Considered as one of the most insightful, thought provoking and experimental films made on the subject of ‘Love and Loneliness’, KHAMOSHI raises a very valid question through its intense content revolving around the psychiatric treatment of the patients. And therefore needs to be seen or studied with a completely different outlook as compared to the other popular Hindi films made on the Love-theme.
Based on a Bengali short story, 'Nurse Mitra' by renowned Bengali writer, Ashutosh Mukherjee, the Hindi version is a remake of director Asit Sen’s own Bengali film, DEEP JWELE JAAIi (1959) starring Suchitra Sen and it talks about a psychiatric hospital run by a Colonel (Doctor) treating his patients with a new questionable technique or vision. The patients are particularly the ones suffering from acute mania, caused by a male’s inner urge of an unconditional love, which he keeps searching in other women after being separated from his mother. And when he doesn’t get the same for long, the frustration turns him into a cynical personality, full of hatred and distrust requiring medical care.
Now Colonel Saab uses his beautiful nurse, Radha (Waheeda Rehman) to treat such passionate patients and he intends to do the same for their new patient Arun (Rajesh Khanna) too who has been just brought in. Radha, who has earlier successfully cured another similar patient named Dev (Dharmendra) takes up the assigned case, but in the process gets to encounter her own inner pain, longing for love and discomfort, seriously playing the lovable mother, lover and friend altogether for her new patient. So as the girl gets more involved in Arun’s personal trauma, forgetting her own hidden feelings following the moral path of a nurse, she goes into a depression and then meets a tragic end as a lonely person deprived of any real love & care by the people around.
The film proudly included in the list of All Time Classics of Hindi Cinema has Waheeda Rehman giving one of her career best performances as Radha, the nurse. And the actress says a lot with her speaking eyes conveying the hidden pain of loneliness, betrayal and unreciprocated love intensely. In fact her act of the lovable nurse should ideally be studied by every actress as her text book material to portray such deep expressions on the screen, so effortlessly and with an utmost devotion. In other words, though we have the superstar Rajesh Khanna too playing the lead role here, but still KHAMOSHI remains a Waheeda Rehman film from start to finish unarguably and that is the reason she was also nominated in the Best Actress Filmfare Awards category in the following year.
Admittedly more remembered for its mesmerizing soundtrack beautifully composed by Hemant Kumar and thoughtfully penned by Gulzar, the film has many hauntingly melodious tracks such as “Tum Pukar Lo…Tumhara Intezaar Hai”, “Woh Shaam Kuch Ajeeb Thi”, “Humne Dekhi Hai In Aankhon Ki Mehekti Khushboo” and more. Along with a soothing background score, another gem in its great execution is the Black & White Cinematography by Kamal Bose, who simply transforms many of its lovable scenes into sheer poetry, also winning the Filmfare Award for his spending work deservingly.
Yes, if looked upon from the medical profession point of view, the film does make you raise some valid questions on the irresponsible technique opted by the Colonel using her innocent nurse, neglecting her own emotional status completely. But despite this justified objection, KHAMOSHI still needs to be seen and cherished by every lover of Hindi Cinema unconditionally as such films get rarely made and they also remain the strong representative of the fact that why the people living in our part of the world are known to be highly emotional ones thinking from the heart.
(Note : As its hidden masterstroke, just notice the way director Asit Sen, uses Dharmender so subtly and softly without bringing him into the limelight, taking the focus away.)
Directed By Asit Sen
Starring : Rajesh Khanna, Waheeda Rehman, Nasir Hussain, Devan Verma, Lalita Pawar, Dharmender (Sp. Apperance) and more.
Music : Hemant Kumar Story : Ashutosh Mukherjee
Dialogues & Lyrics : Gulzar
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There is an exciting and inviting news for all book lovers here as The Times of India, one of the top newspapers of the nation, celebrates its 175th year of publication by releasing two precious collector’s delight books related with Indian History, Politics and Film Industry. The fabulous releases bring out memorable pages from TOI’s archives featuring many major events, articles, reviews, trendsetter happenings, controversies and rare, unseen photographs remembering the last two centuries, compiled in two well-designed Coffee Table books concisely reviewed below.
FLASHBACK Briefly commencing from the pre-film entertainment & early film shows from 1849-1910s, the book has news clippings and articles published on Dadasaheb Phalke, his ‘Raja Harishchandra’ followed by Bombay’s silent and early talkie studios in the subsequent pages.
Moving ahead, it takes you on to an immensely delightful journey of our Indian Film Industry from 1930s to the new millennium through many insightfully compiled and superbly designed quality pages full of quite unique information, news, reviews and many unseen pictures of all the reigning creative masters of 100 years of our Indian Cinema.
Its each turning of the page transports you back into that memorable era and looking at all those invaluable documents one strongly feels like thanking its publishers for giving us this rare chance to witness these historical pages once again. Following the ten decades of growth of our Indian Film Industry, though it majorly focusing on Hindi films and its related issues in most of its pages but still it gives enough attention to the regional cinema too as required, making it a must buy for every Indian movie-freak for his personal home library without any doubt.
Researched & Conceived by : Sharmishtha Gooptu, Avijit Ghish and Srijana Mitra Das.
MOMENTOUS TIMES Taking into account the last two centuries, this nostalgic book brings together 175 landmark events of pre and post independent India, from 1838 to the present times. And it is quite an amazing experience to re-visit those different times through the individual pages dedicated to every major event selected carefully. The book begins with the news on Indian Penal Code in 1838 and ends with the Nirbhaya’s Martyrdom in December 2012 devoting each page to a memorable event with some exceptional news clips and photographs. Particularly its truly like being in a time machine reading the news reports around the Indian Independence in the mid-40s, about the wars with our neighboring countries post the 60s, the politically tense 70s with the reference of emergency and even the release of SHOLAY and articles written on the epic given the deserving space.
