thakur is a criminal boss, whose activities come against the values of the Dharmadhikari family.

A rather mediocre film plot, lifted by some decent acting, a couple of nice songs sung by SP Balakrishnan.

The first half of the movie is vapid.The second half is a bit more vapid. The movie is a bit of a time pass. But not much more.

Some money has been spent, artistic endeavor has been attempted, but as efforts go, this is pathetic.

I encourage you to watch this movie if you have nothing better to do.

Best wishes.

Tawaif (1985)

Tawaif in India is synonymous with Geisha in Japan.

[7/10 · 14 December 2013]

Tawaif in India is synonymous with Geisha in Japan. And yet there is so little respect or understanding among the masses. This movie raises the bar and creates an opportunity for understanding.

Art, money, power, humanity and criminal behaviour come together in this movie world of a Tawaif. The reality is a bit more harsh.

This movie is about two women; and a man. The novel that one woman writes and the man (Rishi Kapoor) helps publish becomes the story of his life. Married to one, loving the other - what will become of him?

As things go in art or in life, one wonders whether art is a reflection of life, or whether life is art.

These were the questions Rati Agnihotri asks of herself, and finds an answer.

I hope you do. I am still looking.

Chingari (1971)

Can Reshma break out of her upbringing among criminals, lift herself out of a life of crime and be part of society?

[6/10 · 13 December 2013]

Reshma (Leena Chandavarkar)is a pretty petty thief (pickpocket) who picks the pocket of a poor but honourable man and when discovered, her life begins to take a turn.

Her journey in crime began when as a two year old daughter of a policeman; Reshma was kidnapped for revenge by a dangerous criminal on the run. His right arm had to be amputated as a result of shots fired by the police inspector chasing him. Bhagat (Pran) raises Reshma, teaching her tricks of the pick-pocket business. Bombay's underworld of illicit alcohol, smuggling, goons and the close linkages between crime and politics feature richly in the plot.

Reshma falls in love with a policeman (Mohan), but Bhagat wants her to marry Jaggi (Shatrugan Sinha)a local thug. Reshma wants to reform her life, give up her life of petty criminality and enter society. Bhagat sees his meal ticket vanishing with Reshma's wanting to toe the straight path. So Bhagat sets a train of events in motion that will take Reshma to the gallows.

Can Reshma, raised in the poorer quarters of Bombay crime steer her path away from the gallows?