2012 Directed by: Karan Johar I have spent the last six months ruthlessly mocking every promo and song release for this film. “What a hot mess”, I thought to myself. My objections were purely superficial: “that girl looks dull”, “why … Continue reading
Directed by: Shbhash Ghai
This movie is so full of awesome. I remember trying to watch it back in my younger days–before I had sat through a couple old films and been aclimated to them–I turned this movie off before I even reached the 10 minute mark! If I had just kept going until the 11 minute mark and seen Disco Rishi I’m sure my Masala conversion would have happened YEARS ago.
It also should be noted that Karz is not named such because every other person gets slammed into with a car. Oh no, it actually is the Hindi word for “loan”. Foiled again by mad spelling!
Our saga begins with a court decision to keep Ravi Verma’s (Raj Kiran) estate in the Verma family rather than hand it over to the Morse Code tappin’ villain Sir Juda (Premnath). Ravi runs out of the courtroom to celebrate with his girlfriend Kamini (Simi Garewal). Kamini, we learn rather quickly, is not the innocent she appears to be. For one thing, she smokes:
She also agrees to marry, kill and change Ravi’s will when she is solicited by Sir Juda.
Our girl is even savvy enough to ask for an advance! She has clearly been around the ol’ block a few times where dacoits are concerned.
Back at the Big House, Kamini somehow manages to pass of Ravi’s death as an accident and his Maa (Durga Khote) mourns and torments over his corpse.* Our devout Maa takes out her rage on Kaali and demands that he must be reborn in order to repay the motherly love that he had been given as Ravi.
With much montaging and psycadelic background kalidescoping we are informed that Ravi has been reborn as Monty.
Enter: Disco Rishi and the funniest titles yet to grace my eyes**.
Monty (Rishi Kapoor) is an orphaned singing sensation who is the 1980 Indian equivalent of Justin Bieber. They both have fun hair, dress in killer ishtyle and swagger and swoon the ladies with their killer tracks and fly dance moves.*** However, Monty is alone and laments his status as both an orphan and as a single man. (Well, mostly being an orphan).
At a party Monty meets and falls in pyaar with Tina (Tina Munim) in grand style. Not only does the congregation “disappear” as they look at each other, but magical curtains of ishq also fall from the sky and envelop the lovers in lovey-dovey feelings.
Monty, who is forbidden from singing at private parties, is caught by his boss and scolded. Later (that day? Week? Year?) Monty performs a concert and writes a song to and about Tina describing how they met. What we are given is Om Shanti Om, not just a love song for Tina and Monty, but the same one that I sang and danced for the Kishore Spawn 5 minutes after meeting him.
It is quite the romantic song. Nothing says romance like silver spangles and a rotating giant record. It’s also just a fun song to go to when you’re having a rotten day. Face it, Rishi Kapoor is just the last word in adorable.
After taking a totally Superstar-esque Evian bath on stage, Monty returns to stage with some sexy lighting and procedes to play a little ditty that just comes to him.
Monty begins to hallucinate and remember being killed by Kamini. He collapses on stage and finds himself in the hospital, strapped to all sorts of brain scanners. One doctor suggests that it could be memories from a previous birth, but this is laughed at and considered impossible. Monty is ordered to a months rest without music in Ooty.
Luckily enough, Ooty is home to both Tina and Kamini and was the place where Ravi was murdered.
I just love when stuff comes full circle.
While in Ooty Monty woos Tina and her father Kabira (PRAN) and asks for and is given Tina’s hand in marriage.
However, being a protective father, Kabira makes sure that the couple cannot get into too much trouble in their larks.
After singing and dancing for a while, Monty comes to the temple of Kaali where Ravi was run over and killed. He collapses and remembers all of the memories. Monty does not tell Tina or her father what happened and instead gets a lecture on romancing.
Monty then goes on a quest to figure out the details of what has happened to Kamini since his (as Ravi) death. He interviews local oldies at the tea stand and even gets information from Kabira, who knows of the murder. Monty becomes obsessed with stalking Kamini, who lives in the palace, and barges into her room.
Manical and unstable, Monty is taken from Kamini’s bedroom by Kabira; back home the two fight and toil. Craving revenge and having no idea where Ravi’s mother and sister have gone, Monty takes up alcoholism**** One morning while being served tea Monty discovers that the cook is his (as Ravi) long lost sister Jotyi.
Reunited the brother and sister race to see their Maa, who in the years since Ravi’s death has fallen ill and blind and deaf… however, she can both see and hear so I’m calling a flub in subtitling on that one.
While the family gets settled, Kabira and Monty scheme a way to get Kamini to admit to her crime. They decide that the best way is for Monty to seduce Kamini. However, boyfriend and father forget to inform Tina of their plans so she gets understandably stroppy when she spies Monty and Kamini out on the town. Eventually (like, at the end) she is informed of the plan and supports her man through and through.
