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What made those Masala films so damn good!
I had originally started this post as a rant against the misconceptions, and misrepresentations against the classic 70’s Hindi Cinema we grew up watching. If I could sum up that rant in a one-liner, it would go something like this:
“Films like Tashan and Om Shanti Om may claim to be odes to 70’s masala films, but all they truly amount to be are wanna be films trying to cash in on our nostalgia“.
What made me decide to change the direction of this post was a great masala film I saw tonight, which reminded me of the many reasons why those films were so good. This will remain, however, still a late night rant :)
The film I’m referring to is “Dostana“. Now Dostana wasn’t a great film because it was path-breaking, realistic, or because it had complex, flesh-and-blood characters. Actually, it was full of all kinds of cliches, it was somewhat illogical at times and the characters were conveniently simplistic enough to fit into the story. And yet I’ll still call it a great, entertaining film because it still managed to hold its interest level despite all these flaws. It has enough energy, enough drama and enough charisma to keep the audiences involved. It’s most implausible moments are not presented in an over-the-top fashion but rather as seemingly quite plausible, and yet the presentation has its own fair share of flamboyance.
In the tradition of great masala entertainers, Dostana is one of those films that gives the audiences everything its looking for, and that too in a big way. An emotional love triangle. Friends turning foes. Wonderful, memorable music (including such gems as “Mere Dost kissa yeh kya ho gaya, suna hai ke tu bewafa ho gaya” and “Dillagi ne di hawa”). Scheming, dangerous, kameene villians (led by that ultimate manipulator Prem Chopra). An intriguing subplot involving an informer (Pran). Big-time action pieces, spread liberally throughout the film. Intense, emotionally charged confrontations and captivating courtroom drama. All of it packaged in a clever, involving screenplay by the masters of masala Salim Javed.
First and foremost it tells a compelling tale with conviction. The story of 2 close friends, one a dashing, daring police officer (Amitabh Bachchan) the other a shrewd, intelligent and somewhat corrupt lawyer (Shatrughan Sinha). Where their opposing and conflicting professions could not tear them apart, the misunderstandings over the same girl (Zeenat Aman) does, of course with the aid of the scheming villians who want to use the lawyer to crush his policeman friend.
Yes, on paper the story seems incredibly mundane, even pathetic. But then the art lies not in the stories but the story-telling. And that’s where a film like Dostana, and many others of its time succeed in meeting and exceeding the audiences high expectations for entertainment, while modern day wannabe masala knock-offs like like Tashan provide tremendously high levels of frustration and aggravation.
Just stop and think about how a Dil Chahta Hai would sound on paper. The story of 3 best friends and how discovering love changes each of their lives, and their friendship forever. Doesn’t that sound like totally bullshit to you? But when you watch how beautifully the story unfolds you can’t help but get caught up in it all.
Dostana, despite being and out and out entertainer, actually took itself quite seriously. Even when the audiences can clearly see a major plot point coming, it wouldn’t seem as predictable as it does well built up and therefore well anticipated. The audience perceived each such plot point as a big deal because the filmmakers elaborately built up each dramatic point and presented them in strikingly poignant way. Contrast this with films such as Race or the new Don, where the “twists”, in their efforts to try to be completely unpredictable, come across as twists for the sake of being twists rather than well delivered payoffs to the rising tension inherently incorporated in the drama.
This is also the reason why films like Dostana, Don, Sholay and many others don’t need to resort to cheap plot twists to keep the drama alive. In fact, they don’t even resort to holding back important information for the big “reveals”, opting rather to let the stories unfold more naturally as if they are saying “don’t worry, there’s much more where that came from”.
For example in the original Don, it was clear early on that Don was dead and gone and that he won’t be coming back in some bizarre twist or shocking reveal. Yet that was just the beginning, with the writers investing enough into Vijay’s subsequent dilemma to keep the story moving forward and the audiences captivated. (Ok, with that last shot I’ll finally let go of Don).
