Andaz

Directed by: David Dhawan

Starring: Anil Kapoor, Karishma Kapoor, Juhi Chawla, Kader Khan

Released: 1994

Many years before Farah Khan brought to life Main Hoon Na that revolved around a college and terrorism, there was David Dhawan who created a movie based on the two as well. Main Hoon Na is not even remotely a copy of Andaaz, as the two stories are different, and where Farah Khan´s movie changes easily from comedy to family drama and action flick, David Dhawan stayed faithful to what he could do best and maintained the light spirit throughout, yet still I found it curious that the two movies have the same feel. Main Hoon Na, aspiring to be a modern day classic in my book, is of course far superior to Andaaz in every department, being a slick, polished and witty massala of the memorable team Farah-SRK, while Andaaz is what it is: a typical 90s movie with loopholes, bad cinematography and Shakti Kapoor.

Anil Kapoor armed with his trademark moustache and wearing glasses (signifying he is a civilized and educated man this time) comes to a college as a new teacher, however his peaceful nature and young age make him a favourite target of student jokes and tricks. One of the girls in particular disturbs his inner balance – Jaya (Karishma), who, after pulling a practical joke on him, seems to annoy him with every single thing. Anil puts up with everything up until the moment he finds an „I love you“ note addressed to him. He gives it to Jaya (as he believes it was her sending it) without much of an explanation, and thus starts an avalanche of other similar notes. Unknown to him it was not her who sent them, but one of other students trying to avenge for previous punishment, and while Anil thinks he is love object of Jaya´s, she in return believes she is his, building this belief on the I love you notes he keeps giving her „back“

The film is also an unashamed eyeglasses porn.

When truth comes out it is already too late for Jaya, who is head over heels and for real in love with the teacher, and in order to gain his affection leaves the school and moves next door, only to be rejected again and again. Until finally Anil decides to bring home – a wife! Marrying in a hurry he chooses Juhi Chawla in an orphanage, with a conviction him marrying will shoo Jaya away forever. Originally he wanted a woman who could cook, sing, be educated. Juhi is none of that and quite useless, however Anil is not angry for long because she still possesses the erotic female parts and basically the whole second half of the film could be called „The tales of a horny husband“. One song in particular made me stare at the screen in a complete disbelief of what was actually happening! The first 13 seconds will be enough for you to understand!

Karishma, who dominated the first half completely, being adorable with her huge eyebrows and frizzy hair, is immediately sidelined not only by her love interest (now interested only in jumping into bed with the wife at every single opportunity. Compared to the latest Dhawan movies it was all still innocent, which can give you an idea of how distasteful are his films now.), but also the script, which is a shame. Her character henceforth doesn´t really make much sense and looses all the appeal.

You may be wondering by now where the terrorists fit in. They don´t fit in at all – and yet they are present. The „action“ subplot is limited to about three or four short scenes during the film, only to overwhelm it in the last 15 minutes, and basically holding no importance at all. In fact the whole terrorist thing is just a way how to get rid of Jaya in the end.

Let´s get laid darling.

Let´s get intimate!

Actually, let´s get kinky.

I really enjoyed the movie (after all I love myself some 90s with all the cringeworthy stuff and guilty pleasures they represent).It is one of the few rare pictures where I didn´t cringe at Anil Kapoor´s comedy, maybe because he kept the acting rather calm and came of much more convincing than his usual let´s be as loud as possible and let´s put my head forward and bulge my small eyes way of acting „funny“. The ladies steal the show from him (I guess after working with Madhuri and Sridevi he was used to that already anyway), Karishma breathes the life into the story in the first part, Juhi with her gorgeousness and comic sense nobody can match takes over in the second, in spite of being given just an extended cameo. She was a pure delight to watch and left me longing for more.

It´s no Main Hoon Na for sure, but it is worth a shot if you are looking for something fun or if you are missing the naughty but not yet completely over the top vulgar David Dhawan.

Fiza

Directed by: Khalid Mohammed

Starring: Karishma Kapoor, Hrithik Roshan, Jaya Bachchan

Released: 2000

The Kapoor Khazana continues! After Rishi´s sweaters the next one of the family who deserves a mention is definitely Karishma Kapoor. After all, she is my favourite of the whole khandaan.

