Simran Review: Marketing Misdirection

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Simran wasn’t quite what I expected. The film was marketed like a sequel to Queen, promising witty, funny, entertaining frolic of an empowered, independent women. Praful is certainly that. Independent, opinionated, fun-loving, confident. But this movie is not about that.

It pretends to be so in the beginning, luring us in with an image that is not too different than Kangana’s real-life personality. But then it suddenly turns into a drama of coincidences, a domino-effect of ill-fortune in which the character’s life quickly spirals downward into desperation and crime.

The admiration we briefly develop for Praful soon turns into pity because her single mistake has quickly turned into many, and we watch her sad, desperate attempts to crawl out of the hole she has dug, only to sink in deeper. This empowered woman is irresponsible to the core. And at the end of the movie, we realize she is not empowered at all, getting slapped around by criminals, and fearing her own father more than the police.

In hindsight, the scenes presented to us in the beginning of the film to establish this “empowered woman” character just appears like a gimmick to write into the script what they thought would sell the film. Add to it a poorly developed, poorly fitted romantic angle, and we just have one big mess of a movie.

I try not to focus on logic and technical aspects of a movie too much, but I couldn’t help but get irritated by how unrealistic law enforcement and criminal investigation is portrayed in the movie. Anyone who has any remote idea of how surveillance works would know that someone parking their own car, with a visible license plate at a bank parking lot before robbing it, would get caught in about five minutes. Not to mention that she watches youtube videos about how to rob banks.

Frankly, I would have been more entertained watching a Kangana interview.

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Jab Harry Met Sejal Review

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The premise of Jab Harry Met Sejal, although it appears quite ridiculous for the most part, is one of great potential. Where Imtiaz went wrong, was that he should have told the entire story from Sejal’s point of view. While Sejal’s character and life leads this story, it’s still the man who needs to be “completed” at the end and the woman who needs to prove herself as “worthy” of his love. It should have been the opposite. Because this is not a story of a man looking for himself, it’s actually a story of a woman looking for love. Is that not obvious?

A woman looking for a ring while she has it all along, and finding something else entirely, one that she didn’t even realize she had been looking for. She’s the one who is engaged, but not satisfied with that relationship. She is the one who gets off a plane at the last minute and pressures Harry to guide her back through the places she had visited. She is the one who crosses limits with him, encouraging him all through the journey, to be closer to her, to open up to her. She never hesitates with him. She never doubts him, despite the womanizer image he pushes in her face. She trusts him, and reaches out to him repeatedly to return the affection she offers.

And yet it’s Harry who has the void? One that she must fill in order to be completed herself? And it’s Harry who proves her worth to her?

Imtiaz created a vivacious, strong-willed, charming Sejal, and then “killed” her in the conclusion, right in front of our eyes. This was not meant to be a story of a lost middle-aged man finding himself, but a story of a woman finding a companion. A woman who had the void, and who was being completed. A woman who doesn’t need others to tell her her worth, but who needs to remember it, and believe in it herself.

This is not the first time that Imtiaz has subdued a female character to the inner-search of a male one. It happened too in Rockstar, and in Tamasha, where the female character– who was the inspiration and soul of the story– was sacrificed for the other to complete his journey.

This was not the case however, in the best known and most adored film of Imtiaz– Jab We Met. In that story, both the characters had a journey to complete, voids to fill. And they filled it for each other, helped each other reach their destinations, and united along the way to a mutual destination. When Imtiaz remembers to focus on his female’s characters’ hopes and desires as much as he does on his male characters’, that day, he will produce another Jab We Met. Or just forget about that, and let the woman find herself for once!

The Power of Biswa Kalyan Rath’s Narrative

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I don’t know if you are all familiar with Biswa Kalyan Rath, of the popular Biswa- Kanan duo of the Pretentious Movie Reviews series on Youtube. Biswa has a stand-up series on Amazon Prime, and you can catch the clips on Youtube as well. I have been following these clips but it was only recently that I caught a complete show.

I have no expertise to comment on stand-up comedy, but after seeing Biswa’s performance I couldn’t help but be impressed with his narrative style, which I think is the reason that he is unique and becoming more and more popular.

I think all stand-up comedians have a prep process before they go on stage. It is no surprise that that the show has a pre-planned theme. Biswa too has a theme in mind before going on stage, but what is so fantastic about Biswa’s performance is how he threads that theme throughout the narrative. He often dives into different topics, but somehow connects these topics to the main theme at the end. It’s a fantastic way of building-up an idea, and the re-emergence of this common theme creates confidence and comfort in the audience and helps them to bond with the narrative, and the comedian.