Let me get back to Dostana. The rift between Amitabh and Shatrughan could be seen brewing even before Amitabh really started courting Zeenat Aman. The cards were layed out early and right at the intermission point came the big confrontation we were all expecting. Not only was the confrontation scene worthy of all that set up, it was also the stories turning point, and there were still more interesting events to unfold (such as Shatrughan demanding Zeenat Aman spend a night with him as his price for defending Amitabh in court) again keeping the interest alive.
Another example from Dostana is the party scene in the 2nd half where Amitabh and Shatrughan once again come face to face as enemies. On the surface its a flimsy, convenient and unexplained coincidence to have the two show up at the same party for no damn good reason. But then that doesn’t seem to matter moments later when Amitabh is asked to sing (in the golden voice of Mohd. Rafi no less) the superbly situational “Mere dost kissa yeh kya ho gaya, suna hai ke tu bewafa hogaya”). It’s as if the whole film was leading up to that one song, and that one song was the set up for the sensational aftermath where Shatrughan Sinha unleashes his pent up frustrations in a vehement emotional break-down, only to be put in his place by Amitabh when he feels Shatrughan has crossed the line. This is layered drama at its best, one thing leading to another leading to another, all that tension completely justified in the audiences eyes because of all that’s unfolded before them earlier on.
I have nothing against present day filmmakers paying homage to the great filmmakers of the 70’s. Johnny Gaddar is a fantastic example of a modern day thriller in the same vein as those riveting Vijay Anand thrillers we grew up with. But then where a Johnny Gaddar scores over a Tashan or an Om Shanti Om is that, like those classic Vijay Anand films, Johnny Gaddar uses darkly compelling characters to unravel a fast-paced, engrossing tale of intrigue and deceit, and Sriram Raghavan tells it very, very well. The various characters were not presented as jokes, trading in their dignity to incorporate a few cheap laughs and then expecting audiences to take them seriously again at later points in the film. Tashan failed miserably on all these counts, proving that masala alone doesn’t make a masala film.
In Amar Akbar Anthony, a film where even the makers knew they were presenting the impossible as very much possible (as they said “Unhoni to honi kar de honi ko unhoni”), Anthony’s character is the source for some great humour and entertainment, yet it was such a well-written, well-presented and well-acted one that when it was time for Anthony to switch gears from self-deprecating comedian to emotionally charged sibling to larger than life hero, we willfully went along with it. No wonder Amitabh won a best actor for the performance, and no wonder the character of Anthony Gonsalves, and the film itself it still so revered over 30 years later.
If Vijay Krishna Acharya, or any modern day filmmaker really wants to emulate those masala potboilers of the 70’s/80’s, then they need to spend much less on the trashy entertainment and invest quite a bit more in those extra, intangible but ever-present elements which would actually raise the level of the film to the point where the illogical could seem logical enough for audiences to suspend the disbelief and want to believe.
Until then, thank God and the likes of Raj Khosla, Manmohan Desi and Vijay Anand giving us those DVD Collections to fall back on.
37 Responses to “What made those Masala films so damn good!”
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A well-argued piece, makes a lot of sense. In their madness there was a method. Now it’s only madness for madness’s sake. Or method for method’s sake.
i hav never read u r posts but now i m gonna do tht regularly gr8 job
Another great thing about the “those” films is that they had great music.So you can watch it over and over again and never get bored.One main problem with the films today is that they lack even “average” music like the ones dished out by Anand Milind and the likes in the early 90’s.Or they should be songless like Johnny Gaddar with songs playing in the background.We may agree or not songs still play a integral part of Hindi Films.
Thank you rabindro. Absolutely there was a method to the madness. I see these films as being “highly scripted”, involving the type of situations you could only imagine in the movies (or specically in Hindi movies). But even then most of the time they carried a certain sensibility, a certain logic to them. Most of the time they were well planned out, well sequenced, with a simple narrative compensated for with powerful dialogue and performance.
