30 Days of Film: Day 24.

24. Favorite movie from your favorite actress

Rani Mukherjii is just one of my favourite actresses, but there's a special something that makes her rise above the rest. Perhaps it's the fact she impresses in mediocre films as well as really superb ones, or the fact she's just classy and so very likable in just about everything she does. Hum Tum I picked because not only is it one of my most rewatched films and an utter favourite in the romantic comedy genre, it's also just a solid, very adult performance from Rani and it's the film that made her a favourite. Before Hum Tum, I thought there was a reason why she played second fiddle to Kajol in Karan Johar films. After Hum Tum, I realised she was equal to her cousin Kajol in beauty and in acting skills. 

London Paris New York: globe-trotting for the broken-hearted.

Two people meet, on three occasions, in three different cities, but always for merely one day.

Sound familiar? In some ways, it probably does. When Rum told me on Twitter that London Paris New York was accused of being a rip-off of Richard Linklater's classic Before Sunrise, I wasn't that surprised. The similarities are definitely there. But hopefully there's enough originality here for me to focus on.

LPNY actually reminded me a little of Hum Tum, which also has that whole "meeting in different cities on different occasions" going for it, and also the theme that both characters gradually maturing with each meeting. However, if Hum Tum was flawed in the random animation, it stood on firm ground when it came to characterisation; LPNY's biggest tragedy is perhaps that it quite doesn't.

There's nothing fundamentally wrong with the characters - Ali Zafar plays Nikhil Chopra, a rich producer's kid who sees his future in films inevitable. He's as superficial and self-confident as you'd expect. Aditi Rao Hydari's Lalitha is from a different world - middle-class, feminist, book-worm, education-minded, with a clear plan in leaving a mark on the world. As filmi logic dictates, he must mock her for her seriousness and bookishness, and she must conclude he's kind of a sleaze, albeit an absolutely charming, adorable one.

Both leads have an easy chemistry with one another, and they chat to each other in a way that feels grounded in current reality. You feel as if you could actually meet these two people at an airport somewhere, and they'd be exactly as they are here.

The problem, however, is that I never felt like the characters actually mature enough. The complications to their relationship aren't all that well-written, and Nikhil is just kind of an ass in the way that he harps on Lalitha for her perceived flaws. Why does he like her so much if most aspects of her personality are so objectionable? How come her book of facts she's gathered about different cities of the world is not fascinating to him but makes her a bore? And for such a rational girl, Lalitha sure makes the most stupid mistakes to create conflict between the couple. The issues just feel so contrived that it removes the charm of the enjoyable dialogue between the two in each city. The script also makes the cardinal mistake of making Nikhil say he's matured, but failing to show it in his actions.

But as films go, despite these problems, it's not an altogether bad viewing experience. Ali Zafar is pretty close to making a fan out of me, and the songs are a delight (especially with Zafar's voice!). For a newcomer, Aditi Rao Hydari also does a good job - I look forward to seeing more of her.

Wake Up Sid - the audio review!

For the lazy, the hearing impaired and whatnot: I liked the movie, but wasn't as in love with it as some people.

If you want to hear me stumble over words, reveal something about my past, embarrassingly call Rahul Khanna "dreamy" and other things...

CLICK HERE! (Mild spoilers.)

..and either DOWNLOAD the mp3 with the review or PLAY it in a pop up window. The review is 5 mins 35 seconds long, so not too long I hope. :)

The subtle background score is "Memon House" by Indian Ocean, from the soundtrack to Black Friday.

Memelicious; Saif Ali Khan alphabets.

For one of my favourite actors in the world of Hindi cinema, I talk about Saif quite a little. I could pretend I have no idea why that is, but honestly, I know exactly why. It's because he released Race this year (not all his fault but good god!), it's because he seems to be only in the news to gloat about how awesome it is to date Kareena Kapoor (I love her, too, but I honestly don't care about the two of them anymore!), it's because .. well, I guess the level of enthusiasm has dropped from "ooh, new Saif film!" to wary optimism (occasionally pessimism) about his future films. The man's never been perfect (and don't I know it) but sometimes he's a little less imperfect, you have to admit. 2006 was a terrific year to be a Saif fan, for example.

But as the fun alphabet meme's been going around, Beth giving some love to Rani Mukherjee and Shweta listing Hindi noir films of the olde, I thought I'd list alphabets Saif-ly.