Fiza – what a simple name for film with such a nerve-wrecking story and also for a girl with so much to live through. Once a member of a small Muslim family consisting of her, her mother and younger brother Aman, Fiza has first been faced with the non-sensial cruelty of this world when Aman disappeared during the unrests of Bombay Riots in 1993.

Both mother and daughter left behind have a hard time coping with the painful issue, but where Fiza finds enough strength in her youthful stubborness and occupies herself with studies, her mother refuses to accept the possibility of her son´s death. Every week she goes secretly to a police station to inquire about her son, unaware Fiza knows only too well where she goes. And so Fiza suffers not only for the lost brother, but for her mother as well. Such situation lasts whole six years. 

Once a happy family...

After much crying and shouting Fiza decides she has had enough of uncertainty and living on hopes and starts searching for Aman. But everything fails her – the law, the police, politicians.... bribing, threatening, pleading..... nothing brings any fruit, and only makes Fiza more confused as well as hated. She is slowly becoming a public figure and people, who similarly lost their loved ones, are looking up to her. All in vain. Aman seems to have disappeared from the face of the Earth, and nobody can confirm or deny his death.

But fortunately it is year 1999 – the age of internet has come! And a guy, who has been trying for ages to impress Fiza, googles out (cause it sounds stupid if I write "yahoos out") a photo of a terrorist group operating in the border area. And Fiza recognizes similar features in one of the photos. Refusing any company she sets out to find the person in the picture, and yes, on one night she finally, after six years of complete uncertainty, finds her brother. Very much alive. And very much a terrorist.

Yahoo saves the day

Fiza is a basically a family drama, but interestingly enough it portrays it more as three individual stories. There are different points of view on the same situations, all influenced by the character´s background and experience. While traditional, peace-loving mother cannot understand the tragic changes in her life, and ends up committing suicide with a feeling that she has failed in her most sacred task of raising her children, stubborn, adamant and hard-to-please Fiza uses anger to hide her pain. Because you feel that deep inside she is very fragile. And she knows that if the world saw her weakness, it would crush her completely. And then there is of course Aman, the most innocent soul, who after witnessing horrors, adopts a simple belief that freedom and justice need to be fight for with all possible weapons. They are all bound by deep love, but they all completely lack understanding and many a heartbreak comes out of their helplessness to communicate.

A rare sight - Jaya Bachchan NOT crying in an emotional scene.

Karishma owns the film. She is perfect as Fiza. Her gentle appearance moves you even more when she reveals the hidden outrage. Her eyes are giving out all the emotions, everything is very honest and straight about Fiza. I think one scene I could have done without was her dancing in a club. True, she wanted to show others that she could act as all other girls if she wanted (but she doesn´t care to do so, because... she´s not!), but the weird choreography made her look awkward and didn´t really take the advantage of her excellent dancing skills. Also Fiza is one of the rare films where she was not made to wear skimpy clothes and ultra-short skirts, instead a simple white Indian attire and later more modern, but still not revealing clothes perfectly captured her character. Not to mention she look heavenly in white.

There is something about white colour, that makes you feel the inner strength.

The film has also another rare exception – and that is that I actually liked Jaya Bachchan. I find this woman terribly annoying, just her presence on the screen often makes me cringe, but here she was somehow different. I cannot really put my finger on it. She just was. Maybe because for the first time her crying wasn´t constant and didn´t look artificial. Maybe because her dialogue delivery wasn´t so clichéd. Maybe because she really succeeded in creating a bond with Karishma and Hrithik on screen. And speaking about Hrithik, for me this was the best performance he has given that I´ve seen. Yes, I rate it higher than Guzaarish and even Jodhaa-Akbar. His physical resemblance to Karishma was only a plus and they created a wonderful sibling combination. 

If I didn´t know better, I would easily believe they ARE brother and sister.

It is true though, that I did not understand the relationship between Fiza nad her mother. The way it was portraited in different scenes left me rather confused. We see them chatting away merrily, and the next moment Fiza is screaming that her Ami should forget Aman forever. Another time Ami is crying and Fiza is telling her not to give up hope. These constant changes in what Fiza wanted her mother to do were not handeled too well.