Just look at how songs were treated in that era. Almost always completley situational, with some sort of lead in or build up to the song, which of course raises its importance and makes it, in my opinion, more enjoyable and more memorable for the audience. We’re given a context, and thus can still remember what was going on during that portion of the film through the song.
And that’s what I feel is missing in many of today’s films.. context…
Thank you Sairaj!
Anindya - Totally agree with you there! Like I’ve written in comment #4, the music was a huge part and still is a huge part of our films. It can often provide the situation with a whole new emotional layer & depth.
As recently as Jab We Met, look at how a song like “Hum jo chalne lage chalne lage hai yeh raaste.. Manzil se behtar lagne lage hai yeh raaste” contributes to the overall story–telling, to Shahid’s character. If taken seriously and used well, songs can still have a big impact.
Like yourself, I’m sick and tired of the MTV-Style item-video trash we get in the name of film soundtracks. You could easily take a random song out of one film and replace it with another and make no difference.
I’d prefer they opt for a songless film if they can’t invest the time to plan out proper sequencing and song placement.
That was one of the best posts on PfC, Tony, better than even a lot of the featured writer one’s. It shows what I have always maintained, and what is NOT depicted in our films- NRI’s have a lot more depth to them than they are credited with. It was also (for godsake about time), an audience’s point of view!!! Enough of self obsessed filmmakers going on and on. This one is worth preserving. Also brought back fond memories- MY CLASS FELLOW IN MY SCHOOL IN BREACH CANDY AND MY NEIGHBOR IN ALTAMOUNT ROAD MUMBAI (WE USED TO BE ON THE SAME BUS OR WALK TO SCHOOL) - would tell me “my uncle is directing this film, Dostana, and he wants to know how he can market it to folks like us.” I think this was in my last few year’s in school. Then I would show up in my friend’s birthday party in Prabhu Kutir building. His uncle was there. Thin, wry and so cool- to us about to go to junior college kids — “make sure you smoke in front of me,” “ok don’t be shy if you want the beer, ask me, don’t do it behind my back.”
He was about as cool as his movie DOSTANA. The “uncle of my friend” was filmmaker RAJ KHOSLA (he died shortly therafter). That “friend of mine” (although we have not kept in touch) going forward, is MILAN LUTHRIA (director of Taxi 9211). The best part both unlce and nephew were so ‘non filmi” Milan is also Mahesh Bhatt’ nephew. In fact they were so “pro audience” as opposed to “let me tell them what they should like.” Raj Khosla RIP!! Milan Luthria , continue making fine films.
Tony, thanks for getting some memories on this mundane, accounting, morning in Silicon Valley!!! Thanks to PfC for making this happen.
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tony bhai, mazaa aa gaya!
Thank you Vivek Paaji! One of the best, not sure about that but still I’m willing suspend my disbeleif and go with it ;)
Great story yaar! You met Raj Khosla… now that’s cool! “…ok don’t be shy if you want the beer, ask me, don’t do it behind my back…” LOL, that’s awesome! My respect and admiration for the man has just gone up another few notches! :)
Thank you Striker bhai!
Tony..you got all of that absolutely right..I have kept arguing the positives of the 70s films to all and sundry..and what present day writers / directors lack..tell you what..this is our English thinking, Hollywood worshipping, Roman script writing problem..our twists want to compare to Memento rather than Badalte Rishte (Have you seen this fab movie, Rishi K rocks!!)..so nobody feels intelligent while transcribing a Memento twist or plot point to screen and makes a hash of it!!
Emotion, for Indians is still much to do with restraint, poignancy, the simmer, then the outburst, the confrontation, the ada while doing all of this..look at DCH..it did the same thing as those 70s movies did..if yoyu look closely..except the lingo..that was Y2K!!