I’ve not been so much into stand-up comedy until recently, and it is mostly thanks to the new generation of Indian stand-up comedians, who truly do comedy with intelligence. Check these guys out on youtube when you get a chance.

A Death in the Gunj Review

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You have no idea how much I had been looking forward to A Death in the Gunj, written and directed by Konkona Sensharma and starring some great actors like Kalki Koechlin. I saw some wonderful reviews of the film online before it even released in mainstream cinemas, as some people had the chance to see the film in screenings at film festivals early on. This further increased my anticipation of what I expected to be an impactful film at the least. If you are just as excited about the film, haven’t seen it yet and would like to form your own opinion of it, I suggest you stop reading the remaining part of the review.

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The matter of fact is, A Death in the Gunj was disappointing. It was shockingly underwhelming and predictable, and not the least thrilling if you ask me. There is only one point of mystery in the film, which I admit was delivered effectively and connected the very first scene with the very last one. But the middle of that story, was nothing special.

A Death in the Gunj is about a young man struggling with life after the death of his father, and how his depression and emotional struggle reaches a sad climax amidst indifferent and selfish relatives with whom he is spending the holidays.

While I enjoy slow-paced  but meaningful films that create a sense of comfort and ease, like Piku for example, I believe it only works when we are able to establish a genuine and positive connection with the characters early on in the story. I was unfortunately not able to connect with any of the characters in this film. In fact, I felt the film did an excellent job of making the characters repugnant, not just to the lead character Shyamal, but to me, the audience. Maybe that was the point. But the issue is that, I also did not feel any connection to Shyamal.

I think the struggle of Shyamal remained as much of a mystery to the audience as it did to his relatives. Shyamal as a character is such an unbearing personality, that it is easy to dismiss him although he is the eyes through which we experience the story. He is much like an object in the film, represented by his father’s old sweater, his notebook, a moth… but the meanings and emotions that he attaches to those objects were never quite explained to us. So as I watched his turmoil intensify and grow on screen, I did not understand him and his reasons, and after a while, it was just watching a man who has lost his mental stability and getting ever yet closer to the edge without anyone else noticing.

When I read my own words describing the film, I wonder if this was Konkona’s intention all along? –Making the Shyamal character so unimpressive that even we would nearly forget his presence… Could it be that the film  has been implemented so utterly realistically that I’ve failed to get the point? Perhaps… I’m not sure.

I AM sure that knowing the excellence of Konkona’s art may have increased expectations a little too far for this film, but it doesn’t change the fact that the above mentioned drawbacks disappointed me. When the film ended, I just felt so underwhelmed.

Blast from the Past: Raja Hindustani (1996)

Today, we are going to have an in-depth look at the highest grossing film of 1996: Raja Hindustani, starring Karishma Kapoor and Aamir Khan.

Aarti Sehgal (Karishma) is a wealthy, sentimental, and good-hearted girl with a doting father and a step-mother because her mother passed away when giving birth to her. For holidays, Aarti decides to go to a hill station “Palankhet” because that’s where her parents had met for the first time. Accompanying her are her two servant cum companions “Gulab Singh” and “Kamal Singh.” Aptly named as both appear to suffer from gender dysphoria, a mis-match of gender identity. Gulab Singh is a feminine male and Kamal Singh is a masculine female.  It is delightful that this elite household gives priority to minorities for employment.

 

Gulab Singh forgot to make arrangements for their transportation from the airport, as well as the hotel, so they take the help of a taxi driver, Raja Hindustani (Aamir) to get settled in the home of a sweet elderly couple. Pay attention to the first place Raja looks when he sees Aarti for the first time.

 

Aarti continues to call Raja when she needs a ride, to spend time in town and go shopping, etc. Even though Raja doesn’t let go of any opportunity to stare at Aarti, as all sex-starved men are wont to do, he does not forget his social standing and shows respect to his wealthy employer by referring to Aarti as “Memsaab” in every sentence. But then the beautiful Memsaab commits a most grave mistake….. by offering her taxi driver a tip!

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“Oh the height of belittlement and insult by the wealthy upper class!”

