Wednesday, September 30, 2009

Khoon Pasina

Rakesh Kumar, director of Do aur Do Paanch
K. K. Shukla, writer/scenario-creator of Mard, Suhaag, Amar Akbar Anthony, and Parvarish
Kader Khan, dialogues of Parvarish, Dharam Veer, Muqaddar ka Sikandar, and zillions of others
Prakash Mehra, director or producer of things like Zanjeer and Namak Halaal
Amitabh as avenger and deadpan comic
Vinod in a leather suit with leopard-fur collar and cuffs
Nirupa Roy as Maa
Rekha in full-on feistiness
Aruna Irani and Asrani in serious roles
Kader Khan as the supreme bad guy
Ranjeet refusing to button his shirt
+ Moti the wonder horse

a whole lotta nothin'

How all these wonderful ingredients turned into such a lackluster film, I do not know. This was even more disappointing than Ram Balram; while the latter is decidedly a worse film, Khoon Pasina had many more fine ingredients, and thus the letdown was greater and more tragicaly wasteful. Look what it had going for it!

Childhood friends of different faiths
get separated by violence instigated by an evil bad guy (Zaalim Singh, played by Kader Khan).

This is just the first of many, many bad wigs in this film. Please also note the jaunty fringed sleeves.
After Zaalim's first attempt at bullying is defeated when villagers stop being bystanders and come to the aid of the victims, he flat-out says he's going to destroy them and their civilized unity and tolerance. Look out, o nation of India!

Oh how I love drawings and animations in title sequences. Hand-drawn communal awesomeness! In the colors of the flag!

One of the little friends grows up to be Shera, a lone, feared avenger (Vinod in a strange wig).

Here looking a bit like Brando and later on like Amjad Khan.
Why Vinod seems to have aged far faster than Amitabh is not really explained, though perhaps separation from Maa is implied to have a graying effect?

The other one, Shiva/a.k.a. "Tiger," has also grown up to be a righter of wrongs (Amitabh), but he's got Maa

and a deliciously sassy, brave, and assertive girlfriend, Chanda (Rekha, in what is my new favorite performance of hers).

Zaalim Singh has risen to be Thakur, and he and his offspring harass the locals and exploit the workers. That is, he's a force of greed and anti-community. In a genuinely interesting side plot, his daughter Shanti (Aruna Irani) has tried to move past her family's legacy of evil by marrying good guy Mohan (Asrani).

These two just can't catch a break, and there is sad tension between them as she wishes her upstanding husband could be as effective against thugs as her lawless brothers and father.

I forget exactly how Ranjeet fits into all of this, but he's around and he's murderously baaaaad in a variety of ways. Here's something for the three members of the Ranjeet International Fan Club.

Funky costumes!

Somebody on the wardrobe team really likes fur accents and leather. I'm torn between the pastel brocade vest (worn while doing henchman-y things, of course) and Vinod's leather suit with leopard trim.
They also gave Aruna a unibrow for no explained reason.

Maybe for women, tragedy makes your hair grow instead of turn white?

Good Kalyanji-Anandji songs! "Khoon Pasine Ki Jo Milegi To Khayenge" has a wonderful boogie through sacks of grain (at 2:53 in the link),

and "Bani Rahe Jodi" is hilariously silly along the lines of "Khaike Paan Banaraswala." In it, Tiger has just dishoomed some bad guys before a wedding and demands that they clean up, get the food ready, and provide musical entertainment. Dekho!

Amitabh is so funny in this movie. If the rest of it were better, I'd recommend it just for his comedy sequences. He even gets a little bit o' romance too, stealing Shashi's Sharmeelee/Kabhi Kabhie wedding night moves.

Maybe the problems with this film started when the filmmakers tried to make Vinod look blond/gray and refused him any songs or a love interest!

This is also a good subtitle, is it not?
The reunion of the two friends is very late in the film, so Vinitabh time is brief and used up entirely on dishooming

Maybe Shera prefers to film the fight rather than participate in it.
- that is, no humor, no buddy song. Boooo! Vinod's screen time overall is scarce, though he does flail around in quicksand with a scary snake

You will never guess whose prayers save him from this!
and demonstrate his boxing skills shirtless.

Khoon Pasina
almost feels as though a novice tried to make this movie following a textbook on how to construct a masala script.

It has long-lost family members, outrageous wigs (though not actual disguises), solid comedy, a helpful ani-pal, lots of vengeance, ironic punishment, and individuals posing dangerous threats to community. Sadly, somebody skipped the internship that supplies the hands-on, hearts-on experience needed to truly understand masala.* That doesn't seem possible, given who was involved, but the film just does not come together. Khoon Pasina's over-reliance on "it's in the script" shortchanges real emotion and connection. If you're really desperate for masala ingredients - and it's a yummy-sounding recipe, isn't it? - you could probably try to look past the movie's utter lack of overall effect and just revel in the great components because you know how everything is supposed to work and can mentally fill in the momentum and motivation that the writers didn't bother to provide. Though with a very abrupt and unsatisfying ending and, worse, no real emotional draw into the story, you won't get much for your efforts.

* If they had attended that internship, they would have known better than to give Helen only a fourth of a song!

Saturday, September 26, 2009


Naach is not one of Ram Gopal Varma's thrillers, but it sure presents viewers with a humdinger of a mystery: why, in the name of Helen above, would anyone cast Abhishek Bachchan (aspiring film star Abhinav) in a movie whose central motif is dance in films?