Also, one needs to engage the viewer in what you do on screen, we ridicule Partner..but look at what Govinda and Salman did all through the movie..they engaged the viewermade us a part of their rotten plans, smiles and situations. Tra la..the movie rocked. Same with Welcome..it was all nonsense..but that was what it was supposed to be..but look at the engagement the situations and the actors brought in. That scene where Nana and Anil both realise that they are wooing the same dame could have gone awry..but the physical engagement and the ripostes thereafter made it a hoot..the audience expects it..gets it..this is cinema.. the viewer has to get sucked in..period!!
Here, it is the Director’s language completely and how he communicates to us the people. Forget the genre!
Remember Mukul Anand, he had such wonderful Hollywoodish scripts, but not even one movie left me breathless, not even Agneepath. And we all know how much AB tried!!
Indraneel, kya baat kar rahe ho yaar? Mukul Anand made Hum - one of the best masala entertainer of hindi cinema. Agneepath was damn good. he had capacity to turn average script into watchable masala entertaining movie like manmohan desai, raj khosla and many others of 70s.
i am agreed to ur point that current filmmakers worship hollywood style cinema. we indians have culture of naach gaana emotions like bhai-behan, maa-beta, chacha-bhatija pyaar and 70s’ movies definitely showed it all. our sentiments and emotions different than west. We can’t relate to American Beauty as we relate to Amar akbar anothony or Bawarchi.
Naah..shailesh..cannot agree with you on Mukul Anand, and as I said..nothing to be taken away from AB and the others..in fact nobody remembers Hum as a milestone movie in spite of a plethora of superstars - AB, Rajni and Govinda..Kimi, Danny and a lot of wonderful support..so very loose on zippy and electric content!!
Watch it again..you will not be able to sit through it at one go..seriously!!
Indraneel, i have watched Hum more than 3 times. and each time i am enjoying the film. yes, there was good support but ask anybody… he will surely say “that was AB’s film”.
anyway, that is ur opinion and i have no problem with it.
Indraneel (11) - Definately agree with what your saying there man. “…this is our English thinking, Hollywood worshipping, Roman script writing problem..” YES! We need to face, and respect, the fact that we have a different kind of cinematic language, as well as a different cinematic lineage. We stil have a strong connection to the history of our cinema, esp from the 60’s/70’s. Why the need to turn away from that?
I’m not against trying different things, but let’s not in the process of progression lose track of the “context” of our Indian culture within our cinema. When I see a Hindi film with Western, even Christian ideals and traditions, it really really bothers me.
As for the Hollywoodish style, I don’t mind it if done, again, within an Indian context. For example, I thought even though “Humraaz” was a Hollywood rip-off, the characters and situations were still very much Indian. Its too bad that Abbas-Mastan seem to have lost that connection now with their last few films (Naqaab & Race).
As for Mukul Anand, this may be sacrilage but I was never a big fan of his work (sorry Shailesh bhai!). I liked Hum, it’s a very entertaining movie even today. And yes, I must agree it is totally Amitabh Bachchan’s film, although Rajnikant and Govinda were great as well. You guys remember the nonchanlance with which Govinda said “Chalta hai chalta hai”.. I didn’t like Agneepath or Khuda Gawah that much… I think it goes back to what Indraneel was saying.. I just couldn’t make a “connection” to the film…
Shailesh, you said it best man … “our sentiments and emotions different than west. We can’t relate to American Beauty as we relate to Amar akbar anothony or Bawarchi” ….
Dostana was a 1980 film so it seems to go against the very basic tenet of this thread. And Hum was the most pathetic piece of trash I ever witnessed - I had to burn the DVD. It seems that blanket adulation of Bachchan Saab is on going. For me he became unwatchable in the 80s and it is only now in his second avatar that I can bear to watch his films again. But to each his own I guess. I would take the trashy Tashan over Hum, but I’d rather get a root canal if given the choice.