A is for Akshay. Bet you failed to see this one coming. Yes, Akshay Kumar, current king of the box office (save Tashan for numerous reasons I could speculate, but hopefully none of them is the fact Saif and Akshay starred in the film together), the best co-star Saif can have and has had as far as I'm concerned. Don't get me wrong, he's great with a lot of other people, as well, but something about his chemistry with Akshay just gels and they both have comic timing to die for.
Plus they get along great in real life. Here's hoping they do something together in the future.

B is for Being Cyrus. Excellent dark comedy in English, directed by Homi Adajania. It has some parts that are a little too weird, but I adore everybody's performance in this (Simone Singh, Dimple Kapadia, Boman Irani, Naseeruddin Shah & Saif naturally - what a cast!), and remember Saif saying in an interview it's the kind of film he enjoys the most himself. I've heard rumors the director is working on a new film that will be produced by Saif's company - let's hope it turns out to be true.

C is for Cyrus or see how incredibly uninventive I am even this early in the post.

D is for Dil Chahta Hai. Predictable, I know, but what else would you place here? Saif as the hopeless Sameer is just one of his absolute funniest, effortless performances, and it's also the one that convinced a lot of people this guy should stay in movies. The friendship between the trio of guys in this film is still considered one of the most realistic, wonderful depictions of friendship in Hindi film history and it's often mentioned as changing the tone of Bollywood films and bringing them to the new millennium. Quite a lot of praise for one movie, but if you still haven't seen it, forget everything I just said and watch it for a fun time.

E is for Ek Hasina Thi. If you haven't seen this movie yet, drop everything you're doing, rush to Nehaflix, your local Hindi DVD retailer and buy this film. Now. I'm 100% serious. I remember when after seeing Hum Tum (a film that showed that that guy I liked a lot in Kal Ho Naa Ho was good in other films, too, and I was beginning to consider myself a fan) I was browsing IMDb and checking out Bollywood films I potentially wanted to see, and ran into EHT. I only remember seeing the poster with the streams of blood and the tag line "It started like any other love story..." and I knew I had to get my hands on the film. It is quite simply all-around excellent, and even if it wasn't, I'd want to own it because Saif looks his absolute hottest in this film.

F is for funny. Because comedy's really what appeals to me most about certain actors, and Saif is one of those actors. Even when I drag myself through his godawful (or just very very mediocre) 90's films, sometimes the script is barely good enough to allow his comic timing to surface itself. The thing is, he had it in him all along but the films he chose to do (or got offered) were mostly dreadful junk. Somewhere along the line he grew confidence and the ability to choose wiser and for that I'm glad. Nowadays the same problem persists, though: there simply aren't good enough Hindi comedies to go around.

G is for gay jokes. See also: Kantabeen. See also: Filmfare 2004. See also: this clip. You know you want to.

H is for Hameesha. Some people might tell you this movie is cheesy fluff. Some people might tell you this movie is adorable and stupid. Some people might tell you you'll want to see it. Some people are wrong. Hameesha ('always') is a godawful, boring, ridiculous 90's movie starring Saif and Kajol, where Saif's mullet is out of control, so much so it gets it should get its own credit, the story is some dumb crap with reincarnation, and it remains the only film where I've found Kajol's acting completely unconvincing. "Neela dupatta" may be a fun song, the fashion may be laughably bad but please don't subject yourself to this movie. Oh god please.

I is for Ishwar 'Langda' Tyagi aka the role we'll hopefully remember him from in the future. A part of the appeal of Omkara is no doubt the fact that some of its cast steps outside their usual character nichés to portray something radically different. The change from the modern, super-rich, English-speaking NRI type characters to a dirty UP gangster who's most at home in the village is indeed a stark one. Roles like this don't come very often, and I'm glad Saif had this opportunity. Here's to hoping it won't be the last one!

J is for jodis. Probably one of the most popular Saif jodis is Preity-Saif, here in a misleadingly adorable picture from Kya Kehna which is actually NOT a very good film, and their pairing in it is also not too romantic. Do not be fooled!

K is for Karan. Karan, not for Karan Johar who put him him Kal Ho Naa Ho, but Karan as Karan Kapoor of Hum Tum and Karan Singh Rathod from Ek Hasina Thi. Two excellent but very different performances, both from 2004. Karan Kapoor is the character who grows up and matures during the movie, while Karan Singh Rathod is the character who remains the same throughout the film. Whatever change might occur in him, it's only on the surface, a mask he puts on and off as he wishes. Two of my favourite performances by him, and good films, too.

L is for Love Ke Liye Kuch Bhi Karega. An underrated film, one of the few truly situtional comedies Bollywood has produced, also starring Aftab Shivdasani, Fardeen Khan and Sonali Bendre, including Johnny Lever at his funniest (yes, I said it - he is truly funny in this one). This is a predecessor to Dil Chahta Hai, but Saif's performance is up to that DCH level and so if you're running out of post-2001 Saif films to watch, rent this one.