The numerous supporting cast does a good job, though nobody really stays in mind, except perhaps Johnny Lever (another rarity – he is funny and not OTT). Sushmita Sen did an item song for the film, but I must admit I was not taken in by her dancing or the song itself, and fast-forwarded through most of it. 

Film works in both parts and doesn´t loose the pace or thrill, the ending comes of as downright nail-biting and very moving. You just don´t want Karishma to pull that trigger. And on the other hand you want Hrithik to be finally given the peace only death can offer. I read that Fiza did not do well at the box office. Yet another proof that the success of the film does not automatically comes with quality.

Celebrating the music of Dil To Pagal Hai

I heart this movie. Live with it. And one of the reasons it´s that absolutely wonderful soundtrack. I am NOT a fan of Lata Mangeshkar, it took me some time to get used to her voice, but as soon as I did there was not a single flaw in the musical part of DTPH. And since it clearly claims to be "Yash Chopra´s MUSICAL" there is a LOT of music. The film opening credits are one of the cutest ever, from the main message to the last couple shown, which incidentally is Yash Chopra himself, huging his wife.

And then we are given something about love too, but it definitely is nothing fluffy! Make way for energetic Karishma Kapoor and her - possibly best and most famous dance number ever!

Next there is Shahrukh sharing his fantasy about a girl with an innocent face, who has mischief in her eyes and shies away. It was his favourite song from the film by the way.

A song that set a trend of heart-shaped baloons for a Valentine´s day. I must admit some of Shahrukh´s choreography (left arm up, right arm up, left arm forward, right arm forward....) reminded me of some silly school dancing we did as kids, but in the end it´s SRK and nobody really cares, because even with silly moves he looks sexy. If you have not seen the film yet - no, Madhuri and Shahrukh don´t knoweach other yet. It doens´t stop them from singing songs about each other though. I love Bollywood.

The title song - favourite track for both Madhuri and Karishma. Shot in Germany, which I find terribly cute (and a relief after all the Swiss Alps Yash Chopra was serving us for years). Only Akshay´s ridiculous haircut spoils a bit the perfect picture.

But happy times do not last forever, do they? And so Nisha is injured and Rahul in need of a new dancer.... And then she just appears - like an illusion in a moonlight. Like a beautiful dream. Fortunatelly for us all, she is a human being, in real life going by the name of Madhuri Dixit.

My own personal favourite - Koi Ladki Hai. I already featured her on this blog in my "rainsongs list". Except for the "Maya´s dance" (right above) it has the best choreography in the film, and the one responsible is Shiamak Davar. But yeah, I never knew it is possible to dance like this with a broken ankle! Seems Lolo is capable of nearly anything.

By now Shahrukh and Madhuri are in love. But they don´t know it yet. Not even Karishma knows it, but she REALLY doesn´t like somebody like Madhuri dancing on HER stage. And so she decides to give her a lesson. People have been endlessly arguing about which of the ladies out-danced the other. My reply is: none. They both were amazing - and completely different. Madhuri as Pooja was full of grace and joy, simply enjoying the dance, while Karishma was more energetic, less graceful and full of anger. Both were superb.

They still don´t know they are in love. But to show the viewer they really are, Yash Chopra presents his favourite song Arre Arre. Brilliant picturization full of tender SRK/Madhuri moments that make my heart melt. And Madhuri just looks divine in white.

And the same melody is used to show us a moment when Madhuri realizes..... she is in love!

Guess what! Rahul knows he is in love too! And we have a PERFECT excuse for a absolutely delightful song with an amazing picturization!!! No words needed....

And in the end - a little sum up of the main songs, this time "live"! Long live DTPH!

Dil To Pagal Hai

Directed by: Yash Chopra

Starring: Shahrukh Khan, Madhuri Dixit, Karishma Kapoor, Akshay Kumar

Released: 1997

It was my fourth Bollywood movie and also the one that confirmed my love for Bollywood forever. It was the last step that I took in my obsession with Madhuri Dixit, Shahrukh Khan and Indian cinema in general. It is for me what Dilwale Dulhania Le Jayenge is to many others – the ultimate romantic Bollywood movie. It doesn´t have much of a story. It has a rather slow pace. It has kitschi things like running on green meadows and feeling each other´s presence, even while you don´t know the other one exists. And it is primarily not about twists of fate, but about a feeling.