Hi you guys. I am getting into this pretty late but raha nahin gaya. Tony bro, very engaging article. I still remember watching Dostana with Mom when I was 11 at Regal in Delhi after partaking of a mouth watering treat from Nirula’s, a really trendy fast food joint in the late 70’s- late 80’s. I also realize that I am 38 now. And would love to guess the age of the people who are commenting or are on PFC. Children of the 70’s mostly. Some possibly even 60’s. Getting to the point. I believe films aren’t made in limbo but are relative to a time. DCH isn’t the first film made about 3 friends, trials, tribulations, fall outs, cementing and hope. There have been movies in the past (damn if I remember the name- Jeetendra, dharmendra and Sinha) where this triangle was explored(horribly). However DCH made a mark with its present day nuances, story telling, a Preity Zinta, Aamir love story would not have been ventured into in a masala film in the 70’s. What with ayub in shades of grey and the whole damn relationship thingy being so contemporary is why we thoroughly rejoiced and connected to it. CONTEMPORARY VS 70’s. I did a study with 43 cousins of mine… YES! Some months ago. Some 25 films across 12 days, 2 films per day and every day a discussion. Some films that I remember showing were, Sholay, 2 ankhen barah haath, Pakeezah, Mughal e Azaam, DCH, Agneepath, Shakti, Satte pe Satta, Mr.Natwarlal, Bawarchi, Chupke Chupke, Jaane Bhi Do Yaaron, Golmaal, Golmaal(new), Namak Halal, Namak haraam, Parinda, Deewar, Baazigar, Darr, DDLJ, Garam Hawa, and Gandhi.
Here’s what I realized. They didn’t like the melodrama from the 70’s at all. Sholay featured no. 16 and guess what topped the charts…. DCH. DDLJ at no 3 behind Golmaal (new). The kids were from the age group of 12 to 19. They loved the music of Mr. Natwarlal, DDLJ, Satte pe Satta and well the rest was eeewww!! LOL! What I understood was, nostalgia is great but truth be told themes move on and to each generation there is an ode. I guess ours is ‘Dostana’, et al. We cant make the 70’s again because there are no takers. Those that are will willy nilly rejoice with their dvd’s.
Tashan and OM… are nowhere close. Om… won because in a 2 horse race and a media build up, Saawariya lost. The less said about Tashan… the better.
I’m 17 so not really sure as to what happened in the 70’s…
But movies like deewar and sholay and suhaag and all those movies you get to see on sony max’s “Ab Tak Bachchan..” are really entertaining because of some hard-hitting exaggerated acting. And yes also, in new age 70’s tributes like OSO… I kinda do like ‘em… Tashan I have not seen… nor do i intend to but OSO was timepass… irritating if you’re in a Bad mooD.
rextreme - Yeah yeah I know Dostana is a 1980 film, obviously then it’s not technically a 70’s film. But, as far as sensibilities and style goes, I for one will still group it with other mid-to-late 70’s/early 80’s films. It’s that era of films I’m making reference to in the post.
As for Hum, that films got its share of fans and I can see why.. its unadulterated entertainment… and I still say it makes more sense and holds together better than a lot of recent films…
BTW rextreme … LMAO at “I had to burn the DVD”… that’s classic dude… lol!
Raizada Rohit Jaising Vaid - Chalo bhaiya der aaye drust aaye…
For the record I just turned 30 recently… so doing the math I was maybe 2 or 3 years old when Dostana released. Also I’ve lived in Canada my whole life. So neither age nor environment is a big influence here. I, like many, grew up watching films from the 60’s/70’s on VHS.
It’s not that I don’t appreciate today’s cinema, or that I want all Hindi cinema to be “masala” cinema. Not at all. It just really bothers me when films like Tashan and Om Shanti Om misrepresent that era of cinema, especially for the younger generation. You have to experience it yourself. And if you have grown up with these films, then these tributes/odes/parodies/spoofs hold very little nostalgic/entertainment value.
BTW that was a very impressive study, and might I add an excellent choice of films! I guess we may be the lucky ones, a cross generations of sorts, where we can enjoy the new Golmal and the old Golmal, enjoy a Chupke Chupke (my personal all-time favorite film :D ) and appreciate a Hera Pheri (not in your list, but a contemporary classic comedy in its own right).
There are no such boundaries or limitations.
