A Lucky Star without Tantrums - Rishi Kapoor

 

Rishi Kapoor. One of the most happy-go-lucky actorss in Bollywood. Always cherubic and bubbly. A lucky mascot. For everyone who worked with him. For his father who was reeling under huge losses from "Mere Naam Joker", he became a money-spinning "Bobby". For heroines who got launched with him like Padmini Kolhapuri and Dimple. For co-stars and superstars. And for many producers and directors who found in him the mettle to rub shoulders with multi-starrer giants. He became the proverbial David who charmed many Goliath-like giants with his non-threatening effervescence and ego-less pranks. Most of the films starring Rishi Kapoor became box-office bonanzas for producers though he never got full or deserving credit for his performances that pulled in the crowds.

The only girl he ever got linked with early in career was Dimple who eloped with Rajesh Khanna, even after wearing a ring given by Rishi when they were dating during "Bobby". Of course, he married Neetu Singh finally - and thats one heck of a love-story for a free-wheeling 80s couple who did 13 films together with dazzling chemistry.

 

Raj Kapoor always thought Rishi would make the most successful director (he did direct "Aa Ab Last Chale" which didn't click). But he became the most successful lover in the history of Bollywood: always walks away with the girl, whoever else in the triangle may be - Vinod Chopra, Kamal Hasan or Vinod Mehra. He became Amitabh Bachchan's most famous Tillu Bhai in many memorable hits of the 80s and happy to play second fiddle to the reigning Superstar. As a nice guy, he has so far given the best shot amongst the Raj Kapoor's sons sustaining himself in a career spanning four decades since he first appeared. Before he came in as "Bobby", Bollywood films used to be all about men and women, as a critic remarked. After "Bobby", it was about boys and girls.

 

Rishi Kapoor went on to belt out the most iconic dancing hits and Qawali numbers of an entire generation many of which became titles of blockbusters in 2000s. Before the likes of Govind and Mithun, it was always Rishi who was rated the best dancer for a long time. It was quite an achievement for Rishi- to serenade a heroine, and synchronize dancing steps with her without an effort. The disco lights, the revolving dance floors and the psychedelic lighting bulbs of the 80s would have all looked out of place were it not for the elegance of Rishi Kapoor's cadence and ease. He would break into a song and dance and everybody out there would fall in sync - swirling and crooning without an apology.

 

There are actors down South who followed the same model of Rishi Kapoor in experimenting with new heroines and playing second fiddle in multi-starters as long as they could hold your own - Chandra Mohan in Tollywood and Siva Kumar in Kollywood, they became known as the Rishi Kapoors of their respective Film Industries. Of course, it could be argued the other way too - why not Rishi Kapoor be called the Chandra Mohan of Bollywood? But that's a different topic!

Rishi Kapoor, later transformed into playing played mature characters after his gait and genetic code no longer made him look younger because of the famous Dal Makhni Kapoor staple diet. In the last decade, he became Bollywood's severest conscience keeper raising holy hell every time the Industry stalwarts floundered in responding to the 'crying need of the hour' be it #Metoo or a war-like situation. He also brook no nonsense with his recently released autobiography "Khullam Khulla" (in which he nailed stars like Rajesh Khanna or Amitabh Bachchan with no-holds barred revelations).

 

Of course, his fine acting continued with the likes of Irrfan Khan and Amitabh Bachchan ("102 not out") and he would have easily given another shot at third innings at a time when his son Ranbir Kapoor is earning solid spurs as the next Superstar of Bollywood. That speaks a lot of about the original first family of Bollywood - the Kapoor Clan whose gene pool keeps gifting Superstars and Divas who became endearing icons of Indian Cinema. Rishi has travelled as far, if not farther than all his great uncles but perhaps will have the last laugh once his son conquers Bollywood one day, if not already. It is quite ironic that the Star who gave India's first song on self-quarantining ("Hum Tum Ek Kamre Me Bandh Ho...") should pass out during India's self-quarantine period. And in his passing, the whole nation says "Om Shanti Om" to the man who sang the most famous anthem of the 80s with the same words. Truly, Rishida will be missed by the 80s generation and one hopes that his legacy will be carried on by son Ranbir Kapoor to the next level. 

