Ittefaq (The Coincidence, 1969)

Usually, I write movie reviews immediately after I have watched them. But after watching Ittefaq, I was so dazed that I could not write the review right away. Somehow, crawling up to my desktop again, I managed. Here is what I feel, right from my heart.

Plot: A painter has a tiff with his wife and soon finds her dead. Everyone pins the murder on him and he is convicted. Due to his mental condition, which has devolved by now, he’s put in an asylum. He escapes from there and seeks shelter in the house of a woman, where he soon discovers another murder has taken place.

Director: Yash Chopra

Language: Hindi

Cast: Rajesh Khanna, Nanda, Bindu, Sujit Kumar

#10Things I Liked and Disliked about Ittefaq

What I Liked

  1. Good thriller. Things keep happening and there were no boring moments or jarring songs that break the screenplay.
  2. Good solitary moments. A Rajesh Khanna-Nanda moment midway into the movie where both of them forget their worries and laugh was a very good sequence. It took me back to those times when romance was pure.
  3. Ahead of its time. This was quite a breakthrough movie of its times, even far ahead of its times. A tightly-designed thriller that could be remade today and will still find appeal.

What I Disliked

  1. Rajesh Khanna! Seriously, was this man a superstar? At least not for this movie. Do not get ready to fly at my throat now people! Just watch his hamming in this movie and decide. As far as I am concerned, I am not going to watch another movie with Rajesh Khanna in it any time soon. However, I do concede that this was one of his early movies.
  2. More about Rajesh Khanna. In this movie, he is Rajesh Khanna the superstar. He is not his character Dilip Roy, the escaped convict. Actors of those days and a few contemporary ones too suffered from one big handicap—they could keep their own personalities from seeping into their characters. This is actually one of the biggest failings of an actor. So, when you are watching this movie, you cannot escape the fact that you are watching Rajesh Khanna. The character Dilip Roy does not matter at all.
  3. Final justifications. Why do movies where the superstars are criminals all have to have final justifications? In this movie, even if it is proved that he didn’t kill his wife at the end, the fact remains that he slapped her on many other occasions and that is criminal in itself. Well, he even slaps the woman who gives him shelter, repeatedly. It gives you a very sick feeling in your stomach when you see “superstars” behave in this fashion.
  4. Red pants. Rajesh Khanna gets a whole wardrobe of choice to choose from, and what he chooses? A black T-shirt and red pants. And you have to suffer that throughout the movie.
  5. The hammiest chase scene ever. The convict runs from the police, and the police who chase him are less than six feet away, and they have guns.
  6. Logic leaps to the point of insanity. A mentally deranged person in a mental asylum is allowed to keep a cigarette lighter of all things.
  7. The copouts. Well, the movie is titled Coincidence, so you do expect coincidence to be the core of it all. But, how much coincidence is plausible? As the movie goes towards its end, one coincidence is piled on top of the other till it becomes an almost insufferable pile. Also, (spoiler alert) this has the worst copout of them all — an investigating cop being the murderer.

In conclusion: If you are a Rajesh Khanna fan, watch this movie. He is at his hammy best. If you are on the fence about him, then this is not a good movie to start with. And if you dislike him already, just move on to something else. You don’t need the added aggravation.

36 Ghante (36 Hours, 1974)

This movie is a remake of an English movie, that of The Desperate Hours (1955, the one starring Humprey Bogart), and it seems to be a desperate attempt to use a classic Hollywood movie to make some money. The debate of western movies being “adapted” into an Indian milieu has been done to death, and I am not going to speak about that here. What I’ll speak about is the movie as a standalone.

Plot: Three dangerous convicts escape from prison and take refuge in the house of a newspaper editor. They have to hold out there until they are contacted by a female friend who has their loot. The editor’s family is unwillingly sucked into the ordeal.

