The Bollywood Curry Western

The magic of Sholay

Image courtesy: 216.168.37.61

It is often said that other than war, only three other things unify this vast and diverse nation of ours. They are Elections, Cricket and Movies. Of the movies, the one that must have been watched by the largest number of Indians to date would be “Sholay”. The movie is a cult classic, a trendsetter and an evergreen entertainer. Its impact in the popular culture of the country can be felt even today. One can find ads spoofing it or it being referenced in one way or the other in every Indian’s daily life. The excitement about the movie is expected to reach a crescendo with the imminent release of its remake by a prominent Bollywood director.

Released in 1975 and directed by Ramesh Sippy, Sholay is the story of a village where people live in perpetual fear of a bandit gang led by the infamous Gababr Singh. A retired police officer of the village named Thakur Baldev Singh, himself a victim of Gababr’s atrocities, enlists the services of two convicts to capture Gabbar. The two convicts Jaidev and Veeru learn during the course of their stay at the village that Thakur’s entire family was murdered by Gabbar (with the exception of his daughter-in-law, who was not at home at the moment). Thakur however is unable to take revenge upon Gabbar as the latter had cut off Thakur’s hands.

In the village, Veeru falls in love with the chatterbox Basanti who makes a living by riding a horse-cart. While the more serious Jaidev feels drawn to Radha, the reclusive widowed daughter-in-law. The duo of Veeru and Jai constantly thwarts the plans of the bandits when they try to raid the village. However matters come to a head when Viru is captured by the bandits when he tries to rescue a kidnapped Basanti from their clutches. How they overcome Gabbar and how Thakur extracts his revenge forms the rest of the story.

Image courtesy: sulekha.com

Sholay is considered a masterpiece mainly because it got all the ingredients of a blockbuster right as far as Indian movie audiences go. It had a high power star cast with some of the big names of the time in the industry collaborating in the movie. It even propelled the careers of future big names like Amitabh Bachan and Gabbar Singh. Often multi-starrers take away the focus of the director from telling the story to making the stars look good. However in this case though all the actors give powerhouse performances that enriches the movie to no end.

Sanjeev Kumar as the Thakur desperate for revenge is riveting and lends credibility to the character and his emotions. Dharmendra as the extrovert Viru is colourful and essays the role with ease. Amitabh Bachan as the serious Jaidev essays a role that would become a template for his future career defining roles. He would later go on to become a superstar on the back of those roles. Unusually for a movie of this kind the women are not degenerated to mere show pieces but have characters with substance to essay. Hema Malini essays the role of Basanti with such conviction that nobody hence has been able to essay the role of the chatterbox village belle with such aplomb. Jaya Bachan as the ill-fated widow gives a performance where her silence is as memorable as any of the great dialogues in the movie.

Image courtesy: dvdtimes.uk

But the tour de force performance of the movie definitely comes from Amjed Khan as the evil Gabbar Singh. It is ironic to think that he was not even the first choice for the role. He gives the character, which not just enjoys evil but actually revels in it, a larger than life attribute that makes both the character as well as his performance truly memorable. He gave such a great performance that all his subsequent performance never seemed to achieve the same heights.

The movie as said earlier had all the ingredients of a Bollywood blockbuster: good music, a comedy track and drama. The background music by R.D. Burman enhances the underlying tension in the movie manifolds. But the real stars of the movie are the script-writer duo of Salim and Javed. Sholay was one of those movies which had its dialogues released in audio cassettes. It went on to become bestseller on its own. Every kid in India even today knows at least one memorable dialogue from the movie.

Image courtesy : thirdi.org

The technicalities of the movie too were brilliant for the time it was released. Ramesh Sippy captured the mood of the movie to a T by shooting it in the rocky taverns of Ramanagaram. The place is so much identified with the movie that a part of it was later renamed ‘Sippynagar’. His techniques were innovative. As part of the story he would have been required to show some brutally violent scenes. His use of symbolism not only helped him get past the strict censors of the time but also gave the movie that masterly feel of leaving the more brutal scenes to the imagination of the audience. This in fact made those scenes even more terrifying without actually showing any gory details. It also helped that the great action sequences in the movie were conceived by someone from Hollywood. It was also the first 70mm stereophonic Indian movie that enhanced the theatre experience of the film.

