PM Review

I think, as of my updated knowledge about all time best romantic imagery in cinema history, Raj Kapoor’s Barsaat [1949] where Pran [Raj Kapoor] playing a violin on hand and Reshma [Nargis] falling like a chiffon saree and stuck on the other hand of Pran like broken arrow is one of the most uplifting and sublime cinematic imagery I have ever seen. It is one of most imitable and ardent romantic poses any cinema maker can dream of to have one’s creative venture.   The battle between hedonist & crude epicurean what Gopal [Prem Nath] is sunk into with lust & luxury versus virtuous & idealistic principles what Pran [Raj Kapoor] is envelope with is the most enticing cinematic prognosis that is copied henceforward in South Asian cinematic narrative.   Lata Mangeshkar’s exuberant and melodious song “Jiya Beqara Hai '' has put an unfathomable impression on my mind that I have been humming the tune all day long. And the acting style of Prem Nath is so elegant and soph...

  It was 1949. The new born country was in the process of coming out of British influences in every aspect and facing a great crisis of duality of cultural & intellectual blending and existential crisis. On the high moment, Mehboob Khan’s Andaz [1949] shed lights on the exact spot through a rom-com narrative. The Indian upbringing with European liberalism of Meena played by Nargis had reflected in a balanced way in the movie.   The trio mega stars of that time [Nargis Dutt, Dilip Kumar & Raj Kapoor] in the same movie made it a big attraction that time I suppose. The narrative also reminds me of Adhiyaman's Hum Tumhare Hain Sanam [2002] starred by another trio Madhuri Dixit, Shahrukh Khan & Salman Khan with a different rendition.   The high value of women's loyalty and morality over love, lust & marriage are significantly exercised as it has been in Mother India [1957].   Andaz [1949] Mehboob Khan Hindi, India

  I suppose Akira had written the screenplay of The Quiet Duel [1948] keeping two things mind. Seemingly, as for the sequel of Drunken Angel [1948]. On the basis of narrative structure and character psychology it is a good rendition and alter narrative of Drunken Angel.   As Akira commented in his Something Like Autobiography [1982]:   A sad truth in the film business is that when an actor succeeds in a particular role there is a tendency to keep casting him in similar roles. This stems, of course, from the convenience and advantage of those who use him, but for the actor himself there is no greater misfortune. Repeating the same role over and over, like a machine-stamped image, is unbearable. An actor who is not constantly given new roles and new subjects to tackle dries out and withers like a tree you plant in the garden and then fail to water.   Akira might have realized the above statement by giving Toshiro one of the most optimistic and angel-li...