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Jab We Left - Movies and Memories
Jab We Left - Movies and Memories
Warning - Random personal rambling post ….
Jab We Left…. left forever… Reminds me of the last scene of Sadma where Kamal hassan with a painful expression on his face does all the monkeying around in the hope that Sridevi will recognise him… But she’s lost all memory .. she won’t … She’s forgotten or may be she chose to forget … can’t blame her … As far as she is concerned Kamal’s chapter is closed. Kamal can’t understand why Sridevi can’t recognise him… After all … he was with her all this while … caring for her .. nursing her .. fighting with her .. enduring her eccentrities and madness… Kamal became mad with her long before she left him. Who with a sane mind would pretend to be a monkey with a bucket on his head and caryy water .. dance at the beat of the dumroo ?? Who in a sane mind would resist the attempts of seduction of Silk Smitha … when she’s inviting you …. Kamal would perhaps …. he loved sridevi … But why can’t she recognise him now ?? Why doesn’t she ?? Why does she take him for a beggar ? Why in such a romantic and pristine place like Ooty/Darjeeling (I dont remember this detail … forgive me) where all romance will flourish … does the most heart warming love story end in the most painful manner ???
Why does a respectable school teacher with a well secured job … create a scene for himself .. shirt splattered with mud … face covered with bruises .. blood and of course more mud … cartwheeling and front rolling on a railway platform …. putting the bucket on his head and monkeying around again … Why doesnt sridevi recognise him ?? Why does she move on ?? Why can’t the bloddy train stop !!! Why can’t Kamal say it to her ??? Why when he wants to meet her .. a politican of all the people garners all the crowd … Why is it that when a murder/rape happens .. there is no witness… not a single person watching in an over crowded country like ours .. But why when you want to hug and kiss someone …. and make that moment freeze frame in your memory .. of all the innopportune moments, will an Old Lady come and rudely ask you to remove your luggage so that she can sit ??? Hello can’t be polite or what ??? Why will everyone stare at you ??? make you feel exactly like the monkeying Kamal Hassan in Sadma …. Where are these people when a murder/rape happens in broad daylight ?? Why do these people always have to hog space around a couple?
Listening to a warm ghazal by Jagjit singh …. it has the lines
Ek Lamhey main simat aaya hai sadiyon ka safar
Zindagi tez bahut tez chali ho jaise…
Tum Bin was a nice film .. had more soul than Cash/Tathasthu/Dus/Aapko Pehley Bhi kabhi Dekha hai… Why that film had no “known face” except the brilliant Vikram Gokhle, who in turn had barely 2 lines …but still … impressed you with his performance. Why the next film with powerhouse actors like Farida Jalal and Om puri and the subsequent ones with a motley of stars … didnt move me as much ?
Ho Bas agar tum humare sanam
Hum toh sitaaron pey rakh dey Qadam
Saara jahaan bhool jaaye
Bas nagmein tere pyaar ke gaatey hi jaayein
Sunil … Oh sunil ... I sympathise with you … but who wouldnt … no job … no big ambition in life … the only talent to pour his heart into the mouth organ and the horn that he plays … and perhaps the ability to lie … and con people into it. Him walking away makes him the hero … that’s for sure. He gains our sympathy… But what will he do with sympathy? Why do such people end up losers ? Is it not enough that he is a gem of a person ? Is his ability to cheer everyone up with his music not enough ? Does he have to be like a good buisness acumened Chris? What will he do when Anna has left him? Will he play music with the same vigour ? Will he also monkey around with the musical instruments ? Who will he go to the carnival ball with on new year’s eve ? Why is this one my fav SRK performances ? Along with Dil Se .. where again he played a love struck journalist AmarKant Verma ….
Thanks to Gulzar and Allama Iqbal
“Sitaaron sey aagey jahaan aur bhi hai
Abhi ishq key imtihaan aur bhi hai”
Fuel Vodka with Sprite and a dash of water is sooooo delicious. Thanks Zurya for the recipe.