When the movie got released it was not met with favorable reviews or response. Many felt it was a flawed attempt at making a Spaghetti Western with Indian values. Theatre owners wanted the length of the movie to be shortened. Many trade insiders and columnists even started declaring it as an expensive flop. Then slowly the cinema halls started to fill up with people who came to watch the movie because their friends liked it. All of a sudden the movie became a cult craze and queues that stretched more than a kilometer began to be formed outside the theatres. People began to watch the movie multiple times and it became usual to meet people who have watched the movie 30-40 times. So much so that later on the shows became a karaoke experience with the entire audience mouthing dialogs in unison with the actors on screen!

Image courtesy : thirdi.org

The movie was later declared a superhit and went on to become the highest grossing film in Indian movie history. Some claim that it still is when you consider inflation and other factors. It created history when it ran in Bombay’s Minerva theatre continuously for 5 years. In its wake several films were released that tried to cash in on the trend of multi-starrers and male bonding. But none of them were able to recapture the magic of Sholay. When it was shown on Indian televisions for the first time in 1994 it is said that streets became empty during its screening. Sholay epitomizes the magic of the Bollywood even today.

Cinema Pardiso (Nuovo Cinema Paradiso)

Fall in love with the movies

Image Courtesy: alucine.ula.ve

Released in 1989, Cinema Paradiso shot the Italian director Giuseppe Tornatore into the global limelight. The movie, which was released in Italy as Nuovo Cinema Paradiso, became a huge success globally and even won the 1989 Academy Award for Best Foreign Language film. It is ironic to think that it had a poor box office run in its native place. It is a sentimental and nostalgic movie about the friendship between a young boy and an old projectionist at a local theatre told mostly in flashbacks.

The movie takes place in Tornatore’s beloved Sicily. It begins with a successful movie director, Salvatore "Toto" Di Vitto, being informed of the death of an old man named Alfredo. Alfredo was the projectionist at the local movie theatre named ‘Cinema Paradiso’. It is revealed to us that Toto hasn’t visited his home town even once after he had left and if he decides to come for Alfredo’s funeral it would be the first time he has returned to his village.

Image Courtesy: filmeducation.org

Upon hearing about Alfredo’s death Toto decides to come and along the way he reminisces the old times that he had spent with Alfredo. We learn that Toto’s father had gone off to fight the World War II and has been missing for some time. We later on learn that his father was in fact killed in action at the front. Toto thus is deprived of a father figure very early in his life itself and he is more than a handful to his single mother.

Toto however is mesmerized by the world of cinema. To him the various dubbed Hollywood movies that are played at the local movie theatre “Cinema Paradiso” offer a chance to view an outside world. He is so taken in by the movies that he even utilizes his milk money to watch the latest movie playing at the Cinema Paradiso. Alfredo too develops a liking for Toto and makes him his apprentice, a decision that would later save his life.

Alfredo and Toto develop a strong bond between each other. Alfredo becomes the mentor, the confidante and above all the father figure that is so lacking in Toto’s life. He helps Toto understand the various mysteries of life by quoting lines from the numerous movies he had seen.

Image Courtesy: rottentomatoes.com

When Toto reaches adolescence he falls in love with the beautiful young girl named Elena. His love for her is filled with the romanticism that he has seen in his movies. He even stands under her balcony every night for days to prove his love for her. Alfredo (who is now blind as a result of an accidental fire in the projection room), out of deep affection for Toto, tells him to leave the small town and to go out into the world and make something of his life. When Elena apparently disappears all of a sudden, Toto takes the old man’s advice and sets forth to find his place in the world, never to come back again until the old man had passed away. When Toto inevitably returns, he finds the world he had left behind to have changed completely.