Rahul (who else then Shahrukh Khan with that name, right?) and Nisha (Karishma Kapoor) are the best of friends and together with a bunch of other friends they form a famous dance troupe. Rahul is a director and choreographer, Nisha, as it would seem, the best dancer for miles and miles around. Nisha loves Rahul, but never told him. After all, Rahul is one unromantic and cynical guy, who hates all the lovy-mushy stuff. He loves only one girl, but she unfortunately exists only in his mind and resembles more of a fairy then a human being. And Rahul wants to make a new play based on this illusion, which he lovingly calls Maya. After everyone around him makes it clear they do not understand her character, he still sends them all to blazes and is adamant. Rehearsals start. And as soon as they do the nightmare of all directors strikes – Nisha injures her feet and is unable to dance. Depressed and angry, Rahul stays in the rehearsing hall till the late evening and without much of a thought he starts playing the drums. To his great surprise the gentle, rhythmical tinkling of somebody´s anklets comes to him in return from the neighbouring hall.......

Pooja (Madhuri Dixit) is an orphan raised by family friends, whom she affectionatelly calls uncle and aunty. She spends her time with day-dreaming, for which her friends make fun of her. But nothing can shake her belief that God has created everyone as a part of a couple, and only left it to people to find each other. She stubbornly believes she will eventually meet the man of her dreams and they will live happily ever after. Therefore she is nothing less then shocked when Ajay (Akshay Kumar with a rather ridiculous haircut), her best friend and son of „aunty“ and „uncle“, professes his love for her and asks her to marry him. She hastily agrees, still much shocked and not certain at all, but after a while she makes peace with the prospect and tries to convince herself that Ajay is the one. But then one evening she stays late in her dancing school. And once she hears somebody playing the drums nearby, she gives into the rhythm and starts dancing......

She´s beautiful, she´ s cute, she´s sexy..... Why doesn´t he love her?

Oh yeah...... right....... that´s why.

It is obvious, what will happen next, right? In fact, it is quite obvious what will happen since the first minute. The original message by Yash Chopra (for the first time ever not a cringe worthy one) is „Someone, somewhere, is made for you“ and it completely reveals the whole plot. The question here is not „what“, but „how“ and „when“. While the first half of the film moves really slow, introducing the characters and the relationships between them, it builds up the expectations that are fully satisfied in the second. The film sure does have several weak points, But I will get to those later. I found it fascinating that finally there is a film with no negative character at all – and still negative things happen. There is no need for a person to intentionally create problems, because there is love love love everywhere and it makes enough mess by itself, tormenting these nice, but still flawed people. 

Absolutely mesmerized and not believing his eyes. Why?

Oh yeah....... righ........ that´s why.

There is more to the characters than meets the eye, especially the leading pair, but one has to admit it is because of the sensitive and excellent handling of the roles by the actors more then because of the script. Many people feel that Rahul in DTPH is an extension of Raj from DDLJ. When I saw the movie for the first time, I could not make any comparisms as I had not seen DDLJ yet, but today I can surely agree. Rahul is however, a step ahead of a half-childish Raj. He is more mature in thinking, more aware of his aim, and he is more real in a sense that he is more possessive of the girl he loves. He even doesn´t hesitate to say things that he knows will hurt her, but only in hope that she might feel bad after that and come to him. He is selfish in his love, and yet so giving, offering her all his devotion. He is the character that goes through a development. Not exactly a stereotypical love-hater, but not convinced about romantic feelings, up until the moment he finds himself in love, he accepts this new feeling without fighting it. He is still as bratty and with an air of arrogance in the end, but love enriches him and really shows his depth. Shahrukh Khan is a brilliant actor, and even though I do not consider his performances in DDLJ or DTPH as award winning, he is as convincing as only he can be.

