Hyderabad Blues (Part I, it was only one part when it was released) was a classic as far as I am concerned. It epitomizes the quintessential Hyderabadi life. And I still remember the catchphrase "Dil pe mat le yaar, haath main le". Any Hyderabadi worth his salt will go ROFL (Rolling on the Floor Laughing) throughout the movie. Nagesh Kukunoor had arrived. With his first movie itself he made a statement, "I can make a good movie" that buffs like me classified as classic.
Then came Rockford. A story of a young boy in a boarding school. Though it was cooked a bit raw, it was a good movie to watch. Had excellent music by Shankar-Ehsaan-Loy who were still finding a place in the industry then. The song "Yaaron" is particularly memorable. The movie was good and Nagesh was very much on the radar of those who were on the lookout for good movie makers.
With Bollywood Calling, Nagesh got his first taste of dealing with big actors like Om Puri. Om Puri as the typical Indian film producer (and director as and when required!) was so good that his dialogues became stuff that legends are made of. "Humbility?!" is one such example! The male ego domination in the film industry was brought out very well by bringing in a terminally-ill actor from the UK and making him act as second fiddle to the superstar in a hindi film. It was clear that with this movie, big names were willing to bet on Nagesh. But it was unclear how he would achieve anything close to a commercial hit.
3 Deewarein was a story that caught everyone's fascination and also won Nagesh a filmfare award. Juhi Chawla, who was on a break from acting, made an exception to this film because it was scripted so well. Jackie Shroff and Naseeruddin Shah, with their immense screen presence and acting abilities, also joined the bandwagon. After doing minute roles in the last few movies, Nagesh took up the role of the third prisoner convicted for murdering his wife in cold blood. Jackie Shroff was also in jail for the same reason. While Naseeruddin Shah was in for a bank robbery. Juhi poses as a documentary-maker and unravels the unseen mystery. A story par excellence. A director par brillance. With 3 Deewarein, Nagesh made heads turn.
Even the showman Subash Ghai turned his entire self and invited Nagesh to make a movie for him. And "Iqbal" turned out to be the best-ever movie of a fantasy story. A deaf and dumb boy makes it to the Indian cricket team. Naseeruddin Shah, yet again, reigns supreme. Also, a pair of young talent was discovered in the form of Shreyas Talpade who plays the main protagonist and Shweta Prasad who plays the sister of the main protagonist. The interaction between Shweta and Naseer is one of the most entertaining parts of the movie. The movie is a sixer! Nagesh Kukunoor made movies of rare value.
There was a forgettable "Hyderabad Blues 2" released sometime before "Iqbal". Neither was it as tightly-woven as the prequel nor as hillarious. It was the only film that Nagesh made, that didn't quite do well by his standards of the 'small film' genre.
Nagesh made good films of rare value and made heads turn, but his films were always slotted in the 'small film' genre. Nagesh had carefully walked the line between commercial (& big) and sensible (& small) films. His films got the commercial success, recognition and reviews of big films while they contained the sensibilities, story and script of small films. He is in a class of his own. His movies make the claps and whistles go off involuntarily at the same time provoking thought on the kind of world we are in. A rare ability to have in this country where emotions and melodrama rule the roost. Nagesh brings in subtlety without losing out on the emotions. He cuts out the melodrama while retaining the impact he wants to create. Sometimes, he has more impact than any other film-maker.
"Dor" sees Nagesh breaking a few moulds. The mould of city-bred scripts barring "Iqbal". He treads new geographies and builds on emotions of love and friendship. The setting that he brings in "Dor" is wonderful. The story as always is simple but with intricate relationships and emotions with the subtlety that we have now come to identify as Nagesh's trademark. No big stars, no smashing of mirrors and dancing to trendy songs wearing costly costumes. He delivers like only he can. The brilliant juxtaposition of the two contrasting stories with corresponding backgrounds makes for rivetting cinema.
