Movie Review: Mughal-e-Azam

Release date: 1960 B&W (re-released colorized 2005)
Director: K.Asif
Language: Urdu
Starring: Prithviraj Kapoor, Dilip Kumar, Madhubala, Durga Khote
Notable song/music: "Pyar Kiya tho Darna Kiya"

Mughal-e-Azam isn't just a classic Bollywood movie. It's a classic movie period.

Asif and actors labored over this film for nine years. Nine years! Imagine the sustained passion, effort, and dedication it takes to keep at a project for that long. And it shows: Mughal-e-Azam (The Great Mughal) is one the most well-crafted films in popular Indian cinema. It's now the yardstick by which epics are measured.

Set in the Mughal Empire in the 16th century, the film develops its story from the legendary romance based on the historical emperor Akbar and his son, taking the viewer into a world of tragic love, family loyalty and discord, and explores the extent to which people are willing to practice tolerance.

Muslim emperor Akbar (Kapoor) marries a Hindu/Rajput princess Jodhabai (Khote) and they raise their son Salim (Kumar) to be educated and tolerant. But the emperor's tolerance is tested when Salim announces he wants to marry dancer and commoner Anarkali (Madhubala) instead of a woman from a higher class. Akbar demands that Salim break it off with Anarkali but Salim refuses. War breaks out between the emperor and the prince.

Who is right, father or son? Will Salim turn his back on Anarkali and sacrifice their relationship? Will Anarkali stand by her man?

The movie explores these questions with scenes of high drama, tension, and the growing passion between Anarkali and Salim. Of course the script takes the usual liberties with history that dramatic productions do because when it comes to fiction and poetry, it's the emotional side of the story that carries the plot and develops the characters.

The film features sumptuous examples of Mughal archicture, clothing, and crafts, such as the Amber Fort in Jaipur and the Sheesh Mahal (Palace of Mirrors, which actually was built by later emperor). Craftspeople from across northern Indian were brought in to create the period costumes, jewelry, weaponry, and tapestry featured throughout the film. And when a defiant Anarkali sings (via playback singer Lata Mangeshkar) her signature song "Pyar Kiya tho Darna Kiya" ("I have loved, what is there to fear?") the director used the hundreds of mirrors in the Sheesh Mahal to full effect (here's the scene, with English subtitles. I love Kapoor's portrayal of Akbar's rage at Anarkali's 'tude and Madhubala's wonderful acting through dance).

Both Dilip Kumar and Madhubala were big stars so their roles guarenteed box office success. And it wasn't just their performances that drew in the audiences—underlying issues in the actors' personal lives also underscored the movie's dramatic tension. Madhubala's stellar performance was made additionally poignant by her struggles with the heart problem that would force her to leave acting and pass away at 36. Her performance in Mughal-e-Azam won her the respect of the critics but at a price—the grueling filming schedule worsened her physical health.

And on top of that, Madhubala and Kumar had a tempestuous relationship that ended after six years and before the film was completed. Imagine filming intensely emotional scenes with your ex. Now that's some job stress!

Other notables: the film is performed in Urdu, a language used for poetry and declaration, giving the drama another dimension. And as for the B&W vs. color, well, it's like colorizing classic movies in general. Either you like it or you don't. I liked the original combination of B&W dialogue scenes with the dance and music in color, for the Wizard of Oz effect of moving into another realm, in this case, another realm of emotion.

With its elaborate sets, impassioned acting, creative dance sequences, and skill in evoking a rich historical era, Mughal-e-Azam is a timeless film.

More about the historical Anarkali

Movie Review: Saawariya

Year of release: 2007
Language: Hindi/English (DVD has subtitles)
Starring: Ranbir Kapoor, Sonam Kapoor, Salman Khan, and Zohra Sehgal

Saawariya (Beloved) is Hollywood glitz 'n' glam wrapped around a Bollywood love dream that trails through your mind like silk through fingers. Dazzling colors illuminate the velvet corners of imagination as director Sanjay Leela Bhansali creates his unique adaptation of the Dostoevsky short story "White Nights."

Boyish, Beatle mop-topped Ranbir Raj (Ranbir Kapoor), a wandering musician, arrives in a surreal, fairy-tale town with narrow, crooked streets, fantastic houses, and canals. His sweetness and charm win the attention of Gulabji (Rani Mukherjee), the world-weary red district worker (who partially narrates the film) and his openness melts a crusty old landlady's heart (veteran actress Zohra Sehgal). Then, one night, he sees Sakina (Sonam Kapoor), a lovely woman standing on a bridge, huddled under a black umbrella, gazing out over the water with a melancholy expression. Intrigued, Raj approaches her. And what follows is a tale of tangled love and longing.