The one word that describes this movie is charming. Tornatore’s sentimental and nostalgic reminiscences takes us back to a time in our own life when things where much simpler. Every one of us can identify with the townsfolk’s excitement of a new movie coming to our local cinema theatres. We are taken in by the apparent innocence and growing up experiences of Toto. We are a part of the changes that sweep through the town which shown through the changes to and within the theatre ‘Cinema Paradiso’.

In fact change is one of the overwhelming themes in the movie. During the early days we see a priest acting as the local censoring authority by ordering the removal of any scene which shows kissing or romantic intimacy. Later on we see that as the theatre become more commercialized the priest’s powers are eroded and he never comes back to watch a movie at all.

Image Courtesy: filmweb.no

Tornatore creates a whole lot of small characters that stay with us long after watching the movie. We are not likely to forget the priest or the mad man who thinks that he owns the square or even the women who wash their hair at the fountain. All of them have their life centered round the theatre the sole source of entertainment for an otherwise bleak life. Later we see that these very same people are actually sad about missing out on the community experience of watching the movies.

The highlight of the movie is the humor and the charm that it exudes. It is unlikely that anyone would watch this movie and not reminisce something from his past that would strike a chord with his heart. It could be that movie experience that you had in your childhood, or that ever lasting experience you had with your friend or even that elusive first love. In the climax of the movie we learn that Alfredo had left behind a roll of film for Toto. It is a montage of all the edited kissing scenes from earlier on. Toto is overcome with emotion on seeing this as all his past pent up feelings emerge to the surface. Cinema Paradiso will make you fall in love with the movies all over again.

Yojimbo

A western from the east

Image Courtesy: wikipedia.org

With Yojimbo Akira Kurosawa takes a classic western, transports it to 1860 Japan and transforms the gunslinger into a sword wielding Ronin (a master less samurai), taking the genre to unparalleled heights. At the same time he does not lose focus from the primary purpose of a movie; that is to tell a good story.

The movie starts off like any other western you might have seen. The dust blowing through what seems like a ghost town, the long road which seems to run right through the length of the road and the audience’s view of the lone stranger entering the town all reminds you of a western. The only difference is that instead of cowboy attire the protagonist wears a kimono.

Image Courtesy: students.stedwards.edu

The protagonist’s real name is never known to us. He takes the name of the first plant he lays his eyes on in the town. He says his surname is Sanjuro which means thirty. What hits you in this movie though is its dark humor and violence. During the opening sequence itself we see a dog running across Sanjuro with a human hand, while he is just about to enter the town. This shot gives both Sanjuro and us a foreboding sense of violence in this quiet town. And for all the humor in this movie, Kurosawa doesn’t shy away from showing the violence in very vivid detail for the time it was shot in.

Sanjuro enters the town and quickly learns that the town is controlled by two rival gangs. One of the gangs is led by the local silk merchant while the other is controlled by a sake merchant. The gangs are often involved in bloody fights against one another. And the town is in ruins. The only person making a good living here is the undertaker. The gangsters are aided by corrupt officials. One of them, a constable, actually convinces Sanjuro that the only way to survive in this town is to join forces with either of the two gangs. He even goes on to introduce Sanjuro to one of the gangs and collects a commission for his efforts too.

Image Courtesy: filmreference.com

But Sanjuro is a crafty fellow and is more intelligent than the towns people realize. He decides to play both sides and gets himself employed in the services of the both gangs. Things go on fine until the fighting escalates between the rival gangs. Even the undertaker is jobless now, because he says that when there are so many dead no one bothers with a coffin anymore. This line is typical of the dark humor that is prevalent throughout the movie.