Was combing my hair today .. when saw the comb gifted to me. Thought of burning it.. burning all the snaps… the gifted shirts…. letters … or flushing it out as in Jab We Met.
As Lenny says in Memento
“Probably tried this before. Probably burned truckloads of your stuff. Can’t remember to forget you.”
Never piched someone though .. The insulin injection overdose …. may be I should take one. They say insulin is sweet. Is it ?
“You can only feel details. Bits and pieces which you didn’t bother to put into words. And extreme moments you feel even if you don’t want to. Put it together and you get the feel of the person, enough to know how much you miss them, and how much you hate the person who took them away”
And then there’s the eternal fav Guru Dutt. The problem is that Guru Dutt has been romanticised so much that his charm is no longer the same.
Beqarar Dil jis tarah mile,
Us tarah kabhi him mile nahi
Tum bhi kho gaye
Hum bhi kho gaye
Ek raah par chal key do Qadam.
Why does that song bring tears everytime ? Why are the visuals of that song so powerful? Why didn’t Suresh Sinha and Shanti reconcile somehow ? Screw the ego … Life is too short for it Mr Sinha !! When she came to your shack with the film offer .. why the hell didnt you take it up ? Agreed that aapki aur aapke film ki heroines’ ki maang kabhi tedhi nahi hoti .. But still… Did Waqt do the sitam on both of you or was it both of you yourselves who did the sitam on each other ?
Somehow the shot from Iruvar keeps revisiting me. When Tabu and Prakash Raj lie next to each other after passionate lovemaking…. That scene is so WOW. The manner in which Prakash utters the poetry … the manner in which he caresses Tabu’s face ..you can see the raw emotions …. How Mani Sir shot this ?? Camera on the fan .. from the top view … How he got the rotation effect ? Was it done on the edit? And from where did Rehman get the girl to do the background humming ? The scene is NOT at all VULGAR .. but still conveys the message … HOW ???
And why the same rotating camera effect is used in Yuva (when Vivek chases AB Jr in the hospital), Kanaththil in Sundari song. And still you don’t notice it untill the 3rd or the 4th viewing ? Why ???
The old man next door asked - “Who is that girl with you ?”
“She’s my sister. Staying over tonight. She has a train to catch tomorrow morning.”
The over inquisitive neighbour seemed satisfied at the explanation offered.
Later, she asked “Aren’t you ashamed you passed me off as your sister ? ”
“Why…. my sister could be fairer than me”
“No you idiot.. Not that. Passing me as your sister just so that the neighbours don’t become suspicious. How cheap is that”
“That’s ok. If you are my sister .. then I’m a sisterf*^%^r. I’m fine with that !!!”
“You cheapdo”
ONE TIGH SLAP!!!
Well it just goes onto show next time you see a hindi film in which the girl stays over at the guy’s apartment… ask yourself.. did the guy had to pass off the girl as his sister for the entry into his own house… mind you !!!
“HOW IS IT RELATED TO CINEMA ???”
Let me explain.
In the classic and arguably Dev Sahib’s best film - Guide, Raju always looked upto Rosie withh respect .. and then friendship and eventually Love etc etc. But did you know that in the novel (on which the film is based), the first time Raju guide sees Rosie and Marco together, He addresses her as not ‘memsahib’ (unlike the film). Instead he calls her sister.
Am wondering may be Vijay anand didn’t want any more ‘boldness’ in the film. The film anyway is a masterpiece and the content was quite ahead of its times.
Here’s Wahaan kaun tera …. one of my fav SD Burman compositions. His voice just adds to the poignancy of the present situation and the scene.
Beet gaye din Pyaar ke Pal chin
Sapna bani woh raatein,
Bhool Gaye woh Tu bhi bhula dey
Pyaar ki woh mulaqaatein
Ab door andhera … musafir jayega kahaan …
Heck .. .here comes another evening … Will have to get drunk again ….
