Student of the Year

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

Karz, 1980

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:

I’ve never seen a good Indian girl suck a cig…

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.

On their way to his maternal home, Ravi and Kamini pull over to investigate a problem with the Jeep. Ever the gentleman the new husband tries his hand at romancing his little lady. Ravi, however, makes the mistake of bringing his guitar into the romance and Kamini promptly kills him by running him over with the Jeep.

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.

Good fatherly advice.

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.

It is kind of hot.
Might I point out the utter uselessness of covering up a clothed body 
when a naked one is right behind it?

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.

That is the most Bollywood-esque sentence of all time.

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.

Just 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?

Khel Khel Mein, 1975

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”:

Princess Neetu!:

Prince Rishi!

Annnnd Neetu-Rishi!

Romps in the Snow:

Staring contests:

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:

Um. Murder:

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.

Dhan Daulat, 1980

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.

This is the Maa running after the truck and screaming. 
And Kishore.
With whom my children will share DNA.

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.

When his fathers return home, Lucky is sprung from jail and goes on a hunt for Shanti, determined to win her over. He does this by spraying her down with a hose and hoisting her up in construction equipment. Filmi wooing is serious business, people.

Finally, our Shanti gets fed up and asks Lucky what he’s about.

Lucky spouts off about pyaar and shaadis and the like. Being a wise little thing, Shanti dares him to tell her “brother” who is walking down the street. He does so, is taken to what he thinks is her house and is matched up with the guy’s sister… who isn’t Shanti. Drama ensuses with offenses being taken by the brother and his sister but Lucky is not daunted by this joke.
She looks rather pleased with herself, doesn’t she?
Good girl. 
Our Shanti still needs convincing, so Lucky arranges for a dramatic suicide attempt by laying on the train tracks outside of her house until she will admit that she loves him. The locals take Lucky’s side (of course) and a song and dance on the tracks ensues. Shanti is still not swayed and it takes until seconds before the train to come, that she agrees to be Lucky’s gal. But she has serious reservations. And given her criteria, I’m soundly with her.
Inspired for the first time to do something besides being a lump, Lucky goes to work building his own match company. His business is successful and all looks good for our lovers until the ruling match monopoly decides to play dirty to ensure that they will be the king of matches forever. They ruin all of Lucky’s stock and when the matches are returned by customers Lucky’s business goes under. To compound his problems, Lucky’s proposal to Shanti is refused by her father who calls into question his lack of money and lack of parentage.
Broken, and upset Lucky falls into bad company who convince him that if he were to accumulate large sums of money no one would question his parentage and he could have whatever he wants. The next time we see our Lucky on screen he is wearing a powder blue leisure suit and he is in a den. Evil, bad, villain Lucky has emerged.
Evil Lucky spends his time ruining other companies the way his was ruined. He pulls the rug from under his competitors in order to stay on top. Driving a flashy new car, rocking expensive Aviator glasses and carrying a suitcase of rupees Lucky returns to his village in hopes of giving back the money the community gave him to start his own business. Disgusted, the townspeople throw his money to the ground and his dads even refuse his repayment.
In a last ditch effort to prove to himself that money buys happiness, Lucky wanders over to Shanti’s house and gives her a fancy salwaar suit and bids her to come to a party with him. She agrees but is disgusted by Lucky’s new swagger and publicly shames him when he asks her to sing, and she sings about how disappointed she is in him. She runs from the party.
I forget how and why and through what means it is explained that Lucky’s parents are actually a lowly fruit seller and the Don that Lucky has been trying to undo through unseemly means, but Lucky’s parents are presented to him at the climax, after Lucky comes crawling back to his dads and accepted finally by Shanti’s father. In the end, Lucky ends up with four dads, he’s redeemed in the eyes of his parents and Shanti and they hug it out, hasty Masala film ending ishtyle.
Clearly I’m forgetting some major plot points, but as I mentioned, I tried to write this up a million time, and I watched it a while back… it has been a struggle. I wasn’t really excited by the film, but it wasn’t like I was totally disgusted by it either. I remember being vaguely unhappy with all the talk about money only brings happiness and it doesn’t matter how you get it, just that you do.
I found Neetu’s character admirable. She stuck up for herself, and didn’t fall for Lucky’s charms after he found money and became a powerful person. Rather, she only took him once he had seen the error of his ways and was humbled.