Raj loves Sakina, but Sakina loves Imaan, (a broody, mojo-workin' Salman Khan), and is waiting for him to return from….well, where ever he is. Imaan isn't into divulging details about his comings and goings. He's the lone wolf to Raj's puppy dog and Sakina pines for him in true Gothic Heroine style. Meanwhile, Gulabji observes the action, somewhat removed, holding herself back until the movie's central musical number, which Rani Mukherjee owns. Later, she also makes a decision about just how close she wants to get to Raj.

A comparison can be been made to Moulin Rouge but that's not quite accurate. The costumes are colorful in contrast to the smoky blues, greys, and blacks of the background sets, but they're not garish. The pace and feel are dreamier, gentler, not as frantic.

There are some missteps: the dialogue sometimes borders on the cheesy, and at over two hours, the movie's pace drags in the third act—it feels like it takes Sakina forever to make up her mind which man she'd rather be with. Also, it's never stated where this town is supposed to be. There are references to Eid, the Muslim holiday signaling the end of Ramadan, the architecture is vaguely north Indian with hints of Venice and New York. There's also a reference to the classic, epic film set in the Mughal Empire era, Mughal e-Azam (released in 1960, then re-released colorized in 2004).

Nonetheless: Saawariya is a gorgeous visual symphony wrapped around a love melody and another good rainy Saturday afternoon popcorn flick.

Movie Review: Hum Dil De Chuke Sanam

Thanks to YouTube, I've fallen in love with Indian cinema.

Before user-shared media, my exposure to Indian film was limited to campus film festivals, the occasional PBS documentary, and world music compilations. The history and complexity of the music and customs of India always interested me. Then one day I entered "Asha Bhosle" (a name I gleaned from one of my CDs and one of Bollywood's most famous playback singers) into the YouTube search engine and wow--clip after fantastic clip appeared. I watched--and watched--and couldn't get enough.

What makes Indian film in all its varieties so engaging, whether Bollywood, Kollywood, Tollywood, or arthouse lies in the way these films blend classical poetry, references from the great epics, folk customs, dance, costume design based on traditional clothing, and eye-popping color. And on top of that mix, Indian films have heart.

Bollywood, the movies made in Mumbai, has been moving slowly into the Western mainstream, in part due to joint ventures like Bride and Predjudice and the international stardom of actress Aishwarya Rai, the female lead in today's review of Hum Dil De Chuke Sanam (translated for Englishs-speaking audiences as Straight From the Heart). Although Bride and Predjudice is often recommended as an intro to the Bollywood sensiblity, I feel Straight from the Heart is a better choice.

The basics: Nandini (Rai) is the daughter of a well-known classical music scholar. Sameer(Salman Khan) arrives from Italy to study with the professor and flirts with Nandini who, reserved at first, then responds. However, her parents prefer another suitor: the level-headed, quiet lawyer Vanraj (Ajay Devgan) and her father puts the kibosh on her budding romance with Sameer. What follows is a classic love triangle story in which Nandini must choose between the high-spirited and passionate Sameer and the sober and responsible Vanraj. Her quest leads to a journey to Italy to reuinite with Sameer and determine which love is best for her.

At three hours, Straight from the Heart is a glossy trip into the beautiful scenery and architecture of Rajathsan and through Nandini's emotional journey. It has that "rainy Saturday afternoon" kind of feeling which makes you want to curl up on the couch with a bowl of popcorn and let the story take you on a cathartic journey. Rai does excellent work illustrating Nandini's maturation, Khan is exuberant and boyish as Sameer, and Devgan shines as the generous, patient Vanraj.

Also of interest is the appearance of Helen, the actress who plays 's mother. Helen was a Bollywood dancer star in the 1960s and the subject of an interesting Merchant-Ivory documentary, Helen, Queen of the Nautch Girls. Good to see the filmmakers honoring her and Bollywood history with this cameo role. And in her mid-60s, she's still graceful, which makes me want to get back to yoga class.

There are parts of the movie that are uneven, including some abrupt switches from comedy to drama and the use of Budapest for the scenes set in Rome (I guess it was more affordable to film there). Still, no big matter in light of an otherwise magical mix. Straight From the Heart is a great introduction to Bollywood: colorful, fun, and sweet with a Broadway meets Bollywood exuberance.

The movie also generated the hit song, "Nimbooda," during Nandini performs a dance to the song at a wedding and captures the attention of Vanraj (w/English subtitles).