Sanjuro’s contentment however doesn’t last long. He is not able to suppress his sympathy for a woman kidnapped by one of the gangs. The humaneness in his heart takes over when he decides to free the woman and reunite her with her child and husband. From then on Sanjuro’s faces a battle of survival and how he ultimately succeeds in wiping out both the gangs forms the rest of the movie.

Image Courtesy: wikipedia.org

Toshiro Mifune is unparalleled as the lone Ronin. His swagger and his toothpick chewing in your face attitude give life to a character that could so easily have been played as an unconvincing superman. His subtlety and restrain is superb, and makes the character easy to identify with, even though it is in no way related to us. His silences and glances speak volumes and gives us an insight into what the character is going through at the moment. Although Clint Eastwood patented the same style in “Fistful of dollars” and other westerns, Mifune took the style to another level altogether.

Sanjuro is not your typical hero either. His motives, almost throughout the movie, are purely selfish. He is a hired sword or mercenary, willing to give his services to the highest bidder; whoever they might be. In the initial sequence he kills of a few gang members with utter nonchalance just to demonstrate his skills. Later on when he sets about to destroy the gang members, it is mostly out of revenge rather than out of a desire to save the town from their grasps. He was brutally assaulted and tortured by the gang members after he had freed the kidnapped woman, the only time he does a selfless act. Kurosawa’s hero is as grey as any you could find and still you end up rooting for him.

Image Courtesy:tyomil.com

That Kurosawa is a master of fight and action sequences was proven beyond doubt in “Seven Samurai”. In Yojimbo though he brings about a ballatic effect to the action sequences amidst its chaos. It leads to the climatic showdown between Sanjuro and the main gang member who has the advantage of a gun on that very long stretch of road right in the middle of the town. Kurasowa’s mastery of filmmaking is further illustrated when we see Sanjuro practicing with a knife by throwing it and pinning down a fluttering leaf. In reality that sequence is shown in reverse. The effect was created by first pinning down the leaf with a knife and then pulling it out with a string.

Yojimbo is not considered as great as some of the master’s other works. It doesn’t appeal to the intellect as Rashomon does nor does it enchant you like Seven Samurai. But still it is one of the best action movies I have seen. Kurosawa does not preach about the moral values and the wit in the movie compliments the violence and vice versa. Yojimbo is in fact more western than many other western movies from Hollywood. I believe it showed Hollywood how a western should be made.

Reviews of Akira Kurosawa's Major works

Akira Kurosawa

Rashomon (1950)

Ikiru (1952)

Seven Samurai (1954)

Hidden Fortress (1958)

Yojimbo (1961)

High And Low (1963)

Red Beard (1965)

Kagemusha (1980)

Ran (1985)

Rhapsody In August (1991)

The Truth about Rashomon

The Truth about Rashomon

Akira Kurosawa’s movies are some of the best works in cinema that I have ever seen. From the first movie that I have seen of him, I realized why people regard him with such reverence. The first movie that I saw was Seven Samurai. One couldn’t help but be awed by that movie when you consider the fact that it was made in 1954. After that I became unwavering fan of his work and saw a few more of his movies. But none of these movies were as great as Rashomon to me. To me it is the crown jewel in the master’s work. In psychology there is even a phenomenon named after it; The Rashomon Effect.

When you watch any of Kurosawa’s movies the phrase that comes to your mind is that it’s far ahead of its time. The greatest quality of all is that his movies retain a kind of freshness even today, so much so that somebody like me, who is generations apart from the time of his greatest movies, is also able to appreciate it so much. That more than anything is the hallmark of a true genius; his legacy is immortal.

Rashomon’s appeal is its plot and its narrative. The story starts off with recounting of a crime and the accounts of the people involved by a woodcutter and a priest to a vagabond commoner. The crime is the murder of a Samurai and the rape of his wife by a bandit. The narrative style is that of a flashback within a flashback as the priest and woodcutter retell the testimony of each of the witness to the vagabond.