Raffoo Chakkar, 1975

Directed by: Narender Bedi
I just had to start with that little sequence, mainly because the little Don Quixote figurine took me so completely off guard that I had to pause the film and chortle for a good five minutes before I could compose myself. It’s always the absurdly stupid things that get me…
Rafoo Chakkar is the most fabulously preposterous movie I’ve ever seen in my life. It’s so tempting not to stop writing this post and just start re-watching it, but I’ve kept ya’ll waiting far to long already.
Have you ever wanted to hug a film? The entire film, not just the DVD? That’s how I feel about this one. Oh, it’s magical.
Ranjit (Anwar Hussian) and Prakash (Madan Puri)–who you will never keep straight because they are all but identical and dressed so similarly through the whole film that you just have to go with it–are criminals that are arrested after they burn a man alive in efforts to avoid a police raid.
Ah! Stop dressing alike! 
Ranjit leaves behind his wife Shanti (Sulochana) and his young son, Dev (Rishi Kapoor).  The mother and son move in with a friend who also has a young son, Salim (Paintal).  Years pass (as evidenced by a sequence of days being torn off a calendar in rapid speed) and Salim and Dev have become band members who play for weddings and other functions.

We stumble upon our two darlings as they play for Prakash’s arranged marriage to Ritu (Neetu Singh). Ritu runs away from the wedding because she was being sold for money (essentially) by her aunt who had raised her. She with her friend speeds away to join an all-girl band.  After the wedding guests are shooed away from the failed matrimonial celebrations, Dev and Salim ask Prakash to pay them for playing at the wedding. Prakash denies their request and the two return home to their mothers who can no longer afford to feed them.  The next day they are taking a shortcut through a graveyard when they come across a funeral akin to the ones you see in The Godfather II (i.e. tortured band playing, sobbing Italian relatives, the overall sense that the mob has something to do with this, the feeling that there is about to be a really bad trick pulled on someone…etc). Dev and Salim witness Prakash and Ranjit murdering a man. The two musicians, laden down with massive drums, flee and return home only to see that henchmen are waiting for them.
I’m amazed still that those very unique instrument cases never gave them away…
They try their luck at getting into the same all girl band, but are rejected because they are male. The two only get in when two girls are forced home by their fathers leaving behind their luggage full of wigs and women’s apparel made just to fit like a glove on the men. “Devi” and “Salma” join the band on the train. On the train they befriend Ritu and both become quite attached to her, though Dev wins the upper hand by thwarting Salim in his advances of Ritu.
Ritu confides in Devi that she wants only to marry a rich man, (wasn’t she about to 40 minutes ago?), but wait, he has to be young. (Oh honey, marriages of convenience don’t work that way) Oh, and you want to be in love with him? (Darling girl, just take the rich old bogey and swim in diamonds. Who needs pyaar with a pool of diamonds and a bed made with silk sheets milled daily by your own farm of silk worms?)
Spin those pearls Rishi!

Of course Dev is crushed because he is a poor boy, and dressed as a woman he cannot expresses the love in his heart that he has for Ritu.
After they arrive at the hotel Dev devises a plan to woo Ritu by dressing as a very… colorfully plaid*… millionaire and masquerading under the name Esso, claiming to own the oil company under the same nomenclature.  He makes himself at home on the houseboat of the real millionaire who, is determined to make Salma love him.
He got her attention by hitting a golf ball at her butt.
Our boy Rishi is all class.

During their romantic interludes Esso (a.k.a. Dev or Devi) tells Ritu that he wants a girl to show him how to love. Acting very forward Ritu canoodles up to him and asks him to hold her. Before he can say “Okay” she runs away singing and Esso is left looking very confused and thinking “Girls are the most bizarre things on the planet” because it’s true, we are.  They sing and dance with joyful abandon, peaking around trees and indulging in sweet merriment.
I probably rewound this seven times. 