A number of tricks are played on Kamini in an effort to weasel her confession out of her. She is attacked in her room by a creepy man, confronted with dancing skeletons and Monty says that he reads “murder” in the lines of her palms. All of these pranks lead up to the final ousting of Kamini’s secret through a song and dance at the local high school:
After running away from the show, Monty and his posse confront a very changed Kamini at the palace. Disheveled and without her pristine wigs she admits finally to her murder of Ravi.
In true Masala ishtyle there is a shootout and people get beaten up, locked in burning houses and pushed down hills. In full comeuppance Kamini drives off a cliff after trying to run over Monty in her Jeep, just outside of the same temple where she killed Ravi.
The fillum ends with Monty and Tina driving off on to their honeymoon. Daddy Pran is their driver, no less…
In essence Karz has one theme: Maa.
There are countless paintings of mothers, children and mothers nursing their children. There are a TON of boobs in this movie. They’re just everywhere. It’s really quite creepy. Hello, we get that Monty/Ravi has to be reborn because of his debt of mothers love and to repay her milk (which, I’d like someone to explain to me, quite frankly) but can we just push the “Overt, much?” button and be done with it? IF they were trying to paint Ravi as emotionally bankrupt where his mother was concerned they didn’t do a very good job of it. He was always calling his Maa, hugging her and being an all-around good son; if anything he needed to be reborn just to kick Kamini in the ass… Oh. I’m just so confused. (It’s the milk repayment that’s doing it to me).
The songs in this film are amazing (hence why I included almost all of them) they’re just so catchy and disco and suited for the action of the film. Granted, what am I going to say in the negative about my favorite voice-actor match of Kishore Kumar and Rishi Kapoor? They just work so, so well. I also really liked the little theme that enabled and accompanied the flashbacks Monty experienced. It was so haunting and repetitive but also had that fancy little descending chord that made it rather flashy and exceptional as well.
Simi Garewal is so fantastic. She really has a handle on her art and knows how to lose herself in her character. She was innocet, flirty, dangerous and manipulative at turns but she really caught my attention at the end when her character broke. Kamini just breaks. The deterioration of her mental state by the pranks into the dramatic pounding on the chest and screaming of “I KILLED RAVI VERMA” is just so… perfect. Wah! Wah! She stole the show.
Everyones’ concept of time in this film is off. Monty claims he is “almost 30” (and is dating a 16 year old. BLECH, even for me, the Patron Saint of May-December romance), but his Maa says that he died 21 years ago and someone in the village says 25. Oy, my brain hurts.
I would like to give Rishi Kapoor for being the best instrument mimer I’ve ever seen. He plays almost EVERY instrument ever invented (hyperbole) in this film and does it just well enough that you think he might actually have a grasp on it. Alas, it still looks fake.
I know that Om Shanti Om is supposed to be a remake of Karz, or a non-remake-remake. There are definitely ideas that and devices that are used in both films that are very silmiar but to me each film stands on its own without OSO constantly referencing Karz or being just like it. Are there similarities, yes. Is it a full-on copy? No. I will say this, I do want to watch OSO now for fun and to see what might be there and I’ve never caught before.
In closing, there are no words for how much I need this top:
*That word just feels so morbid. Shiver.
**I always love when I learn how to count… also don’t you love the “& PRAN”?
***I kind of hate myself for that sentence.
****Can you even just “take up” alcoholism?
Directed by: Ravi Tandon
I’m seriously going to marry the man who sells me DVDs. This was another one of his suggestions. He placed it into my hands and said “I watched this last night. It is my very favorite.”
How can you ignore a rave review like that? Plus it had Rishi Kapoor and Neetu Sing lovey-doving on the cover.
For once in my life I’m going to try not to give away spoilers. Eek!
Oh, this film is so tricky! The first hour or so you’re convinced it is just a simple romantic comedy between Ajay (Rishi Kapoor) and Nisha (Neetu Singh) and the pranks and exploits of their group of friends fronted by Vikram (Rakesh Roshan). However, when a prank goes farther than it should the movie turns into a fast aced, high suspense thriller.
The change in pace and genre happens so seamlessly and effortlessly that you can’t help but get sucked in.
Call me dense, but this plot had me up until the very end. I had no idea who was right, who was wrong, and who the real bad guy was. The story line was so clean and so free from excess “stuff” that it was easy not only to follow along, but to empathize and theorize with the characters.