39 Responses to “Jab We Left - Movies and Memories”
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Amazing article karthik…..thanks for the clip frm Iruvar..now i hv to watch the movie….and didnt SRK find Juhi at the end in KHKN :-? ??
^:)^^:)^^:)^^:)^
Great post kk …..=d>
@KK… “yaar dil nikaal ke rakh diya tumne” ^:)^^:)^^:)^.
Simply superb!!!!!!!!!!!
I would have added the last scene from Ijaazat and Mili as well.
KICKASS
Tumbin .. steller performances and genuinely heartfelt
KHKN .. sweet sweet sweet :)
Beautiful emotions shown by Kamal Hassan again, in the climax scene n in the song of the film saagar”sach merey yaar hai bus wahi pyar hai” n climax scene of the movie Darr.Heart toughing emotional scene by srk.
KK , that was a superb write up:)
Jab we left -Does’nt happen in movies made nowadays.Lots of happy endings-it goes with the mood of the nation.
Reminded me of the words of a song filmed on Sunil Dutt-
Woh afsana jisse anjam tak lana ho mushkil,usse ek khoobsurat modh de kar chodna behetar,
chalo ek baar phir se ajnabee ban jayee hum dono.
Great post KK, good list of movies- Sadma, Tum Bin, Iruvar, Guide, KKP, KHKN etc.,. It was a good read.
Damn.. talk about from the heart.. beautiful write up Kartik..
Don’t know why but it reminds me of that classic song on lonliness… from Mili.. I’m going to write a post on that film sometime soon… but here’s the song…
Song: Badi Sooni Sooni Hai
Film: Mili(1975)
Singer: Kishore Kumar
Music: S.D.Burman
Lyrics: Yogesh
Badi Sooni Sooni Hai
Zindagi Ye Zindagi
Badi Sooni Sooni Hai
Zindagi Ye Zindagi
Mein Khud Se Hoon Yahan
Ajnabhi Ajnabhi
Badi Sooni Sooni Hai
Kabhi Ek Pal Bhi
Kahin Yein Udasi
Dil Mera Bhoole
Kabhi Muskurakar
Dabe Paanv Akar
Dukh Muje Choo Le
Na Kar Muj Se Gam Mere
Dillagi Ye Dillagi
Badi Sooni Sooni Hai
Kabhi Mein Na Soya
Kahi Mujh Se Khoya
Sukh Mera Aise
Pata Naam Likh Kar
Kahi Yuhin Rakh Kar
Bhoole Koi Jaise
Ajab Dukh Bari Hai Ye
Bebasi Ye Bebasi
Badi Sooni Sooni Hai
Ekdam DARDEEE!!!! ^:)^^:)^^:)^^:)^
Kartik-bhai I agree with you wholeheartedly about Tum Bin.. I have the DVD and watch it every now and then… what a heartfelt film.. besides Vikram Gokhale I also really liked Priyanshu in the film.. he came across as raw but sincere to the core.. Just like you I can’t for the life of me understand how Anubhav Sinha went so commercial.. and even if he did, how and why did he lose that soulful touch.. he could’ve kept it, esp in films like Tathastu (even if it was scene-2-scene John Q) or even APBKDH… I dunno… I heard he was thinking of remaking Tum Bin with a bigger starcast… not a bad idea, I’m sure lots of people missed out on the film because it “lacked face-value” (bullshit!) but then again… I really REALLY hope he doesn’t fuck it up with his current style of filmmaking… which he will… what the hell man…
This post is the reason why I am watching ‘Iruvar’ (without subtitles, without understanding a single word) right now.
@neeraja,
it will still be a great experience!
Mani sir’s finest
@10
eagerly awaiting your post on Mili…one of my favorite movies. Special moments…special dialogues, “mere haath to yun bhi bahoot lambe hai”, “Mai buri kab thi jo achchi ho jaoongi”, “jo khud guldastaa ban kar aa jaoon to kahan rakkhogi?”…straight from heart, straight to heart.