Antara is also curious.
I love the man dearly. He's very talented and effective in many ways as a performer - including bodily physical expression when channeled for anger or humor (or even when dancing in a deliberately comic way, like in "Kajra Re" or his mini-AB MotoRockr ad) - but he cannot dance. He certainly tries, which is more than can be said for many heroes of past generations, but it just doesn't work most of the time. Here's some evidence by way of Filmi Girl's fantastic setting of Abhishek clips to "Pappu Can't Dance," in case you've forgotten or remain unconvinced.

Okay, so Naach isn't really about dancing. It's about creating opportunities for the camera to leer at Antara Mali (aspiring choreographer Reva) in sheer, tight, and/or (but usually "and") wet clothing. Classy. And impractical - surely a person built like Antara would need a little more support doing all that lunging and leaping than her feather-weight tube tops can give?

All I could think of was Teri Hatcher's infamous line from Seinfeld: "They're real, and they're spectacular."

Above is from the film's opening scene ("Awara Man Mein"), and for the first hour or so it was kind of hard to shake the feeling that this was simply a peep show, especially when most of the action centers on Reva dancing or Abhinav being entranced by Reva dancing. Even as she starts to school him in her very un-filmi style in preparation for his first crack at being a Bollywood hero, the main point seems to be her body - as discussed, the point couldn't seriously be to watch Abhishek dance. If I were feeling charitable, I could propose that Reva's dancing is the representation of her true inner self - unconventional, determined, strong, always present and in motion - and that it was therefore reasonable and fair to focus on the instrument that expresses these ideas to the viewer. But it'd be a lot easier to be charitable if she hadn't been dressed so revealingly. I expect ridiculous costumes during song picturizations - I'm drawn to them like a moth to a flaming sequin factory - but in the "everyday" scenes a breather from the pointlessly trashy would have been nice.

Speaking of, here are some shots from some of the other songs. I know little about dance, so I can't comment on how well Reva's un-filmi style is done. Weird as her contortions and poses are - "like rhythmic gymnastics," Bollyviewer said - I did enjoy the change from what films usually offer. The filmmakers enjoy it too, contrasting segments of Reva with Abhinav on location doing run-of-the-mill moves

Does this remind anyone else of "Dard-e-Disco"?
with a run-of-the-mill heroine. Again, being charitable, this is a great way to show that even though Abhinav and Reva have different styles/personalities, they fit together well, and too much predictability and matchy-matchiness, as the film describes Abhinav's first hero appearance and the accoutrements and lifestyle it brings, is dull and lifeless. Anyway. The point I was trying to make was that Reva wears some crazy stuff. All I knew about Naach before watching it was that it has some very strange outfits (fugged by Babasko here), but I had no idea I was going to see an acid trip through Helen's storage closets with a touch of the 80s thrown in for good measure. For the faint of sartorial heart, I hereby issue a Beverage Warning - that is, if you are drinking something, put it down and don't take any more sips lest it comes out your nose or you choke.

The painting's top might be bigger than Reva's.
For example, this gold beaded kerchief thing

is going to seem downright tame compared to a blindfold and Sgt. Pepper's bicycle shorts.

Sometimes they're a case of going too far. The "cat's eye crying tears of blood" makeup is one thing,

but giant wings are all together too much.

I can think of two examples of wings in dance numbers (the other is from Kaalaa Pani, e.g. here), and both are bad. What say you?
If they had left this one with just the giant feather headdress and sparkly blue top, everything would have seemed comfortably Helen-in-a-cabaret-ish. But nooo, someone added one-legged fuchsia tights.

These kneesocks might be my favorite.

Totally Filmi and Gebruss, are we going to knit those or what?

Okay, so there's a little skin for the rest of us too. Thanks, RGV.

Tangentially related, even when she isn't in them, the songs Reva dreams up are a little bonkers. Take a look at "Sara Sara."

In this last photo, the women have translucent bags on their heads.

Other than these little challenges to my mental health, I thought this was a good film. It has a tight, personal focus on love and understanding other people's values and figuring out your own priorities. Abhishek is of course a fine fit for any of those tasks, and he makes his character Abhinav adorable and relateable. Pappu can't dance, but boy can he woo and brood.

There must have been other actors who could have made Abhinav as grounded and kept better pace with the steps, but whatever. I really liked Abhishek's work in both Sarkar films, so I'm happy to let RGV have a go at using him in projects now and then. Given their position in the love triangle with Reva, Abhishek and Ritesh Deshmukh (artsy director Divakar) don't have any scenes to take advantage of their excellent rapport; putting much effort into giving them a friendship, only to then test it under the weight of the romantic struggles, would have been silly, so I can forgive its lack.

Though I don't know what to make of her dancing, I really liked both Antara Mali's performance and the character of Reva. Reva is an interesting person - she has an entirely self-directed, self-propelled creative ambition that I haven't seen in many women in Hindi films (though maybe in Main Madhuri Dixit Banna Chahti Hoon, interestingly), and she was absolutely true to her convictions, to what she wanted to do and how she wanted to do it. As his star rises, Abhinav offers to help her out with money and film-world connections, but she's insulted that he won't support her need to fulfill her dreams entirely on her own. This is not a practical stance, obviously, in terms of either career or emotions - apart from not understanding Reva's ethics and thus accidentally offending her when he simply meant to help and share his good fortune, Abhinav is a kind, endearing boyfriend. But Reva isn't an entirely practical person. If she were, she'd find a way to channel her vision into typical song numbers instead of holding out for a chance for her ideas in her own style. She insists on standing absolutely individually as an artist, as a voice, and I admired her for it. Thankfully there's a lot more to this character - and to the entire movie - than her wardrobe would suggest.