Then Gulab Singh and Kamal Singh have fun at the expense of Raja by convincing Raja that Memsaab praises him all the time, finds him handsome, likes his singing, etc. Since all men naturally believe that they are God’s gift to humanity and that no one can resist their charms, even if they are a taxi driver, he dresses up and dances to show it all off to Aarti. You know, like what male birds do when they need to convince a female bird to mate with them during mating season. Then, naturally, this happens…

 

But despite being wealthy (because all wealthy people have no choice but to be depreciating to the poor), Aarti is a sweet girl, so she comforts Raja by saying that he is priceless.

Then Aarti decides to wear a pretty red dress in town and asks Raja’s opinion on the dress because it’s very important to get your driver’s views on your outfit. Raja doesn’t like it because she is showing skin. Poor Aarti doesn’t know that showing skin is a big no-no, especially when your driver likes you and has started to feel possessiveness over you. So she disregards Raja’s warning and walks around town in her red dress. Lo and behold, just a few moments later, some loafers start verbally harassing Aarti because of her dress. Yeh to hona hi tha, how can a young, independent woman be so silly to think that she can wear what she wants without being harassed and abused?!

 

Raja cannot tolerate this and he beats the loafers black and blue. Aarti becomes angry that Raja got involved and used violence. After returning home, the two argue, Raja says “this is our Palankhet!” and reinforces his domination over her by telling Aarti that he doesn’t like her wearing such clothes. The driver tells his employer that he doesn’t like her wearing such clothes! So Aarti is like “Who the hell are you to tell me what to do?! I’ll do what I like and wear what I like!” Like duh! Raja becomes even more angry and runs off.

Aarti is suddenly full of remorse. Dread fills her face when she realizes that she upset her driver by refusing to dress as he wants. What blasphemy! So immediately, she changes into respectable clothing and goes looking for him.

 

Aarti finds Raja, calls him a sweetheart and asks him to show her all of Palankhet. While sight-seeing, the two continue to praise each other and the first romantic duet comes where Aarti wooes Raja with the lyrics “Tu hai pagal, tu hai joker!”

 

Next, comes the first defining point of the film– the kiss! The kiss in Raja Hindustani is not just important because a real on-screen kiss was practically non-existent in the 90s, but also because it is the primary motivation for the characters and the driving force of the script!

Raja is the more decent of the two. When the flame starts sizzling between them in the pouring rain, it’s Raja who backs off and tries to distance himself! But Aarti calls him to herself with her feminine charms and gets even closer!

 

 

 

 

And the inevitable…

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But then, this happens…

 

 

The sudden realization of the major sin of  kissing outside of one’s social class, Aarti and Raja have a premonition of the evils they may have to endure for this grave mistake. It’s the end of the world.

Storms rage and Aarti battles a herd of sheep to find refuge in her room from the reality of the sin that she just committed.

 

But it’s not so simple. Desire and passion overtakes her body and she cannot get the kiss out of her mind. Hormones are raging and fevers are rising when…

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daddy arrives…

Poor  innocent daddy, oblivious to the gross transgression committed by his daughter, thinks she ran in the rain in order to meet him as soon as possible. And she’s like, “uh-huh.” Her father tells her that he has come directly from his trip to meet her, and that they will return home together. Aarti is literally crying when she hears about returning. Soon the news reaches Raja and he has to drive Aarti and her father to the airport.

Aarti, despite being shaken up from her recent kissing experience, is back in decent mode. A little embarrassed and emotional, but prepared to return home with her father, raat mein kala chashma pehan kar.

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On the way to the airport, Aarti is trying to hide hear tears while her father makes small talk with a much irritated Raja. Look at Kamal Singh’s expression when Aarti’s father offers Raja a job as a driver in their home!

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Of course, Raja refuses and they make more stupid small talk (and Raja tries to make Aarti feel bad with his remarks) until they suddenly come across a traffic jam. Raja’s friend Balvant Singh (Johnny Lever) comes and Aarti gives this brilliant introduction: “Papa, yeh hai Balvant Singh. Balvant Singh, yeh hamare papa hai.” Balvant Singh convinces them to spend time at a nearby dhaba while the jam clears up. They readily agree for some pass time and entertainment, although they were in a rush to reach the airport just minutes earlier.

Next comes the second defining point of the film. And the craziest dhaba dancer you’ll ever meet. The lyrics of the iconic song are “Pardesi, pardesi, jaana nahin…mujhe chor ke, mujhe chor ke” X50. Soon, Raja joins in on the song. While the young lass is showing off her dancing skills and flirting with Raja, the more mature dancer is downing bottles of neat alcohol. Aarti remains in gangster mode. 😎

Clearly the song has rubbed salt on a deep unresolved wound in the mature dancer, and she experiences powerful emotions as Raja sings, her expressions moving between pain and murderous plans.