@Dpac
Yeah it was. Will watch it again with subs as soon as possible.
KK - fine form, eh? Poured your hear out, here.
If you liked Tum Bin, how about Gulzar’s Kinara? Similar plot line and Gulzar was in some inspired mood when he wrote those lyrics. ‘Ek hi khwab kai baar’ captures everyday nuances of love like no song ever did or has done since
Subrat, I think Tum Bin was part Kinara for sure, but more so Dulal Guha’s Dushman (*ing Rajesh Khanna, Meena Kumari and Mumtaz).
Dushman was set in a village in the early 70’s. In Tum Bin Priyanshu kills a young girls fiance in a freak car accident. In Dushman Rajesh Khanna, a truck driver, kills Meena Kumari’s husband in a drunk-driving accident.
The basic premise is the same.
In Tum Bin, after the accident, a guilt-ridden Priyanshu assumes his victim’s responsibilities, eventually even taking his spot in the victim’s ex-finace’s life. Somehow that develops into a love triangle (mandatory by law for all films at that time)
Rajesh Khanna goes to the village and must assume the responsibilities of the man he killed. But its not out of guilt. He’s sentenced to do so by the judge in the drinking-driving-death trial, quite an impressive twist for its time. In this respect I found Dushman to be a lot less filmi.
Also, he sees Meena Kumari not as a potential love interest but as a bhabi (partly because she’s a widow). This is where Mumtaz, the quintessential village belle, enters the picture. Where there’s a hero there must be a hottie (once again mandatory by law for all films).
Oh, and Dushman had a pretty cool poster too:
Thanks a lot guys. Didnt know if others would understand the subtext of the post or not :-)
@Sammy - If every SRK found his Juhi at the end .. then life wouldve been so perfect
@satya- Damn !!! Ijazat shouldve been there in the list. I forgot. Mili ??? Hmmmm
@TZM - thanks yaar for reminding of “sach merey yaar hai bus wahi pyar hai
Nice post. Kinda doing a complete 360 on ur post but what the heck. :d
One of my all time fav children’s films is a film called Rigoletto which is based on Beauty and the Beast. I mention it here coz it’s quite genre busting.
1) Love is absolutely platonic between the protagonists
2) After the Beast’s curse is broken he returns to the magical land he came from instead of staying in the world of men.
3) Very rare for a fairy tale to have a bitter sweet ending.
Here’s a vid from the film.
http://www.youtube.com/watch?v=7B6FTZPf_D4&feature=related
Iruvar is special , bcoz it has the greatest performance ever seen In Indian cinema, Courtsey Mohanlal. What a performance. A complete reference book for any wannabe actor.. Scenes to watch out for….
1. Mohanlal breaking down in front of his mother after his failed audtion test.
2. Mohanlal on the terrace of Prakash Raj’s house acknowledging Fans.
3. Oh I cant type any more. The entire scenes with mohnlal rocks.
And now to see Mohanlal acting like a bufoon in his latest releases is the greatest tragedy of Indian cinema.. Since 2000 Lal hasnt given a single performance worth watching.
@Pritish,
How can you say MohanLal has not given a good perfomance after 2000. I think you have not seen Thanmatra.
The finale in “Sadma”. Its been a long time since i have seen it.
But as far as I remember, there is no B/g score accompanying that sequence.. The sounds r all real-time sounds.. The sound of Kamal thudding and falling, the splashing of the water, the train moving, the cranking sound. The sounds are all natural. Thats what made that sequence so powerful.. The way “Balu Mahendroo” almost choreographed it.. A kind of a “melancholy within a documentary” format..
But wrt Kamal’s performance.. I have to say.. that as far I am concerned it has failed to stand the test of time.. Now when I look back at it, it just all seems a bit juiced up and done to plead the camera..