 

My favorite films of Rishi Kapoor:

1. Karz

2. Amar Akbar Anthony

3. Chandini

4. Zamaane Ko Dikhana Hai

5. Sagar

 

#RishiKapoor #Bollywood #RKFamily #FirstFamily #KhullamKhulla

"Besharam" (Hindi) Film Review

It happens to every superstar. It happened now to Ranbir Kapoor. After hitting a purple patch in recent films, Ranbir Kapoor has starred in a disastrous film that is neither a love story nor an action film. Directed by Abhimanyu Singh Kashyap, "Besharam" must go down as one of Ranbir's most insane and inane film till date.

The story is like a line that is lifted from TV serials - not suitable for a film befitting Ranbir. Bablee (Ranbir Kapoor) and his flunkie keep stealing imported cars by knocking off the locks with a magic knob. They are chased by an about-to-retire police couple (Rishi Kapoor and Neetu Singh) in the first case. Bablee keeps running as a furgitive and gate-crashes into a pretty lass Pallavi Sharda (debutant). He bumps into her mother and finds it easier to serenede Pallavi through her mother. He succeeds after many false starts. One day, he flicks her own car from her office and then "shamelessly" tells her to drive down with him to Chandigarh to track the owner who bought her "stolen" car. Pallavi relents after her mother persuades and that loosens the romantic track between Ranbir and Pallavi. There is an anti-hero also for the first time in a Ranbir film - it is Javed Jaffrey  - the boogie-woogie judge - who engages Bablee on "car" assignments. The twist is that the car stolen from Pallavi contains a bagload of crores of rupees which he is coming after. In a climactic chase for that car, Javed Jaffrey, Rishi Kapoor, Neetu Singh and Ranbir and Pallavi all come together in a gun-dotted sequence that lasts 25 minutes before the end comes soon. Happy ending but troubled viewing for those who went with expectations. 

What went wrong? Story thats loosely fleshed out with poor characterisations and half-baked convictions. Director doesn't have clarity on giving what he wants the many characters to speak out. Javed Jaffrey could have been menacing for a change but he is made a joker in the end. Pallavi Sharda has promising looks but her characterisation lacks punch; her melting point to accept Ranbir's love was inconsistent with her overall tone. Rishi Kapoor and Neetu Singh look slightly over the top with their inspid lines; they fight, they differ, they want to adopt a child and end up adopting a grown-up like Ranbir in the end - some sort of picturesque justice to a family drawn in the film for the sake of it - a purely avoidable situation.  Ranbir is quite good in his role and carries off his performance effortlessly, he fits the role of a "Besharam"  - flirtatious, mischievous, innocent and kind well but he could have passed up this role, either he okayed the script after his parents listened to or he must have got sentimental about playing a role with both of his parents seen as a screen couple. The law of averages seems to have caught up with Ranbir in this film - it is slow, cliched and woefully anachronistic plot. Screenplay could have been done by a clap boy, it was that simple or redundant. Music by Lalith Pandit, whoever he is, must be one of the forgettable scores of Ranbir's career so far. It neither enriches the film nor energises it. Comedy in a few scenes is sprinkled which get a few laughs but enough to redeem the film of its cardinal sins - lazy direction, sloppy screenplay, lacklustre story and frivolous handling. 138 minutes is not that long yet found the duration tortuous. What helps is the screen presence of Ranbir, Javed Jaffrey, a few laughs and the engimatic cuteness of newcomer Pallavi Sharda. For all that, it deserves a rating of 2/5.

"Yeh Jawaani Hai Deewani" Film Review (Hindi)

There's something about Ranbir Kapoor from the first time he appeared on screen. And there's something magical about this film YJHD, which is a phrase from one of Ranadhir Kapoor (his uncle) films. By the time I saw, the film is already crossed Rs.100 crores and is counting to the next hundred crores in BO collections. Ayaan Mukherjee, director, has given a winning script of a contemporary love story starring Deepika Padukone, Kalki K and Ranbir. YJHD is a breeze and a worthy addition to the catalogue of films like "3 Idiots", "Zindagi Naa Milegi Dubaara", "Dil Chahta Hai", "Jab We Met". 