Aamir Khan and Shankar Singh leave for Saudi Arabia from Himachal Pradesh and Rajasthan (respectively) leaving behind their wives Zeenat (Gul Panag) and Meera Singh (Ayesha Thakia) respectively. After around six months, news arrives that Shankar Singh is killed and Aamir Khan has been convicted for his murder as he was the only one at the site of the death. And will be hanged to death at Saudi. The only way that Aamir Khan can be saved from this is: Getting a "maafinaama" (Letter of forgiveness) from the wife of the slain saying that she forgives the muderer of her husband. And the only thing that the MEA official (who comes to convey the news to Zeenat) knows about the family of Shankar Singh is that they live in Rajasthan. Determined to free her husband from the jaws of death, she sets out on a (wild goose search-like) search to look for Shankar Singh's wife. The only thing she has with her is a photo of Shankar Singh and her husband together in their apartment in Saudi. Will Zeenat be able to find Meera? Will Meera sign on the "maafinama" if found? Will it be quick enough to save Aamir Khan? Watch this rare emotional masterpiece from Nagesh Kukunoor to find out.
Nagesh has reached new heights with this movie. Handling emotions with such subtlety that only he can, he has carefully crafted a lovely tale. Taking the green Himachal Pradesh as the metaphorical background for the principled, confident and strong Zeenat (Gul Panag) while chosing the barren Rajasthan as the setting for the sober, subdued and suppressed Meera (Ayesha Thakia) is in itself a brilliant choice. But the beauty of both the regions is brought out brilliantly through the camerawork (Sudeep Chatterjee of "Iqbal" fame). Of course, there are a few loopholes which is very unlike Nagesh, but those loopholes are what I would consider as 'cinematic liberty'. Why should the MEA officer come to Zeenat's house whereas it was Meera who had lost her husband? And how would the MEA not know the address of someone who has a passport good enough to transport him abroad? With this movie, I have come to rank Nagesh Kukunoor alongside the best ever movie-makers in India. Hats off to you Sir!
Ayesha Thakia as Meera, the widow, essays the role of a young widow suppressed by the hopelessly traditional agnivamshi Rajputs who are almost Sati-supporters. They are just one level above the Sati-supporters. As long as her husband is earning money abroad and sending it back home, she is treated well. The minute her husband is dead, she is made the cause. This is probably Ayesha's first noticeable movie after an okie-dokie "Socha Na Tha" and that Abbas-Mustan's super-car flick. And she also did "Home Delivery" (Poor girl! Must be licking her wounds now!) Her acting prowess is what is shown in the movie and everything else is kept under cover (literally!). The innocence of the young widow is brought out very well by Ayesha. The new-found independence by interacting with Zeenat and the dance to "Kajra Re". The involuntary 'lip-sync'ing to the dialogues of the movies she loves watching. (By the way, which theatre in the world still screens "Hero"? huh? That Jackie-shroff debut one!) The intensity in her eyes when Zeenat tells her about the truth. She is amazing all the way.
Gul Panag would have been named the surprise package of the movie if not for another performer about whom I will reserve my comments so that I can write at the end. She comes across as a good actor. Gul Panag gets into the skin of the character very well. Her search is what the movie is all about. This role would have done a Smita Patil or a Shabana Azmi proud.
The surprise package is Shreyas Talpade and his hillarious takes on almost every actor of Bollywood. He comes in as the "beharoopia" (now, what's that in English? I don't know) who entertains people and also tricks them while making money out of it either by stealing or by way of reward. He helps Zeenat through to Meera and is the crucial link in the movie. And what an amazing talent he has got! Shreyas Talpade is the discovery of this year. It was unfortunate that his debut role was of a deaf and dumb guy. And when he was given the opportunity to speak, he showed us what mettle he is made of. An actor of rare calibre. In fact, when he speaks first, I almost thought somebody dubbed for him because I was still under the "Iqbal" effect!
Overall, a must-watch movie. Can watch with family and friends and anyone else you would want to treat to a good time. This is turning out to be a great year for Hindi cinema. Rang De Basanti, Lage Raho Munnabhai and now Dor. All Oscar winners - if only the Americans knew what Hindi cinema was all about!
My Rating: ****
Legend:
*Stay at home
**If you have the time to kill, go ahead, but not recommended
***Watch if you are a film buff!
****Go watch it on the big screen!
*****Don't miss watching this one on the big screen! Avoid piracy!