M is for "My adorable darling". The catchiest, worst Hinglish song ever, from Main Khiladi Tu Anari. Sung by Anu Malik himself! God, the horror.

N is for "No Smoking". The theme is central in the episodic film Darna Mana Hai ('fear is forbidden' - should more accurately be called 'fear is impossible because the film is more funny than scary'), where Saif stars in a segment where he plays a photographer checking into a motel run by Boman Irani's character. I love it a lot, Boman and Saif are just hilarious together.

O is for "Ole ole" from Yeh Dillagi. Mullet!Saif classic. Watch here.

P is for Parampara. An early 1990's film with Saif and Aamir as frenemies. You might ask yourself, "why haven't I seen this?". The answer is: the universe is smart and has made sure the DVD's of it aren't that widely available. It's just not very good. Sadly it's not incredibly bad, either, so I know some of you have seen it, and some of you are googling for the DVD as I type this.

Q is for "quite painful" which is the only way I can describe watching a song DVD filled with songs from Saif's crappy 90's film catalogue. You'll never see so much crotch-thrusting in your life. I had to take a shower afterwards because I just felt gross - it's like bad cinema taints your skin.

R is for Rohit Patel. I remember like it was not yesterday but a day way cooler than yesterday and thus worth remembering. Me and my friend, going to the Helsinki International Film Festival to see Kal Ho Naa Ho, a film about which we knew virtually nothing except it starred Shahrukh Khan, an actor we both quite liked. But the weirdest thing happened - instead of loving Shahrukh like usually, I found I kind of preferred the other guy - the awkward Rohit who failed at love but made funny jokes and was otherwise sympathetic. He gets shafted in the movie, but I still think fondly of him.


S is for Sharmila & Soha. The two gorgeous filmi women in his family; the mother and the sister.

T is for Thoda Pyaar Thoda Magic. Sure, it's a cheesy children's movie, but it sure as hell beats the other Saif/Rani children's film starting with T where the worst thing EVER is when a super-rich family has to go middle class and live in an apartment (ugh can you imagine the horror!)... Needless to say, I hate the latter movie. Thoda Pyaar is quite sweet, though.

U is for "unwise" which is how I would describe watching more than three song picturizations from really bad 90's Saif Ali Khan movies.
V/W is for "Woh ladki hai kahan". Fantastic song and funny picturization from DCH.

X is this scene in Parineeta.

Y is for Yeh Dillagi, the most recommendable Saif film from the 90's (next to MKTA) and Yash Raj Films, the production house who just loooves casting Saif.

Z is for zzz or congratulations whoever made it through this incredibly long post!

Ten completely random Indian film related pictures off my hard drive.

...or a lazy person's guide to how to post something without actually posting much of anything.

Vinod Khanna as the angsty, manpained soldier in Gulzar's Achanak because Vinod Khanna is fiiiiine.

This is the sort of quality entertainment you will find in early Saif Ali Khan films. No, I didn't watch this one all the way through - just one song off a song DVD with all Saif song picturizations up until 2007. It's a gem, but among the pearls you will find. Well. This. (Don't ask me to look up what movie/song this is from. I couldn't bear it.)

Aamir's wife in DCH, in one of the Goa scenes (girl with glasses). Yeah, I'm a geek for picking up these things.

Rakesh Roshan in Inkaar. Nobody knows where Hrithik got those dancing genes from, because this man cannot move apart from this dance move, seen here. I swear to God.

Dharmendra sings to an elephant in the film Maa. I don't know how I end up watching movies like these, either.

"I like your style." "I like you."

(Dhoom 2, in case you didn't know.)

Pretty picture of Soha Ali Khan, even if she appears tired.

A screencap of Aamir Khan typing during his website's first live chat. He was so adorable, not a very fast typer but very focused. Plus I loved this hairstyle he had going at the time.

Perhaps my favourite Hum Tum promotional still.


This would be such an interesting jodi to witness on screen one day...



Nuvvostanante Nenoddantana - get it.

Twenty-one going nine, that's me. Thoda Pyaar Thoda Magic.

Thoda Pyaar Thoda Magic is all of the following: an unapologetic children's movie, Sound of Music meets Hum Hai Rahi Pyar Ke meets supernatural, jam-packed with filmi philosophy and filmi religion (cheesy, but in the right mood, oddly touching), a wonderful Rani-run show, a CGI-infested and pastel coloured fluffball.