 

Just when Aarti was relieved that the song got over, the mature dancer delivers her philosophy on the zalim duniya that fails to appreciate love. She asks for the song again, to dance her way to revenge. They should have cast this woman for the role of Chandramukhi. And those lyrics X50 start ALL OVER AGAIN.

Aarti is like “Nah, I ain’t taking this shit anymore” and decides to put an end to the torturous song by breaking all social boundaries to hug Raja in public, and in front of her father. Because no social repercussion can be worse than listening to that song all over again.

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Of course, then, all hell breaks lose…

 

Or we thought it would until Aarti’s father surprisingly decides to agree to the alliance, with very reasonable conditions that Raja should enter and assimilate into their life (like obviously). But the proud chauvinist that Raja is, he will never take any step to meet a woman half-way for a mutual life. And of course Aarti chooses Raja over her father, because it’s the fate of all woman to do exactly as their husbands or to-be-husbands want, no matter how unreasonable, illogical or insensitive the demand may be. Aarti’s heart-broken father curses the couple with unhappiness and drives off. Then Aarti is like “daddy did not even bless us!” But what to do, when it’s hormones vs. parents, hormones are bound to win. Meanwhile, Kamal Singh, with gender dysphoria (or is she a butch lesbian, it’s really confusing) married Balvant Singh after losing a wrestling match with him, and began to dress as a woman. It only took Johnny Lever to resolve a lifelong struggle about gender identity and sexual orientation!

Aarti and Raja have a modest and intimate marriage ceremony with the support of the sweet elderly couple.

 

And the long awaited night… it was all for this…

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And the following few blissful days of Aarti and Raja, finally content and satisfied, like children who finally received a long awaited sweet treat…

 

But all good things must come to an end, and destiny has its way of taking revenge from lusty youth who seek intimacy with those outside of their social class.

So, post-marriage domestic fight #1

Aarti’s father, out of shock and anger, initially considered disinheriting Aarti, but being the teddy bear daddy he is, he soon changed his mind and visited Aarti, in fact gifting the newlyweds a home. Pretty nice thought if you ask me, he gifted them a home where they wanted to live, without demanding any change in their lifestyle or occupation. But I think you can imagine what happened next. Our Raja, who has far too much vanity for a garib, refuses the gift and lashes at Aarti for even considering a gift from her father. Doesn’t she know that all gifts from rich father-in-laws to poor son-in-laws are not gifts, but rather a slap to the son-in-law’s manhood. Because a man who cannot afford to treat his wife like a queen financially is not a man at all.

This fight nearly leads to their separation, and Aarti finally comes out with the true reality of her situation. Now that she’s married Raja, she doesn’t have any choice but to live with him forever. Because by marrying outside of her social class, she has closed all other doors for herself and will literally have no place to go if Raja leaves her. Other than him and death, she has no choice, she tells him. Interestingly this dawns on our coy bride AFTER marriage and nuptials, because as we all know, raging hormones = death of logic.

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No sex + temptation = blockage of all nerve function in the segment of the brain that performs logical analysis. And the only cure is sex as drano to clear out the pipes. So logic returns, but unfortunately, cleaning the pipes causes damage which is beyond repair at this point.

By the way, after marriage, there is complete role reversal between Raja and Aarti. Before marriage, Raja followed Aarti around like a puppy “Memsaab, Memsaab.” After marriage, he is back to his normal rude self, while Raja for Aarti before marriage, becomes Rajaji after marriage. After all, pati purush nahi mahanpurush hota hai.

After that brief dose of harsh reality, we finally get another song, where Aarti sings in premonition of woes yet to come from this marriage “tumse dil laga ne ki saza hai…”

The differences between their worldviews become clearer after a visit to Aarti’s home in Mumbai, exacerbated by the interventions of Aarti’s step-mother causing misgivings between the couple. Raja starts to believe that Aarti is embarrassed of him, and Raja’s stubbornness reaches a new height.

Aarti’s step mother is unnecessarily influenced by her brother who fears that she will not get any share in her husband’s inheritance and that it will all be left to Aarti and her garib husband. It’s all so silly because the wife always gets a share of the inheritance. Putting this aside, Aarti’s step-mother is actually the only sane and reasonable person in this film. Even though she is presented as the bad guy, she seems to be the only one who understands that the distances between Aarti and Raj caused by their social and economic status can never be abridged.