Meanwhile, Salma is getting engaged to the flashily dressed, REAL millionaire who also looks so much like the two Bad Guy Twins (BGT) that you think it’s one of them… maybe?… until they are all three on screen and your foolishness is exposed.
Back at the beginning of the plot, the two henchmen standing outside of Dev and Salim’s house are informed of their whereabouts via their mothers. Naturally, the Maas are kidnapped and held hostage while every villain in the entire world  swoops in to the same hotel as the traveling all-girl band.
While running from the thugs, Dev and Salim get trapped under the table at a Dinner and a Show/Evil Meeting of Henchmen where they hear the dastardly plans of all the villains. Somewhere in this scene the head honcho (whom for ease’s sake I will be calling Vito) makes a cat appear out of thin air. Ohhh, it gave me the creeps! Vito is very, very upset that the BGT have yet to catch and kill the two boys who witnessed the murder at the graveyard. Of course, it’s ironic because Dev and Salim are sitting at their feet! Oy!
All the villains watch a show wherein there is a lot of glitter and mirrors and my brain stopped working because of the brilliance of it.
I’m remodeling my bathroom.
Right. This. Second.

I’m forgetting the details now, because this film might have been to fantabulous to pay attention to (or more likely, I’ve only watched it once not thrice) but be content in knowing that they all end up at the villain’s… er… Technicolored Ski Lodge in the Jungle (TSLITJ) to rescue the Maas, Dev tells Ritu he is a man, and a poor man, she (of course) still loves him. There are also some floating cat heads and a cat-shaped bomb. (WHAT IS IT WITH THE CATS!?!?!)
It’s more New Orleans than Ski Lodge, now that I look at it…
Ok, technically this is shot from the underside of a glass table,
but still… it has a syringe in its neck! 
And its eyes are glowing!
Cat bomb! Cat bomb! I’m a cat bomb!

In the TSLITJ Ranjit recognizes Shanti and is introduced to his son. He begs Dev for forgiveness (even though up until 20 seconds previous he wanted to kill him) and asks for a hug in return for giving up his crooked way of life. Everyone in the scene apart from the happy, reuniting family, has the decency to look as if it is the most awkward moment in their lives, because it is. Nothing is going to top that.
Like a good boy, Dev hugs his daddy. That one little display of filial love sets off the most involved fight scene ever. All the villains, Vito, the Maas, Ritu, and all the henchmen get involved. There has to be 50 people flying about on chandeliers, doing back flips and hitting each other with large, ornate Styrofoam “statues”. There is even fencing! Rishi looks Oh-So-Fine fencing.
He’s the pinch-his-cheeks type.

Approximately 13.72 minutes later the director decided there needed to be an end to the fighting and a lot of loose end wrapping up to do, so he cut to a frame with Ritu and Dev hugging beautifully, and Salim being chased by his colorful, millionaire, wannabe boyfriend. And it ends. Just like that.
I don’ think I can describe how incredible I think this movie is. It is already written down on the very top of my “Buy of Die” list…
Everyone in the film gives an amazing performance, especially Neetu, who was SEVENTEEN during this movie! You could have fooled me! (Also, there were a lot of moments where she was spitting image of Rani Mukherji! Love!!)
The music, the sets, costumes, everything is just magnificent. I’ve never called a movie a “romp” before but if I were to do so, this would be the film the deserves it.
Also, they break through the “4th Wall” a lot and stare right at the camera. I don’t know why I’m so fond of that particular technique, but I just love it. It really brings the audience in on the jokes.
I’ve never seen Some Like it Hot, the film this mimics, but L has, and I plan to share this with her ASAP!
And, because I took 354 screen caps (yes, I counted) I leave you with some fun extras!
Oh nothing, my pal here is just trying to perfect her sad 
“seductively bitting the finger” technique.
There is a new dimension and meaning to my life that I didn’t know existed 
before I saw Rishi in garters and feathers.
Everything I hate about engagement photos 
totally makes my heart melt in Bollywood.
Love the hat-wear. 
This is only made more amazing by the frame that came 2 seconds later…

* I’ve mentioned plaid a lot this week. I hated plaid, HAAATED plaid until I discovered 70s masala. Now I wear it every day!