My argument then is against, aside from the misrepresentation of the “masala” genre/style, the quality of todays films. Occasionally we see some great films, but they the completely stand out against the crowd of mediocre films. Once the films get better, and not as nonsensical, the bitching will die down :D
On that note, best of luck once again for your upcoming animated feature. Looking forward to it.
Sameer - LOL @ “I’m 17 so not really sure as to what happened in the 70’s…”… to be honest I’m not too sure what happened either… Good to see that you appreciate and enjoy those films… just goes to show that age may have very little to do with it… I think its more an exposure thing… I’d ask you what you thought about the movie “Hum” but I’m afraid I might be starting shit.. lol…
@Tony Mera Naam,
:-) if only the problems, tribulations and issues of everyday-ness could be solved in the style envisaged and being dispensed at PFC. Discussions are Polite but firm, issue based and motivated but not rigid, forthright, unrestrained but respectful…. Verrrry cool. Tony Sir you wrote a thought provoking, enticing and inciting article and I shall look forward to more from your hopefully inexhaustible stable!!
On a personal note, thank you for your wishes. I hope it impresses and you enjoy the story telling.
@TonyMeraNaam:
Hum…?? That movie with Rajnikant, Govinda and AB… I have seen the movie… But don’t remember what happened in it. Looks something like their sister/mother get kidnapped and they try and save them… Correct me if I am wrong.
Well Subhash Ghai’s films were “over the top” and if he can be named “Showman” for that even Mukul Anand deserves that tag.We should remember that he did only three major films with Amitabh and gave Amitabh his first national award(Agneepath) for best actor and filmfare award(Hum)too .The third film Khuda Gawah is also considered one of AB’s best performances.That’s not bad at all.It was due to his films that Amitabh got back some respect which he had lost after doing films like Ajooba,Toofan and Jaadugar.
A wonderful exposition on Hindi Films cultural and social milieu Tony..You are so correct in fleshing out the raison-detre of 70-early 80’s cinema..Another thing that is so peculiar to our people is their propensity to convey the emotional highs in abundance..Rastraint won’t do..and to express abundantly you require words–plethora of words..Thats where the dialogues come in..And without dialoguebaazi those films would have half the charm..Be it Amar Akbar Anthony, Dostana, Naseeb, Sholay, Deewar, Trishul, Roti-Kapda Aur Makaan even Johnny Mera Naam…And with due space and respect to visual aspect of filmmaking and wonderful music, i feel this aspect contributed to high drama of these films and no doubt Salim-Javed had mastered the art of selling the spoken word to perfection!
Raizada Rohit Jaising Vaid - Yes, I wish such civil debate and deliberation would be more common and constructive in our daily lives… Then again I wish more people read and understood the philosophies of Deepak Chopra… but I digress…
Thanks again for such encouraging words. I’ll try my best to live up to them with my future posts :)
Oh, and your Mahayodha Rama, just from reading your posts I’m sure its going to be a very innovating, fun experience. Like I said I’m looking forward to it :) Once again, best of luck to your team, may your hard-work pay many dividends :)
Sameer - I found this synopsis for “Hum” on IMDB.com… Basically though its a the story of a reformed criminal (Amitabh) who changes his lifestyle for the better to better care for his 2 stepbrothers (Rajnikant & Govinda). Then, his past catches up to him.
“Mainly a Thriller/Drama about corrupt police officers, crime rings and workers unions, the story of Hum is about a man named Tiger, who works, reluctantly, for the criminal Bhaktawar collecting ‘protection money.’ However, Tiger also helps the poor and leads protests against Bhaktawar’s actions. He loves his family, and he loves his girlfriend Jumma even though their relationship seems to be a stormy one. Bhaktawar decides to bump off Tiger, but accidentally kills his parents instead, leaving Tiger to care for his two little step-brothers alone. The corrupt police inspector, Giridhar, takes advantage of this situation and, intending to steal Bhaktawar’s fortune, frames Tiger for killing Bhaktawar’s family before himself arresting Bhaktawar, thus ensuring that there will be no one to complain when he takes the money for himself. The story then picks up 15 years later: Tiger has changed his name to Shekhar and lives in the country with his two brothers, who are both adults now and one of whom is even married. Jumma, whom he was forced to leave in order to flee with his brothers, has become a famous actress and is still waiting for Tiger to come back to her. Inspector Giridhar has become rich from Bhaktawar’s stolen fortune. And also, Bhaktawar himself has just been released from jail, and he wants revenge on the man he thinks murdered his family - Tiger.”