I would anyday trade that performance to that one sequence in “Nayagan” where he stuffs a pan in his son’s mouth b4 he goes for his first independendt operation.. There was tremendous love, authority and compassion in that one sequence. And I enjoy that “Kamal Hassan” a lot more..
One more thing about Iruvar. For me, its a shame that that movie sank so badly thereby almost pulling Mani Ratnam back by a foot..
There r certain sequences.. Like just after Nasser’s death.. Mohanlal goes and adresses the audience.. And we see Prakash Raj and his entire gang stand in attention. Mohanlal starts his speech and its muted to the sound of a heavy thumping B/G Score.. The camera circumnavigates the stage with Mohanlal’s voice still muted and Prakash Raj and gang standing in attention. After the camera goes one complete circle it stops and Mohanlal’s voice becomes audible again..
There was this real “stage-drama” like quality to that sequence.. where one character starts speaking and all others go blank thereby putting the vocal character in precedence. Beautiful sequence. And if there r screenwriters who find it difficult to amalgamate cinematic techniques with the pure writing part, that sequence is a dictionary..
Its completely staged. But it still works… Like a parable..
I was humming these lines when i started to read this post, and i actually saw it here..what a coincidence:
Ho Bas agar tum humare sanam
Hum toh sitaaron pey rakh dey Qadam
Saara jahaan bhool jaaye
Bas nagmein tere pyaar ke gaatey hi jaayein
A good read
Yes Sreehari, Even I found Kamals acting in the climax of Mundram Pirai(Sadma) quite over the top now. I had read your posting on Thoovanathumbikal in PFC. It was brilliant.
Wonderful article Kartik.
Sreehari: No doubt Kamal was better in Nayagan than in Sadma. I felt he grew as an actor and am one of the few who absolutely loved ‘Hey Ram’ and liked bits and pieces of ‘Abhay’.
Other Kamal scenes which were sheer brilliance according to me were:
Mahanadhi - when he finds his daughter in Sonagachi. I know a lot of people say Kamal overacts but I actually found this scene most impactful and comparable to any scene in Nayagan.
Guna - when he walks around the room explaining who ‘Abhirami’ is and what she means to him. He walks around the room with the camera following him, talking to the doctor, non-stop and the scene ends with him banging into a wall. That scene was not acted. He actually HAD to have banged onto that wall. I recommend this movie to everyone who hasn’t seen it.
Tenali - It is amazing to see his flair for comedies. This is probably his best considering he had to put on a ‘lankan’ accent. He was very convincing and the first scene where he tells the doctor about his different phobia’s was fantastic.
Has anyone done an article on Kamal here at PfC? It does seem like there are quite a few fans here.
@KK,
interesting subject
ekdam filmi title hai.
It could be title of one chapter of Jab We Met if film had story divided in chapters. Where Shahid leaves Kareena and she goes on her way to search her lover.
—
Lost feeling is too intense in Sholay in climax, when Dharmendra is standing at Platform and Sanjeev Kumar says, Mein tumhara dukh bant to nahin sakta samajh jarur sakta hun”. Life without Jai, its too tough situation for audience to accept (on behalf of Veeru). But Director handles it by showing Basanti sitting inside the coach.
—
Rajesh Khanna leaving for another destination in Bawarchee. disappearing in the fog.
—
There was a film where Gop leaves the show with his dog and in the remake of this film, Om Prakash leaves the place, leaving behind sad Rajesh Khanna, Ashok Kumar etc.
—
some other films where Jab we left leaves a sad impression among audiences.:(
Pritish,
Oh thank u. But, a great man made a gr8 movie and I just happened to phrase what I saw..
Anand,
Kamal is a gr8 actor.. And I just dont subscribe to people who come up with statements like.. he is not natural and stuff like that. His passion for the medium is unparalleled and that comes across in his per4mances..
But at the same time, I just wish to see him play a normal guy, just a “Regular Joe”, a regular working-class guy who can sort of walk into a room, face the camera, work without any accessories and convey what his director wishes to convey..