The testimonies of the witnesses are all self serving and vastly different form one another. The bandit claims to have captured the husband and then tries to rape her. He however claims that she submitted to him of her own wishes rather than him raping her. He also claims that to absolve herself of her subsequent guilt and shame she goaded both men to duel one another. According to the bandit both men proceed to duel each other skillfully and fiercely until he kills the Samurai with his sword. On seeing this, the lady runs away. On questioning about the wife’s expensive dagger, which is missing, he claims to have forgotten completely about it in the confusion.

According to the lady’s version she claims that the bandit captured her husband, raped her and left her there with her husband. Her pleas for forgiveness were returned with nothing more than a cold stare by her husband. After she freed him she tries to give him the dagger and begged him to kill her. She claims to have overcome with stress at this moment and fainted. When she awakes she finds her husband dead with the dagger in his chest implying that she killed him accidentally while falling over unconscious. She even claims to have tried to drown herself later on.

The husband’s tale is told through a medium. He claims that after raping his wife the bandit asked her to join him. The wife agreed and asks the bandit to kill the samurai. Even the bandit is shocked by this and asks the samurai whether or not to kill the woman. At this the wife fled and the bandit freed the man. The samurai then claim that he committed suicide with the dagger. He added on that he had the feeling that someone removed the dagger from his body after he had died.

At this the woodcutter claims that the Samurai must have lied as he was killed by a sword. He then goes on to say that he witnessed the whole affair and begins to tell his version of the tale. He says that the bandit raped the woman and later begged her to marry him. At this point the woman demanded that the men duel each other for her. This enraged the Samurai and he refused to do so and only comply when called a coward by the woman. The woodcutter describes that their fight was more of a comical struggle than anything else. He contradicts the earlier version of the bandit where they had fought with valor and skill. The bandit won the duel, plunging his sword into the chest of the Samurai as he was attempting to scamper away in the bushes. The wife fled on seeing this with the bandit hot on her pursuit.

However on hearing this story the vagabond accuses the woodcutter of having stolen the dagger and hence completely inventing the new story to cover up its existence. The woodcutter’s look of guilt makes us convinced that he might have stolen the dagger.

The priest’s faith in human goodness is shaken by this turn of events and his lamenting is interrupted by the cry of an abandoned child. The woodcutter takes the child from the priest saying that he already has six children and that the addition of one more is not going to make any difference.

The story is a powerful pointer to how perception sometimes clouds the truth. Each of the character tells their own version to justify their actions and to cast them in a better light. It shows the selfishness of men. We are no closer to unraveling the mystery after hearing all the accounts than when we started off.

The bandit’s version cannot be believed because he is a thief and his moral values have already proven to be suspect. Also he wants to show himself as a great warrior when he implies that the Samurai was a great swordsman and he was able to defeat even him.

The wife’s tale shows her guilt when she says that her husband gave her a cold stare after she was raped. Her account cannot be believed because of her desire to defend her virtue and seems more concerned with how others would think of her character.

The Samurai’s tale should have been the truth. But even here we suspect it because it would be far honorable for him to claim that he committed suicide than to admit that he was defeated in a duel by a bandit. Also his account that the bandit did not have any qualm for rape but is averse to murder too defies logic.

When I first saw the movie I was sure the woodcutter’s version is the correct one. But when his thievery was brought to life then his entire narration seemed made up or at least lacking in details. The missing dagger is the critical piece of the entire narrative. If we accept that then the woodcutter’s version is not believable.

Kurosawa does not spoon feed the audience with the answer but rather leaves it to their intellect and understanding. He leaves it to the audience to draw their own conclusion. Remember that this was done in 1950 probably for the first time, and there in lies his genius.

Reviews of Akira Kurosawa's Major works

Akira Kurosawa

Rashomon (1950)

Ikiru (1952)

Seven Samurai (1954)

Hidden Fortress (1958)

Yojimbo (1961)

High And Low (1963)

Red Beard (1965)

Kagemusha (1980)

Ran (1985)

Rhapsody In August (1991)