Archive for the ‘Hrishikesh Mukherjee’ Category

khubsuroot

Posted: October 24, 2017 in Hrishikesh Mukherjee, Tidbits

DSC_1320

Advertisements

abhi

The inspiration behind the film ABHIMAN could have been any of the following (i) The singer-actor duo Kishore Kumar & Ruma Guha Thakurta and their lives

(ii) The actors Amitabh Bachchan & Jaya Bhaduri (many opined that Jaya was a superior actor than Amitabh in those days) and their lives

(iii) The Hollywood film A STAR IS BORN

Whatever may have been the inspiration, this is a beautiful film laden with wonderful songs unfolding a tale of a singer couple (Amitabh & Jaya) , their quick romance and marriage and thereafter making music together. When the wife starts getting more recognition, male ego gets hurt and husband starts sulking endlessly taking recourse to booze and ex-flame (Bindu). Kudos to Hrishikesh Mukherjee for offering the role to Bindu as a sensitive friend, as it shows her in a different light  and a far cry from her usual vampish roles. The directorial style is muted; to convey the deep agony of Usha (Jaya) upon losing her son at childbirth, the director uses a long shot, and the distance between Usha and her father (A. K. Hangal) in the same frame highlights the gulf that exists between them (signifying the loneliness of Usha) , even though Usha respected and cared for her father immensely.

The acting is first-rate; Jaya and Amitabh are outstanding. David, Asrani, Durga Khote and A.K.Hangal are also memorable in the portrayal of their respective characters. The unspoiled village with its purity and keeper of the classical music tradition alive is contrasted with a materialistic music driven industry in its urban setting.

Rating : 4.1 out of 5

DSCN0751

NAYAK1

The year 1965-66 is an interesting phase for Bengali cinema in terms of experimentation with the medium. Mrinal Sen’s AKASH KUSUM (1965), Tapan Sinha’s GALPO HALEO SATTI (1966) and Satyajit Ray’s NAYAK (1966) showcases the penchant of these titans to incorporate new devices into the narrative. In this Ray work, one sees use of surrealism in abundant measure – the scene of the actor (Uttam Kumar) drowning in a pile of money or the sequence of the seductive actress (Anjana Bhowmick) haunting the actor among others …

NAYAK

There is also a commonality of NAYAK with the much later film PRAKTAN (2016), exactly fifty years after the first was made, in that both these films are based entirely on a rail travel.

The film narrates the compromises an actor has to make to scale heights of popularity and the regimentation binding him to keep it going. Just see the sequence where the actor’s friend (Premansu Bose) takes him to address a group of agitating workers in his company to provide a morale booster and the actor doesn’t accede to the request of his good friend.

The aspect of the mega-star with a feet of clay also found echo in Hrishikesh Mukherjee’s GUDDI (1971)..

Rating: 3.9 out of 5

 

 

Ashirwad is one of those rare gems from a gifted filmmaker, the late Hrishikesh Mukherjee. Dadamoni Ashok Kumar carries the whole film on his

shoulder. A few haunting melodies have been used in unfolding a touching, melodramatic story. The film is a must watch, just to witness the amazing prowess of a gifted actor from the natural school of acting. Able support is rendered by Sanjeev Kumar, Sumita Sanyal and others.

Rating: 4 out of 5