I just want him to shed off any of that extra urge to convey an emotion( I hope u r getting what I am saying here)..
Gr8 actors dont necessairily need an extra urge except a well-defined character to perform. Like say the TV Scene from “Raging Bull”.. The way De Niro just keeps staring at Joe Pesci while he’s working on the TV.. Just a regular guy with a regular surge of emotions, conveying it with pin-point precision..
A Nasseruddin Shah, a Mohanlal, an Irfan Khan and Om Puri can do that. Just stay in the frame.. do absolutely nothing.. just stay blank and convey exactly what they want to..
But having said that, none of these above mentioned 4 actors have a passion for the medium thats anywhere close to Kamal’s. Which is what makes “Kamal Hassan” so special
Sreehari, would like to know your opinion on films by K.G. George. Few months back I read an article in ‘Mathrubhumi’weekly on K.G. George. It said that K.G. george movies were criminally neglected by critics. I have found his movies (Yavanika, Irakal, Swapnadanam, Panchavadipalam etc) brilliant & sometimes disturbing especially Irakal.
He debunked many popular myths like “Village is the epitome of inniocence & city that of evil”( the popular malayalam saying “Nattinpuram nanmakalal samrudham” in his films like Kolangal, Irakal etc
He was ignored by the so called intellectual critics bcoz some of his movies like Yavanika clicked at the box office. And mainstream critics found him too dark to be included in their list while they celebrated directors like Padmarajan & Bharatan.
His choice of topics is also quite audacious.
Mattoral: The story of a middle class wife who leaves an unhaapy marriage & 2 kids to run away with a Mechanic was too shocking for the middle class.
Panchavadipalam: Arguably the greatest sattire on Indian democracy & politics.
I think K.G. George is one director who has never been given his due by the media & critics. I would like to know your opinion on this.
@Sreehari (30),
Share similar views about Kamal rather than to make comment long, posting link to an old post, where we had discussed the same thing.
http://passionforcinema.com/kamal-hasan-can-he-act-in-ordinary-role/
RK,
I am sorry, but I did not know there was a similar post in circulation… But I now choose to write in here.. hope u dont mind :)
Pritish,
The bane of Malayalam Cinema is that today we have directors who dont deserve to make films,who have absolutely no passion for the medium, making them by the dozens while the truly prolific ones have been pushed into the corener, rendering them totally workless..
And K.G. George is one of those rare breed of directors who knows cinema , who thinks about the medium, who once constantly made efforts to push the medium to its limits and explore the human mind in the process. And today we see our cinema treating him like an entity that never existed.. Its sad and its such lack of gratitude or non-chalance that scares me..
I had seen him do almost a commentary of Fellini’s “La Dolce Vita” once.. I have heard him talk about “Pather Panchali”…
I have watched Yavanika and “Adaminte variyellu” before and after he talked abt it in detail and see myself being drawn to them technically .. And u see that passion in that man. The thought-processs that went into the films that he made…
A significant thing abt “Yavanika” that he said was..
Its divided into those play sequences and the real-life sequences… The play-sequences are all staged.. The characters talk one after the other.. The dialogues are all that way.. Once the play sequences are over and the real-life sequences take over, u see overlapping dialogues, unintelligent ramblings.. pauses that are not pre-planned…
Art and life are protrayed as two different entities.. That demarcation is sly but so wonderful..
That guy was all about love for the movies and I detest an industry that bases itself on completely snubbing such a remarkable figure..
Thanks for your wonderful feedback Sreehari. I hope that you put more articles on PFC.
@Sreehari (33),
as I wrote in (32), Instead on making comment, which could have similar views already posted before, I posted the link of post.
That was my comment. just saved time and space.:)
Tum bin was modern version of Pavitra Paapi starring parixit sahani, Tanuja and Balraj sahni.
[...] the best when it comes to romance on silver screen. Few days back Kartik wrote a very engaging post here and he included a brilliant scene from ‘Iruvar’ in his post. After watching that one [...]