Legends leave a legacy that’s easy to revere but difficult to cherish without embracing tussles of the highest order.
Steven P Jobs was an outstanding entrepreneur who lived and graced life in his own terms. More than self, Apple Inc. and it’s meteoric rise to the número uno slot was testimony to his mercurial genius.
But Jobs had an ominous team of talented technicians to envision is quadruple size dream. Certainly, he will remain one of those characters whose charisma will remain undisputed. But I would place the list of luminaries under Jobs in high esteem, who rallied across to see Apple where it is today. At the top.
Every success story has a string of infinite failures attached to it. Apple and it’s wizards have seen those bumps in plenty (Apple struck an all time low in the late eighties and early nineties before the messiah bailed it out with the iMagic).
Apple was certainly Jobs’ caricature but for me, it has much more to offer in future that would keep the demeanour of Steve emphatically alive.
He wasn’t the ultimate legend like Amitabh Bacchan, neither was he a pioneer superstar like Rajesh Khanna. He isn’t a Dilip Saab either. He was a pale shadow underneath the aura of his elder brother and showman, Raj Kapoor. But, by all means, Shammi Kapoor was one of the charismatic celebrities that graced the silver screen in the 50s and 60s.
It’s never easy to belong to the Kapoor clan and expectations could get mammoth if you are a sibling of the ominously talented RK. But his emergence was phenomenal and post ‘Tumsa Nahin Dekha’, there was no looking back. I have never been a great admirer of his credentials as an actor, but he definitely was cherubic and made his characters look lively. No wonder, he is known by all as a fighter and treated life like an ice cream: enjoy it before it melts.
Cheerful and soulful performances in films like ‘Kashmir ki Kali’, ‘Junglee’, ‘Prince’, ‘An evening in Paris’ and ‘Brahmachari’ made him a youth icon; ‘Teesri Manzil’ hit the jackpot and Shammi was reigning high. His greatest and defining strength was obviously Rafi Saab, and his voice catapulted him to superstar status with his jovial charm. I don’t vividly remember his films but the songs in his numerous blockbusters were aids during my childhood days. They were inarguably, the finest.
One of the recent trivia that caught my imagination towards Shammi Kapoor was his penchant towards possessing tech gadgets and exploring them. He was one of the first in the industry to lay his hands on a MacBook and his fondness towards growing technology was a surprise to many (at least, I am usually famished to hear such updates from the park).
A great enthusiast, Shammi Kapoor lived cinema with honesty and passion.
‘Tareef karoon kya uski
Jisne tumhe banaya…’
The ‘Prince’ leaves abode but his legacy will linger for a long time to come.
Tagore’s illustrious works are magnificent manifestations of vindicated human encore. We famously get acquainted to those components in our daily lives as ‘Relationships’. ‘Naukadubi’ is yet another marvel from the basket of the renowned master.
Rituporno’s works usually fascinate me for his treatment of characters that sink like butter in a soaked Italian loaf; Ramesh, Kamala (or Susheela) and Hemnalini are such fine prints embedded in this engraving tale of love, love-lost and the desire to recuperate from fiddling relationships.
I still remember Byomkesh Bakshi’s chosen words in ‘Chiriakhana’ describing Tagore’s famed masterpieces: “No story can ever be scripted sans woman and every epic surrounding a woman cannot be woven without the threads of illicit relationships”.
This one, admittedly, doesn’t explore this contagious attribute of man but does depict the skeptical and two mindedness of a man caught between his lady love and the sympathy towards the unknown woman who cajoles him beyond the native desire of his father. I adore the language in few Bengali classics and this one engrossed me, not surprisingly though.
Performances: Raima Sen as the ethereal Hemnalini sizzles and carries the film on her shoulders, central to her thematic portrayal in this courageous adaptation. Jisshu Sengupta is restrained and does justice to Ramesh. Rituporno has gambled with Riya Sen for Kamala; I would not term it as Midas touch but the move did not backfire, to say the least. Prosenjit chips in for a quickfire cameo; others are there in bits and pieces (I was watching Dhritiman Chatterjee after quite a while) and deliver as any supporting cast of Rituporno would.
‘Dosar’ was the last product I saw from the talented filmmaker; ‘Naukadubi’ manages to stay afloat amidst ruins.
If lust, deceit, conspiracy and the hunger to destroy self become the bane of human continent, then presentations such as BBI would rule the roost with grace.
BBI is not one of it’s kind, but certainly elevates in terms of the treatment of the content and a slick screenplay amidst predator like vicinity.
The concept is taken from various gangster films of addictive persona and a la RGV like framework cannot be disregarded; nevertheless, there is an intrinsic charm that kept me alive and meander to figure out the collages.
I loved ‘Mamu’s’ portrayal; the newcomers have hatched on to their roles like beehives and do justice. Cameos are always an integral widget of such thematic ventures and this one has them in plenty. Rest falls in place to fill up the usual ingredients: Satta, Badshah aur Badshaahat, infidelity and packet sizzlers of sexual add ons keep doing the rounds to compete with each other.
The outcome has always been the cynosure in such films; the ending was conducive to my thought process and loved the way of stitching the KK Menon sequences with the entire gamut of players bought in with a flair of admonishing charm.
Bhindi Bazaar is valued enough to give it an affordable miss but you can watch it for the classic syndrome attached to it’s overlay at entirety.