Then there is of course Pooja. Rahul´s fantasy about Maya is nothing else then Yash Chopra´s eternal fantasy about an ideal woman clad in white. But once illusionary „Maya“ takes the real shape of „Pooja“ right in front of Rahul´s eyes, dancing in a ray of moonlight, she is not at all a flawless creature herself. She is naive and seems to be all sweet and sugary, she could very easily be rejected as completely unrealistic. But one look into Madhuri´s eyes and Pooja becomes a real character. There is an unspoken, but strongly felt strength in her. What makes Pooja different from stereotypical heroines is not only her decision not to pursue her desire on cost of hurting people who raised her (which up until that point was not the trend in Bollywood movies), but also the way she carries herself. When she decides to give up her dreams, she does so with tremendous dignity. Her silence, smiles, pauses and eyes all emote without much dialogues. She does not speak too much, but you still know she is there, that she is feeling, thinking, longing..... Rahul represents passion in their relationship, while she is dutiful, with a great self-respect, but never cold or proud. Her drawback is her indecisiveness in the first part and her inability to clearly face Rahul in the second. What made me love the character is also the fact Madhuri got to play yet another completely different person. Pooja is like no other of her roles, it doesn´t resemble any of them.

Everyone who knows me also knows that Madhuri/Shahrukh are my favourite jodi. I love their chemistry that is simply burning the screen. They don´t have to eat each other´s head to show you they are in love. One word, one look or just being in the same room creates magic. In a way they are a mature jodi with a great depth and it was also great to see them falling in love bit by bit. There was a slow development of the relationship, which I always welcome in Bollywood films in opposite to „saw-you-in-the-mall-once-will-you-marry-me“ types of romances.

CHEMISTRY!

CHEMISTRY!

CHEMISTRY!

The „main cast“ is complete with Karishma Kapoor and Akshay Kumar. There is not much to talk about when it comes to Akshay, except that he looks somehow nerdy and keeps his OK level of acting. His buddiness with Madhuri was cute though. Karishma, whom many are praising for her performance, was also good, but did not blown me away. While both Shahrukh and Madhuri are so effortless in their craft, that it might almost seem they are not even acting, Karishma does have a sort of Bollywood OTT-ness, which is most apparent in her emotional scenes. She also looks a little out of place at times among Shahrukh-Madhuri-Akshay, who are all in the same age-group, while she is much younger. Still, her and Shahrukh´s friendship looks very natural on screen.

The awkward moment when alcohol makes you tell your best friend you love him.

As I have mentioned earlier there are some flaws to the film, which I wouldn´t label as perfect or the best ever. The first part holds some „teenage“ silliness in some of the dialogues, for example all that Valentine´s day and full moon explanations were very cheesy and one can only curse Aditya Chopra for it. Similarly Karishma´s confession to Rahul on the bank of a lake (in Baden Baden :) )is way too long and on the verge of boring. Another scene that needed more editing was the whole Khandala bussiness and visit to Pooja´s teacher. But the rest of the film makes up for these. For every Valentine´s day crap we have Shahrukh Khan without pants, for every Karishma´s boring crying by the lake we have her excellent drunken scene, for every Khandala visit we have the „Aur pass“ moment (the most sensuous, romantic, gentle, beautiful and at the same time erotic scene of the world cinema). Visuals are beautiful, and I could not care less if there is not a one as clear market place in real India. If we can have superheroes flying through the air and babies delivered by a vacuum cleaner, can´t we have clean markets and studios too? I loved the idea of two people being so close to each other and yet never meeting.

Aur pass......

Aur pass...................

Aur pass...........................................................

The great part of the film is musical score – and what a score it is! Every song is beautiful to say the least. My personal favourites are Koi Ladki Hai and Dhoolna, but every single track makes you want to dance or at least hum along. I was not excited about choreography at first. In fact it looked more like an aerobic training, but once I accepted it, it fitted well. It was different from what we usually see. The picturization of two songs is especially beautiful: Arre Arre is wonderful in showing at the same time Rahul and Pooja bonding as friends and collegues, and their „inner selves“ being very much in love. And Dhoolna is simply a song that you need to see in a Chopra movie. Madhuri looked ethreal in all the outfits and colours and Shahrukh´s loving gaze was, I´m sure, not difficult to pull off at all!

The only problem of this picturization is you don´t  know where to look!