There is a very streamline feeling to this film, from the story to the editing,to the production quality it is done with such refreshing neatness. There are no gaps, no drops, no superfluous additions… even the Item Number has plot relevance! Perhaps the streamlined nature of the film is to be attributed to its base, “Good Children Don’t Kill”, a play by Louis Thomas. Not being familiar with the play I cannot add weight to my speculations, but having an established story is always a good framework. After doing some Googling, the play seems to be anything but well known, but the synopsis I found was close enough to the plot of the film that it seems to go hand-in-hand with the original text.
This film is also interesting as it seems geared mostly towards teenagers. Oh sure, there are plenty of films set in colleges but I have seen few that keep their characters appearance so young. They still get in trouble with their parents, they make phone calls to their beloved under the covers at midnight, they sit in class and take notes, they get into trouble with teachers.
Now that I list everything out I keep thinking of films that do the same thing, but I feel as if the ambiguous age of other characters in other films is always somewhere around the mid-20s. There is always a shred of maturity to them that is absent in this film. It was very clear to me that our trio was no older than 16 at the most.
Perhaps this is because neither Ajay, Nisha or Vikram wanted to take responsibility for their actions and that is inherently a very teenaged thing to do*, but there was just something so youthful about the entire scope of the film and the energy of the ensemble.
The songs in this film are just superb. They’re stuck in my head and won’t get out. I know I laud Kishore Kumar all the time but I do think that his voice worked the best with Rishi. There is just something about the two of them that work so well together to present the illusion of singing, it is a very good match.
Special mentions must go to “Ek Main Aur Ek Tu” which besides being just too cute for words is full of mad dancing and Neetu-Rishi pyaaring. Plus: pigtails.
Also, fans of Rab Ne Bana Di Jodi will recognize Rishi’s getup in the cho chweet and best wooing song ever, “Hum Ne Tum Ko Dekha”
There is so much to love about this fillum:
A lively group of pals:
Magic guitar playing prowess:
The “Fourteenth Annual Function”:
Romps in the Snow:
Ok, this little 30 second segment was deliciously adorable. First Rishi would start to laugh, and then Neetu, and vice-versa. They held it together enough that it wasn’t obvious, but it was so precious that I literally died ten times.
Neetu n’ Rishi sittin’ in a tree…Twice!
The Omnipresent Self Portrait in someone’s bedroom:
There is also a host of fun fashions in this film, but none more striking than Rishi’s recurring pom-pom hat. (Especially pared with his banana suit!)
A word about Rishi Kapoor; he might be slowly but surely stealing Shashi’s place in my dil. I’ve known this for a while, he’s just so fabulous. Shashi might have the sex appeal but Rishi brings my pyaar to the yard.
In doing some preliminary stalking I discovered that very few people in the BollyBlog world have seen (or written about, at least) this film! Rectify this! See it now! Maybe I’ll lend my DVD, na? :)
*Says the super mature 22 year old.
Directed by: Harish Shah
When I watched this film, I really liked it. I thought it was cute, a little unconventional, and I was finally going to get to a person I was trying to avoid in Neetu Week:
It’s not that I don’t have my own intense pyaar for Rishi, but I wanted this week to be squarely about our girl. In the end, I couldn’t avoid him, but that was OK too.
As I sit down to write up this film, as I have countless times this week, I find I’m uninspired and intimidated by this film. It was enjoyable, yes, but it just left me blank.
I dislike this feeling!
Just now I walked away for about 30 minutes and kept thinking “Was I doing something?”. TWICE.
Dhan Daulat, you are going to be the death of me.
Lucky (Rishi Kapoor) is found in the back of a cargo truck (Horn OK Please) as an infant. His mother had stashed him there while going to get milk for him.
In true bad parenting style, the truck drove away. The baby is found by the two truck drivers Mangat (Prem Nath) and Bajirao (Pran). The two decide to “rear” him (that’s the word they kept using) and name the baby Lucky, since he was found and then they were given a large trucking job soon after.
We watch Lucky grow up, becoming somewhat of a rascal; stealing chickens from his neighbor and escaping with them to rooftops where the owner can’t reach them. His dads somewhat gloss over the habit, and joke with him about his antics. When Lucky is sent to University his dads praise his opportunity and are happy that he will not become a truck driver like they are. Lucky responds by being swiftly kicked out of school before classes even start by getting into a fight. Shamefully brought home his dads lock Lucky into the house as they go away on a job.
Never having been punished, Lucky suffers a terrible shock to his psyche and takes to harassing to people outside of his window. Then, as they are prone to in such situations, our heroine, Shanti (Neetu Singh) shows up. She firmly rejects the advances of a man-child hollering at her while locked inside his own house. Good for you, Shanti.
The next day, however, when Shanti walks by she is curious about the fate of the marooned moron.
Finally, our Shanti gets fed up and asks Lucky what he’s about.
* I’ve mentioned plaid a lot this week. I hated plaid, HAAATED plaid until I discovered 70s masala. Now I wear it every day!