Anindya - Now don’t get me wrong here, because I do like Subhash Ghai’s films (Kalicharan, Vishwanath, Karma, Karz, Ram Lakhan Khal-Nayak and Taal… and to an extent Black & White…) and I liked “Hum” from Mukul Anand. Then again, that’s just me :)
The thing with these films, compared to the films I’m referring to in this post, is that they’re a bit too over-the-top, a bit too “showy” and, in my humble opinion, not as strong on content. You can’t really compare a “Ram Lakhan” to a “Deewaar”. The two films, though dealing with very similar subjects, are handled much differently. And that’s kind of what I’m getting at here. How Deewaar is still, in essence, a masala film yet given a very serious, earnest, almost momentous treatment. That’s why the big moments and big lines from those films are still so memorable.
Krysh - Your appreciation is greatly appreciated :)
One thing that I have to differ ever-so-slightly with you on is when you say that “restraint won’t do”. Now, I’m not turning a blind eye to the heightened melodrama of the era. Its very apparent. Its just that, when you compare these films to lets say the films of a Subhash Ghai (in his hey-days) or Mukul Anand (using these names as they’ve become a by-product of this discussion), then you do see a great deal of restraint. This wouldn’t apply to all films and especially not all filmmakers of that time. But then, a Yash Chopra is given such immense respect because of the way he reigned in many over the top situations in films like “Trishul”, “Kaala Pathar”, “Deewar”, “Daag”, “Silsila”. Same with Raj Khosla, and to an extent Prakash Mehra (”Zanjeer”, Sharaabi”).
As for the great dialoguebaazi of those films, you’re absolutely right man. It MADE those films, no 2-ways about that. Must say I quite miss it sometimes…
Krysh you are right when you say that Yash Chopra was able to handle those situations well.Case in point Silsila could have also been done with a lot of shouting and plates throwing by Jaya but instead the director made her character suffer silently.Credit also goes to her that she pulled it off with great expressions.Same with Sanjeev Kumar.Even for that matter in Kabhie Kabhie when Shashi Kapoor comes to know that her wife had an affair his dialogues and expressions were superb.That was what you called films “ahead of its time” then way back in 70’s.The same formula(infedility) is being used to death by filmmakers now but it no longer has the restraint showed in Yash Chopra’s films.
Nice post!
You took me to the ’70s and the Amitabh Era.
There was an earnestness in the movies of that era, however mundane they may be. For eg. the movie Benaam, had such a wafer-thin suspense but Amitabh carries it on with such ease till the end that the audience is captivated.
Waiting for more of these nostalgic posts.
Anindya - Yash Chopra films of that era in general, and the films you’ve highlighted in particular, were a class apart. I can only wish that level of class, the credence could be lent to similar films nowadays.
Atul - Thank you! “There was an earnestness in the movies of that era” … definately.. that’s one thing missing today. As rabindro so eloquently put it …”In their madness there was a method. Now it’s only madness for madness’s sake. Or method for method’s sake”. Will hopefully meet your expectations with my next post :)
This may be rather indulgant of me, but I just finished reading a pretty good article by Bharadwaj Rangan, which goes quite well with the theme of this post.
It can be found at this link:
Sholay = 7 Samurai - 5 …
:-)
yes tony this is a good article. it had somethig good to say and remind us people of the golden days of bollywood. please tony keep quality in your writings man. this is published work man you should make effort to make it good.