The plot goes something like, grumpy-looking Saif Ali Khan plays all-work-no-play millionaire Ranbir who doesn't know love (or any other human emotions, but inside is just dying for a hug) and happens to run over a couple with four children. In the weirdest filmi court decision to date, the judge orders Ranbir to look after the kids - he must not abuse them, if they're unhappy in any way, he goes to jail. The kids have revenge on the brain and so even though Ranbir tries to adjust and make the kids happy in his mansion of a house, everybody ends up miserable. Cue Rishi Kapoor the God (only in Kunal Kohli films!) who decides to send his favourite angel Geeta (Rani Mukherjee) to nanny the kids and spread some smiles around the house.

The kids are wonderful, and surprisingly good actors. There is room for improvement, of course, but I hope we hear about them again - especially the oldest kid, playing Vishasht, was convincing. I was dreading the whole kids' movie aspect of the film but ended up enjoying it regardless - the kids and their pranks, Geeta and her pranks, I was worried I would eventually lose sympathy for either or both, but I luckily never did.

This doesn't mean the plot doesn't have a few misteps - it does, and as usual, Americans actors bring down the "good acting index" of the film considerably. There's a lot of cheese to go around, some cutesy animated sequences and one nationalist notion in the song Beetey Kal Se but it's so non-militarist I can well agree to it (I also love the bit in the song where one of the girls asks, "But didi, are we all [ie. Indians] going forward or just some of us?" and Geeta replies, "Good question" and sings a verse about how progress isn't really progress if everybody isn't included - it's an unrealistic wish, perhaps, but it's important all the same).



Saif and Rani have a great chemistry, even before the relationship between their characters gets romantic. They just gel together so amazingly well, and yes, I say this as fully biased fan of both (and as somebody who loves Hum Tum). Rani's Geeta is definitely a show-stealing character, and she's the only actress who I would buy in such a role - Saif's Ranbir is less attention-grabbing, but he does a good job portraying the loveless businessman who is not all dead inside. There could've been better development for their eventual romantic connection, but the film is so obviously made with children in mind, I can't really blame it.

TPTM is a delightful movie, but not something I will rewatch endlessly; the caveat of being an adult watching a kids' film is ever-present. Regardless, for Rani's performance it's easily recommendable and as a fluffy, colourful film it's not the worst thing you could tune in on a rainy day. There's something about Geeta; she's a talkative, lively sort of female character you see every now and then in Hindi films and she's clearly manipulating the situation left and right, but in a way that doesn't bother me. Rani really sells the character, and even though I rolled my eyes at the pre-release promotional fuss about "the first angel in Hindi cinema!", I was charmed while watching.

Top five Hindi film heroines (to me).

I set out to do a Top Ten but didn't get far with it, hence a top five instead. Maybe it's because the standard for my favourite Hindi film heroines (as in, characters, not actresses) is quite high. It needs to be a good performance, a memorable character and above all, I feel like the heroine needs to shine brighter than the hero, which is a very difficult thing to achieve in movies that have been male-focused for the past three or four decades. If I brought down my standards, I might have a Top Ten. (Also, quite often the most interesting female roles aren't starring roles at all.)

Screencap from MariaKaefer.
Basanti from Sholay

A huge part of why I love Hema Malini today is her portrayal of Basanti, the chatterbox tongawalli and her mare Dhanno. It was really love at first sight, I had just finished marvelling at the combination of comedy (jailer!) and action (on a train!) of the movie, and then in walks this girl, and Veeru makes a move on her, and Jai acts indifferent, and she just keeps talking. I just loved her. She's just a burst of energy on-screen and always a pleasure to watch. While she has her share of typical damsel-in-distress moments, her spunk in general makes her stand out as one of the best things about the legendary film.

Geet from Jab We Met

The character of Geet owes to Hindi film's previous spunky heroines but the reason she's so great is because, well, she's one of those spunky heroines! They aren't too many, let me remind you. Film scripts sometimes tend to not give heroines any personality but this is not the case with Jab We Met, where the romance and characters are above all well-written, and Geet is absolute brimming with personality and character. She's lively and fun and talkative, with a strong sense of who she is, which is exactly why Shahid's Aditya falls in love with her, and most of the viewers do, too.

Sarika from Ek Hasina Thi

Yeah, I realize it's not a very typical masala feature, this one, so of course it will have a meatier, more interesting heroine role. But there are plenty of movies like that, and the reason I pick Sarika out of all of them is simple: a lot of such movies are good for a watch or two, but not many of such heroines have stayed with me the way Sarika and Urmila Matondkar in the role have. Sarika is many things; she starts out a slightly scared urban woman living alone, but develops into a dangerous lady who is afraid of little, extremely cunning and a little unbalanced, too. I love watching her journey, as awful as it is, over and over again, because she comes out on top, and that's what really counts.