It is also important to realize that Dil To Pagal Hai together with Hum Aapke Hain Koun and Dilwale Dulhania Le Jayenge were very different from the rest of the films at the time of their release. HAHK was celebrating family values, DDLJ connected those with romance and finally DTPH was nothing but a tribute to love. It never promised to be anything else. Not perfect. But definitely a classic. Enjoyable, relaxing, touching, uncomplicated in narration but rich with emotions. A film about a feeling.

Someone, somewhere...... is made for you.....

Biwi no. 1

Director: David Dhawan

Starring: Salman Khan, Karishma Kapoor, Sushmita Sen, Anil Kapoor

Released: 1999

I could hardly believe that a movie like Biwi no. 1 could actually be such a hit. In fact Biwi no. 1 is one of the most atrocious Bollywood movies I have seen and with its cringeworthiness triumphs even over a „gem“ like Raja Hindustani. The not-so-original story goes as follows – Prem (who else then Salman Khan with this name, right?) runs a successful family company, is seemingly happily married to Pooja (Karishma Kapoor), who manages to cook, worship, clean, take care of two children, mother-in-law and a dog, and still looks absolutely glamorous. However the marital bliss bores Prem to death and as soon as opportunity arises he starts romancing one of his company´s models Rupali (Sushmita Sen). Rupali does not cook, does not clean and she only takes care of herself, but hey – she is sexy and instead of a saree she wears mini skirts. And since her dream has always been to marry a rich guy, she soon accepts Prem romancing her. By the way – he somehow forgets to tell her he is already married.

The two lovers take a trip to Switzerland (as if there were no other countries in Europe) but all the privacy is lost when they run into Prem´s friend Lakhan (played by Anil Kapoor which results into a vain but constant expectation of him bursting into a notorious song starting with „ram pam pam ram pam pam rampa papam pam pam. . .) and his wife Lovelee (aka Tabu being wasted) and they keep running into them all the more they try to avoid them. Inevitably Rupali learns about Pooja´s existence but Prem quickly comes up with another lie about his marriage being arranged and his wife being mad. Rupali believes it without questioning. Some time after their return Pooja, the biwi no. 1, learns about this biwi no. 2, thanks to her dog, who tracks Prem down to Rupali´s house because he knows it is not appropriate for his Master to spent Karwachauth with some other woman. After this Pooja asks her husband to choose between his mistress and his wife, but only ends up heart-broken as he moves in with Rupali. 

It is really not as it looks like.

Time to turn B.I.T.C.H

What follows is Pooja´s war – even though I stayed unsure if she started it to get her husband back or to make his life hell. There is nothing inovative in the steps she takes against him and most of them are in the end more awkward then funny. As expected I was on her „side“ while watching Prem cheating, but as soon as she herself turns into. . .well . . . a bitch, she lost all my sympathy. In fact, Rupali seemed more appealing at times. The only thing that I appreciated was that the movie did not presented Rupali as being an evil person. All the characters, though, are acting somehow dumb and leave the viewer completely confused everytime. As much as one protests whenever a hero chooses the traditional Indian girl (traditional being the most important part) over a western wanna-be, it wouldn´t be as bad here, since the hero and heroine are already married and have family. But instead we are given the revelation that only if the wife too starts showing some serious skin and doing sexy photoshoots she can win her hubby back. And still – nothing is working (not even the emotional blackmailing of their two children, who do not hesitate to call upon the divine Big B himself to support their cause). Only after Rupali is deceived by Lakhan and leaves Prem he goes back to his family.

Emotional blackmailer no. 1

Emotional blackmailer no. 2

Emotional blackmailer no. 3

It is a film where everybody lies to everybody, nobody really bothers to understand the other, and all except the dog have no idea what to do. All the characters (except the dog again) end up being very unlikeable and one really does not care for them at all. Some atrocious acting involved. While Karishma and Anil Kapoor are stricktly OK, Sushmita Sen leaves no impression, Tabu is wasted and Salman Khan should be banned from ever trying to cry on screen. Saif Ali Khan in a cameo has no chance of saving anything. The children are extremely annoying – and the same word can be used for the musical score. There is not one memorable or even hummable song, and lyrics like „Ishq sona hai, ishq chandi hai, sona, sona, sona, sona“ are everything but golden.

Watch only if you are a MASSIVE Karishma Kapoor fan or are in a masochistic mood.