In short if you are interested in Indian politics and its progress over the last two centuries then this is certainly a not to be missed chronicle by all means and it needs to be there in your private collection as a must.
Compiled by : Sandipan Deb Cheers!
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When a director like Tigmanshu Dhulia makes his first film, he follows his own vision, guts and dream coming up with a real gem as HAASIL (2003). With the next few films he continues the same path featuring some talented actors as in CHARAS (2004) & SHAGIRD (2011) till success comes knocking at his doors with many awards and recognition post the realistic gem PAAN SINGH TOMAR (2012). The good times continue with an average grosser series of SAHIB BIWI AUR GANGSTER and another award winning performance in GANGS OF WASSEYPUR series makes many heads turn with the changing times. Now in this new phase of success, the name of this talented director makes a way and reaches big production houses and the big stars, who then call him to direct a specific project for them as per their own requirements. And this is exactly where the problem begins, when the so called ‘Star-System’ enters into the game, clearly visible in Tigmanshu’s latest flick BULLETT RAJA which happens to be the weakest film from the director unexpectedly.
BR begins on a very uninspiring note unlike director’s previous films and when one gets to see an item song within the first 10 minutes only all of a sudden, it becomes pretty clear that this has not been made as per the exact vision of the person behind films like HAASIL, CHARAS, SHAGIRD and PAAN SINGH TOMAR. Yes, BULLETT RAJA too has got a part of that raw, unforgiving and realistic Tigmanshu feel in its initial moments using the local dialect and settings. But an all predictable screenplay & sloppy editing actually plays the main spoilt sport here wherein things keep happening too easily for the main lead and therefore their journey of becoming ‘Political Commandos” from the common man largely remains less impressive and unconvincing.
Still the film does have some irregular engaging moments arising out of its well written enjoyable dialogues in the first half, along with few poor songs. But once many of its notable characters vanish altogether as per the story progression, it all becomes quite dull and the film falls drastically post intermission having nothing new to serve other than the usual revenge drama. To save it from sinking further, the writers bring in a fresh character of Vidyut Jammwal in the last 40 minutes of the film playing the tough inspector with some new twists and turns. But the move fails to provide any major lift and it all ends with an open climax as we have already seen several times before in the recent times.
In few words, the director who is known for coming up with some fresh films following his own unique way of execution surprisingly chooses a very poor story idea for his first mainstream project made with a big name. Plus throughout the film his famous touch is visible only in some characters in the beginning or in few scenes later on with some notable dialogues well rendered by the supporting cast. Further a few insertions are incorporated in a quite unintelligent way (unlike a Dhulia film), like the use of Skype in a confidential meeting straight connecting to the jail, the extreme facilities enjoyed by the power broker within the jail premises and particularly the dialogue mentioning Rani Laxmi Bai in the hotel room (What was it really??). Moreover the intense emotional feel, visible in the director’s previous films is completely missing in this and the viewers never feel connected to the ongoing affair between the lead pair not even once.
Now whether this was a result of the director’s sincere attempt to enter the commercial zone for the first time or the outcome of some external interference in his directorial vision cannot be said. But whatever the reason might be, the truth remains that this happens to be the weakest film of Tigmanshu Dhulia till date unarguably.
Apart from its feeble story plot, the other major disappointment of BULLETT RAJA is its poor soundtrack and over use of songs unnecessarily. The background score too sounds both good and average at different places following an uneven path and cinematography could have made a stronger impact with a better editing. Promoted as an action film, the fight sequences do have a realistic feel but the action actually could really have been the key player here with Vidyut coming in earlier since he is the best one to display the art specifically.
Regarding its performances, the film is solely made for Saif alone and he tries hard to fit into the character doing all the home work. Yet, I found a lot missing in his honest portrayal of Raja Misra in terms of energy and that rustic feel, so couldn’t relate to his onscreen character frankly. On the other side, Jimmy Sheirgill once again displays his best in a Tigmanshu Dhulia project and holds the film strongly till he is there on the screen forming a fine team with Saif. Here I must add that the actor is a completely different person (arrogant and with a lot of attitude) when it comes to Punjabi films in particular. And Jimmy really needs to see into this difference of attitude at the earliest.
Playing the female lead, I wonder how on earth Sonakshi manages to act and enjoy the same kind of performance in almost every film of hers in a repetitive mode (except LOOTERA). Perhaps she is more interested in only quantity and not quality. Gulshan Grover & Raj Babbar are fine as usual but both Vipin Sharma and Shart Saxena leave a solid impact in their short roles. Chunky Pandey and Mahile Gill are there for only few scenes in the beginning. However to say the truth, BULLET RAJA would have been an entirely different film altogether with Vidyut Jammwal and Ravi Kissen having more lengthy roles in the script. Particularly Ravi Kissen whose highly interesting character of a cross-dressing man, remains wasted without given much to do.
Ending on a sour note, BULLETT RAJA doesn’t have that thrill, excitement, freshness and honesty associated with the films made by one of the most promising director of our times, Tigmanshu Dhulia. Perhaps this is the cost a visionary director has to pay while working with big production houses and STARS following their specific instructions. So assuming that the makers would learn from their mistake made, I hope Tigmanshu returns back to his own school of film-making soon following his inner urge and gives us another gem in the future, taking BULLETT RAJA out of his system at the earliest.
Ratings : 2 / 5
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