Story is not anew. Karan (Ranbir) is flirtatious and a go-get-her Donjuan. Naina (Deepika) is a medico who takes herself and life too seriously. Karan and his gang of friends - a guy and a gal are taking off to the mountains in North for a trek adventure. Naina bumps into one of the gals (Kalki) at a grocery and she learns that the girl Kalki is her batchmate, she learns who are all going for the expedition and eventually, jumps onto the bandwagon. Sparks fly and love blossoms between two opposites. Then the twist at the interval and the fun 2.0 post-interval as the foursome get back for Kalki's wedding in a familiar finale that ends like a fairy tale. What has worked for the film are solid performances by the starcast led by Ranbir and Deepika. Deepika has shown again why she is the youth Diva  - her looks, style, gait and oomph make her a sweltering watch as she plays the two shades before and after the interval as the shy girl first and as the girl who gets her mojo and her man later. Kalki has done the exact opposite role of what she did earlier in "Zindagi Naa milegi Dubara" and she pulls it off with ease as the ebullient funster. The other guy who plays Ranbir's thick friend and room-mate also sticks out with his performance. Ranbir Kapoor is the go-to guy in the film, especially in the second half with an uproarious performance that will finally seal his place as the upcoming Superstar who will call the shots. After experimental roles like "Rocket Singh", "Barfi", "Rockstar" and "Rajneeti", Ranbir Kapoor gets a script that lets him show his repertoire  - lover boy looks, unassuming demeanour, impeccable sense of comedy timing, broody and playful swing of moods, command over language that few Hindi youthful stars have - when he says "Raftaar", you will vibrate with the meaning. I have this comfortable feeling that Ranbir Kapoor is on his way to become the most iconic Superstar of this generation because he has the best package of vulnerability, intelligence, romanticism and credibility that marked those who preceded him generations ago. It appears also that the genes of acting that he inherited on all sides and in degrees of separation from his parents and grand-arens are going to play out on many more scripts that are yet to be written out with him in mind, this is my humble conviction. 

Pritam's music is another highlight. His instrumentation is more understated than his characteristic music with its haunting emphases and lilting notes  and crescendos that surcharge the mood of the song. 'Badtameez Dil" is one helluva song that is composed way out of Pritam's comfort zone. It also has a verisimillitude to that of "Gili Gili Akka" song of Randhir Kapoor's hit song. But nine songs are too many and unjustified. The song with Madhuri Dixit is over-rated and boring - don't mistake, She is old and unbearable even if she is able to move her hip-bone. Farook Sheikh as Ranbir's father sparkles even in a brief role. Dialogues by Hameed Dalal are a stand-out. ("Dil ki dhadkaan ki awaaz kaano tak sun na chahta hoon"). Be prepared for misty eyes atleast on three occasions in the film. What undermines the film is the weakest comedy seen in Ranbir's films and pathetic attempts by director Ayaan to evoke slapstick comedy, almost a leaf out of "Barfi" stunts in the first half. The redemption of the film is in its plot, its performances,  music and the overall feel of positivity of the pangs of coming of age. The screenplay could have been better and the first half could have been shorter; there is no reference to what the hero and the heroine did for eight years when they didn't meet each other despite choosing good professions. The characterisation of Ranbir's friend who is a serial gambler and an alcoholic could have elevated Ranbir's magnanimity as a helper but it was lost in brief shots and passing references to reform him. Small blemishes in a film that rarifies your soul and makes you reach for the stars of Bollywood, and root for the next big thing  - the next Rockstar Ranbir. 4.5 out of 5 despite a weak first half. Karan Johar and Ronnie Screwala must be elated they bet on the right horse that is raking it all in. 

"Barfi" Hindi Movie Review

"Barfi" is one more experimental film directed by Anurag Basu which is in a different format than what we have seen in films like "Life in Metro" or "Gangster". Ranbir Kapoor once again proves that he is ready to take on any role in his march to superstardom - he plays the role of a dumb do-gooder in Darjeeling who splits his affections between an autist girl Priyanka Chopra and a conventionally good-looking, Bengali girl (Ileana D'Cruz). Movie's finest performances are by Ranbir, Ileana (she can act, finally!) and Priyanka. Some of the most exciting camera work on Indian Celluloid comes alive in this musical extravaganza with period-film touch. The touch extends to a differently sounding BGM and music by Pritham. What lets the movie down is entertainment, entertainment and entertainment as Silk would say.