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From whatever angle you look at it, the relationship has simply emerged from the hormonal fluctuations of two 20-year-olds. The sooner they understand this, end the relationship and move on, the easier it will be for them. But since no step-mother can wish for the well-being of a step-daughter, the correct assessments of the step-mother are ignored and thought to be her expected evil ways.

Dum dum duba duba duba

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The much expected breaking point arrives over a stupid suit and who bought it. Raja is obnoxious, rude and narcissistic as usual. He makes a huge tamasha in the middle of the birthday party. Aarti finally realizes that the marriage is a complete mistake, and that Raja is not right for her. But Aarti suffers from low self-confidence. That is why, whenever she is upset with Raja for completely rightful reasons, the stubborn anger of Raja and fear of being rejected, causes her to forget her accurate assessment of the situation, and run after him like a fool (remember the red dress wala incident). Thankfully, the only smart member of the family, the step-mother, is there to stop her this time. And realizing the weakness in her step-daughter, decides to take the matter into her own hands, to make sure that Aarti continues to lead her life in the right direction. Suddenly the word TALAQ TALAQ TALAQ resonates in our ears. (It’s a boo-boo word).

After this point, Aarti goes completely berserk, believing that Raja is punishing her and that all of it is due to her father’s curse earlier.  Aarti decides to be the faithful and ideal wife and lead her life selflessly waiting for a shockingly arrogant and stubborn husband. Despite being from a wealthy and elite family, Aarti is unbelievably meek, timid and submissive. To top it off, the saza she referred to in the earlier song “tumse dil laga ne ki saza hai…” has come to age in the form of a baby. And Raja turns into wolf-man. Are they seriously expecting me to believe that a man of such arrogance is capable of feeling remorse and sadness?!

 

Aarti continues to be an example wife, by continuing her wifely duties, wearing sindoor and mangalsutra and keeping karva chauth and all… because however bad marrying a rude and mean man may be,  divorcing him and being a widow is far worse!

Meanwhile wolf-man comes to know that there is a baby wolf and goes and steals the baby, walking all over Aarti (quite literally). After all, the child belongs to the man, who cares about the woman who gave birth to the baby? By the way, the baby has taken after the grandfather.

Aarti and everyone comes to know about her step-mother’s scheming and all rush to meet him in Palankhet. But the early entry of Aarti into the scene makes wolf-man run galloping away with a poor infant in his arms, and gunned men firing behind him. Suddenly it’s a chase and fight in the forest, with the baby tied to his back!!!

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As it often happens in intense fights with babies tied to the back, the baby comes flying off during a blow, falls thankfully safely into the arms of Aarti. Crazy brother of the step-mother gets hold of the baby, reveals all his plans, and threatens to harm the baby if he doesn’t receive all of the inheritance. Then a child and gang of gender confused people rush to the aid of the baby and defeat the evil man with a gun.

Wolf-man bonds with baby wolf. Aarti delivers a touching final dialogue of how they are fault for not trusting each other. But no one has changed. Wolf-man is again stubborn, Aarti is again submissive. Now she says that she will only love him. What can she do, now baby wolf has also come. Too late. Must tolerate this rude and arrogant man forever. They sing that dreadful song, hoping for another embrace. You know it has worked when wolf-man starts singing too. And happy ending.

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Or is it?

I mean that was only their first year! Phew! All is well only until the next domestic fight, next separation, and this time, real divorce!

Kids, please do us a favor, don’t kiss outside of your social class. Thank you.

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3 Bollywood Films That You Did Not Know Were Copied from Hollywood

I cannot possibly go through every Bollywood film that was copied from Hollywood because there are too many for anyone to know or list them completely. We all know that a large portion of Bollywood films are direct copies of Hollywood films. Some others are not direct copies, but copy certain parts or scenes, and then there are others that don’t copy any scenes but their main theme is inspired from a Hollywood movie. In this post, I want to mention a few movies that were copied or heavily inspired from Hollywood films but few people are aware of it.

Aisha (2010)

Aisha claims that it is an adaptation of the Jane Austen novel “Emma.” As much as I appreciate the try, they are not fooling anyone! Aisha is not an adaptation of Emma, but rather a copy of the 1995 Hollywood film Clueless, which was an adaptation of Emma! I watched Clueless as a child and it is a cult teen film. All Aisha did was adapt the film to an older age group (so that the characters were not in high school), but the scenes were quite literally copied otherwise. In fact, Sonam Kapoor even copied the style of some of the outfits! Although I am calling out Aisha on this, it doesn’t mean I don’t enjoy the movie. In fact, I like it a lot and I think it’s one of the most successful and stylish Hollywood adaptations out there.