Rhea from Hum Tum

The great thing about Kunal Kohli's two recent films - to be honest, my memories of Mujhe Dosti Karoge are vague - is that he always seems to give his heroines a choice. Rhea is a good example of a heroine whose choices dictate the entire story. She doesn't give the hero a time of the day until he grows up and learns some respect. She has a career, and she marries a guy out of love. She refuses to re-marry despite people pressuring her to do so. Overall, Rhea is a true individual, who thinks and decides for herself, and that's what really makes her awesome.

Geeta from Seeta Aur Geeta

Our second Geeta, who the first one owes a fair amount to. Geeta is the heroine who will raise hell when she sees injustice, and it's really very satisfying to see her do it - verbally, physically, she has the guts and the attitude to deliver in both ways. If Basanti was who made me curious about Hema Malini, the roles of Seeta and Geeta are what sealed the deal of her as a favourite. As most Hema roles are more Seeta than Geeta, I really cherish Geeta and Basanti as performances, not just because they were the first times I saw her in films, but also because they're really special, even considering the whole of her career. And as awesome, spunky heroines go, well worth the hype.

I leave you with an awesome Geeta fanvid to "These Boots Are Made For Walking" that I found on youtube just tonight.



So ..who are yours?

Take notes, Hollywood! Hum Tum & Pyaar Ke Side Effects.

I grew up on romantic comedies. I've loved them throughout my life probably because they're the most basic combination of two simple, escapist passtimes; romance and comedy.

However, it has to be said that it's not easy to make a good romantic comedy. I realized this at some point in life, when I was watching the whatever umpteenth Meg Ryan film I've seen and had to conclude it was tired, unfunny, formulaic. Because yes, there's a formula to these films (as there are to any films), but that doesn't mean the formula always works, nor does it mean the formula can't be worth watching.

Enough vagueness. I suppose when I first watched the Kunal Kohli film Hum Tum starring Saif Ali Khan and Rani Mukherji, I thought it was merely good, okay. It was quite early on in my Bollywood-watching days - I suppose I wanted more glamorous song-and-dance or something. But with rewatches, numerous rewatches, I realized what a total gem the film was despite its flaws. The When Harry Met Sally inspired storyline is a rare love story in which people grow to love each other; the immature hero has to wisen up to deserve the heroine.

I think Hum Tum became the perfect romantic comedy in my eyes because while it's masala, it's not as masala as many other Bollywood films and the emphasis is on the two; romance and comedy. At comedy it excels, and I think I laugh harder with every rewatch. With romance, it completely delivers; some scenes on the second half leave my heart genuinely aching. Now, cut the cartoon stuff and one song and you've more or less got the perfect Bollywood romcom.

But! Hum Tum has a rival...


Pyaar Ke Side Effects surprised me completely. How was it possible that I had previously not seen one of the most delightful Hindi films of the year 2006? I blamed the cast - Mallika Sherawat was not somebody I heard praised often and Rahul Bose had mostly done artsy films that weren't on top of my to-watch lists. Regardless, when I saw PKSE, I fell in love.

If Hum Tum is the romcom that gets the romance right, PKSE is the romcom that gets the comedy right - oh so very right. It borrows from Hollywood, it borrows from the romcom genre itself largely, telling the classic Hollywoodian love dilemma; the girl wants marriage, the guy doesn't. But while borrowing from Hollywood, PKSE exceeds Hollywood. It's like I said in my initial review, "Pyaar Ke Side Effects is like a Hollywood romantic comedy. Except it's funny. And it's romantic!"

Both leads do an excellent job at portraying modern Indian city youths - Rahul manages to be a lovable neurotic commitmentphobe and Mallika absolutely shines (I do hope she makes more movies like this one!). The dialogues are Hinglish all around but I don't blame anybody; it seems to fit the characters' mouths, and the comedy works great along with it. What PKSE also does great is consistency - it doesn't drag, it doesn't take a dramatic turn halfway through, it doesn't feel like a different movie on the second half.

And for all those who complain about how this isn't how Hindi cinema is supposed to be, take a walk. To me, Hindi cinema is what it is, and the only thing I can hope for is that it continues to produce great movies. Or you could think of it this way - Hollywood made a genre, and now India's making the best of it.

If Hollywood wants its romcom formula back, they have these films to top.