The narrative is confusing - and the director is unable to strike a balance between what he wants to convey and what will appeal cinematically. Flashbacks, which are the last refuge of the skilful director, are used liberally without a method or purpose. After about 150 minutes and several times in the movie, you realise Anurag Basu wont let you go without showing the creative stuff - intermixing art film scenes, Chaplinesque comedy, extravagant landscape shots of Greens in Bengal and a touch of Hollywood musicals. All the efforts dont add up to a convincing film, it looks indulgent and irritatingly artful, sometimes. Ranbir Kapoor has done more experimentation than any Kapoor or Khan in their entire career - "Saawariya", "Rocket Singh",, "RockStar", etc. In his own career interest, he should now act in a script that enhances mass appeal than thinning his luck at the boxx office. Honestly, despite the artful touch, gaps in story-telling make "barfi" over-indulgent. For the effort, I would give it 2.5 out of 5 or else, the movie sucks but for the Emerging Star.

"Rockstar" Movie Review

"RockStar" by Imtiaz Ali is quite an effort by the writer-turned-director in bringing to screen how rustic folks end up at the starry end of the rainbow - with power to sway fans to do their bidding. Imtiaz Ali has picked the right candidate - a born actor with starry eyes- Ranbir Kapoor - to play the title role and he does it with tremendous ease showing multiple shades of how raw innocence, ins...tincts and impulsiveness combine with luck to give a solo Guitarist mega stardom and the pains that come with it - adulation and sympathy, allegations and affairs, success as well as tragedy. AR Rahman's BGM and soul-stirring Punjabi Sufi melodies enhance different moods - it comes naturally to him and he just goes ballistic with his sense of music. Nargis Fakr is quite a find and plays the role with consummate charms - she steals the screen sometimes more often than Rockstar Ranbir. Shammi Kapoor is seen for the last time on celluloid - and Director uses his soulful presence sparingly at every crucial point in the film - those pining eyes with subtle mist in Shammi Kapoor playing Shehnai in the last frame he appears gets to you forever. Imtiaz Ali, I think, is an honest film-maker who tells a good story with his groove of experiential and sometimes autobiographical interpretations - whether it is taking Rumi's poetry or taking lives of famous rockstars who lived it up with their idiosyncracies and couldn't care less for social norms of the day. To that extent, Rockstar will shock some of the conventions when an artist becomes obsessed with his muse at the cost of his own reputation and the marriage of the latter but thats what underlies many artistes' lives - there is a hero and there's irony, allergy and stupidity, naivette and tragedy. Imtiaz has brought out the creative process that shapes up superstars who connect with the masses and in rendering a plausible story of a credible superstar he follows some ibby-jibbies unique to Hindi and keeps the nativity of the North Belt core to his films. Thats why, I think it is tough for other language film-makers to re-make his films - its easy for "Teenmaar" director to miss the magic in the original "Luv Aajkal". Thats why Imtiaz Ali's films are special. Second half could have been shorter and less jerky while the first half was brilliant. Whether Ranbir becomes a real Rockstar or not, this movie will remain his finest hour. And Rahman also can now be dismissive of the initial criticism he received on the OST. The only reason you may walk out of this movie is if the music and its creation is not your cup of tea.

"Rajneeti" Movie Review

"Rajneeti" is barely watchable with an intriguing plot of political rivalry between two families represented by lot of actors who saw better days. Before you realise that there's a lot of overdone plot, and needless deaths and over-simplified political undertones and utter lack of innovation in script and storytelling, you can find better pastime in trying to correlated all the characters in the cast with the who's who of Mahabharata. I could count nine characters. Prakash Jha delivers a below-par performance as there's nothing novel about the movie. Arjun Rampal is thoroughly convincing while Ranbir Kapoor comes up with another fine performance. Katrina Kaif  - much ado is more about her resemblance to madamji. But its not all that groundbreaking. There's neither "Neeti" nor "Rajneeti" about the movie but mindless violence at a numbingly slow pace.