Kabhi Alvida Naa Kehna (2006)

Few people know that Karan Johar’s Shahrukh and Rani starrer KANK is also a copy. To give it its due, it is not a scene-by-scene copy but takes its entire premise from the 1984 Hollywood film Falling in Love which stars legendary Robert De Niro and Meryl Streep. I was lucky enough to realize this when the film was aired on television some years ago. I do love KANK, and have never succumbed to the pressures of mainstream conservative viewers who bashed it relentless for portraying infidelity. But I must make one criticism. I think where Karan went wrong with KANK is that he also gave us a deep insight into the personalities of the spouses– Riya and Rishi, played by Preity and Abhishek respectively. I think the audience made a connection with these characters and that is why there was such outrage when they were cheated on, as we naturally felt that they deserved better. Since this aspect did not exist in Falling in Love, and also because the chemistry of Shahrukh and Rani can never match a Robert and Meryl duo (if it had been Shahrukh and Kajol, maybe), the Hollywood version fairs a little better. Btw, train stations is a big theme in the original too.

Mann (1999)

I’m actually not sure to what extent people are aware that Mann is a remake. I myself did not know until I was re-watching my favorite Hollywood rom-com of all time, Sleepless in Seattle. In the film, there is a scene where Sam is having dinner with close friends Greg and Suzy and Suzy starts describing a scene from the film An Affair to Remember and suddenly starts to cry. Just watch:

When Suzy is describing the film scene, I thought to myself, wait a minute, that sounds familiar, it’s Mann! Mann is a scene by scene copy of the 1957 film starring Cary Grant and Deborah Kerr. While Cary Grant’s character comes off as a womanizer, but a charming  and classy one nonetheless; Aamir’s character in Mann is simply obnoxious.

But that’s not all. The songs are rip-offs too. I always knew Kali Nagin Ke Jaisi was a rip-off because I remembered the melody from childhood days, but I finally got around to googling what it actually was. It’s a copy of the 1997 Arabic song “Ya Rayah” by Rachid Taha.

If you are disillusioned by that, wait for it, there is more! Nasha Yeh Pyar Ka Nasha Hai is a copy of the 1983 Italian pop song “L’Italiano” by Toto Cotugno! I guess the only original thing in this film is the genuine acting of Manisha Koirala.

For a larger list of copies/remakes, including remakes of South Indian films, go to Guide to Remakes.

How Films Influence Our Notions of Death and the After-world

I think it was in 1993 or 1994 that I had a birthday party screening the one and only 1988 cult classic “Beetlejuice.” (A 7 year old’s birthday party with Beetlejuice, and that too in Turkey, weird family I know…). As an adult, I still love this film, and not only because of its unique premise, but also how the usually ghastly topic of death is portrayed in such a humorous way. Until then in cinema, we had not considered that the dead could be a sweet couple from the suburbs, or that the after-world could be a waiting room not too different than a dentist’s. There are very few films that have actually tackled death in this satirical way, and maybe this is also why the film obtained such cult status over the years.

Bhoot World Mein Teen Cheezo ki Kami HaiThe 2008 Hindi film Boothnath starring Amitabh Bachchan followed a similar path, albeit with less humor. It was successful in normalizing death and the dead however, just as Beetlejuice had done. In Boothnaath, the dead was a grouchy but good-hearted old man (based on Oscar Wilde’s The Canterville Ghost in fact), and the after-world was basically an Indian government office.

There have been a few other Indian films that have helped disseminate some of the stigma attached to death, for example the 2013 Telugu horror comedy Prema Katha Chitram and the 2012 Bengali film Hemlock Society. Rather than using satire to display a fantasized and ironically ‘normal’ death, these films mocked suicide by suggesting suicide, thereby bringing attention to high suicide rates among youth in India.

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It’s rather sad that this humorous and satirical take on death and what await us afterward, cannot become more mainstream in cinema. There is a plethora of films and TV shows releasing daily that remind us of the horror that we normally associate with death– serial killers, revengeful murders, painful accidents, and after it’s over, zombies, vampires, ghosts and demons to haunt us and give us sleepless nights. If you notice, death is the main thread in all horror products. I don’t think we even realize the extent to which the big screen influences how we think of death. If only more cinema could take death as lightly as it often does life, and remove some of the stigmas and subconscious fears usually associated with it.