Director: Raj Tilak

Language: Hindi

Cast: Raj Kumar, Sunil Dutt, Mala Sinha, Ranjeet, Danny Denzongpa, Parveen Babi, Vijay Arora

#10Things I Liked and Disliked about 36 Ghante

What I Liked

  1. The concept. While it was quite riveting, the credit goes to Desperate Hours.
  2. The editing. The movie fit nicely into the groove of a thriller. There was always something happening which kept up the tempo. It was also under 2 hours, which is a good thing.
  3. Made sense. There were no major plot holes or logic leaps (except one, see below). Though copying without acknowledgement is criminal, I must say that the adaptation of the movie (Indianization) was done nicely.
  4. Parveen Babi. For whatever few scenes she was in, she lit up the screen. Not because of her acting, but just because, well, Parveen Babi is Parveen Babi!

What I Disliked

  1. The stereotyping. Why does every happy family in those times had to be introduced with a religious song sung by the man in pristine white clothes and the woman in a traditional saree? Why are clothes used to establish character for women — bikini for the bad woman and the longest saree for the good woman?
  2. The hackneyed laugh given to Danny Denzongpa’s character. Singularly, this was his worst ever role, but I haven’t seen them all. It becomes grating ten minutes into the movie.
  3. The most precocious child ever. The kind who is almost as tall as his father but will bring the house down because his toy is broken.
  4. The songs. Had to fast-forward through all of them after sampling them for the first ten seconds.
  5. The biggest logic leap ever. If a gang of criminals are using your home as a hideout and holding you captive, why would they allow you to roam scot-free all over town, especially when one of you is a newspaper editor who has good relations with the police?
  6. The dialogs. Since we have Raj Kumar and Sunil Dutt, brace yourself for the most chest-thumping lines ever, many of them cringe-worthy.

In conclusion: Yet, it was good as a one-time watch. No classic, that’s for sure.

How to Write an Effective Edge-of-the-Seat Thriller

I was recently at a writing seminar where a popular author shared his tips for churning out nail-biting thrillers. I was happy to note that most of the things he said were in accordance with my own ideas, and which I have already followed in my book Maya’s New Husband. Now, people who know me will corroborate with this — if I stumble upon something interesting, I want to share it with others. In this case, I decided to share these writing tricks, tips or whatever you might want to call it, with my fellow authors and aspiring writers.

The Icy Hand

The icy hand comes and it spares none

Its grip is a vice, steely cold as ice,

That cannot even be melted by the searing sun

And cannot be corrupted by any price.

In the damp and dark room where I sit on the floor, a million thoughts run through my head. None of these thoughts give me any pleasure; but like unwanted ghosts haunting a prized estate, they refuse to leave me at peace. I think of the people in my life I have lost, people whom I had been born to love and people whom I had learnt to love.

All through my life, they have fallen dead like flies. Helpless, unreasonable deaths. Unavoidable deaths. Deaths that left gaping voids behind.

I knew this faceless brute called death even before I knew what life was. It began with the people who had birthed me—good god-fearing, churchgoing folk—who were snuffed away when the car we were in collided headlong with a tanker. The baby seat saved me, I was told later when I could understand.

Caretakers of orphanages are usually shady criminals, I have heard, who mutilate those they are entrusted to protect. But my folk were kindred souls. They fed me, clothed me, trained me and educated me. I grew to love them—the fat generous matron and her strict husband who had a merry heart of gold. I made friends too, boys of my age who were just as unfortunate as I was. Our individual tragedies bound us together. And then the fire happened. Everything and everyone I knew burned to cinder. I don’t even remember their faces now; I only remember the inferno blazing into the night. But I survived. They had sent me out in the garden to walk the dogs.

Then he took me in as a waiter. A lowly waiter in shabby clothes in a grubby bar serving stale wine. But it was a job, and it fed me. And he was a nice man too. He held my hand when I had no hand to hold. I graduated from boyhood to manhood at his bar. I understood what hardship means. I got beaten by irate customers and I learned to fight back. However, that was not meant to last either. Such a noble man, such a compassionate person—but he was destined to die by a bandit’s bullet. While I crouched under the bar table, I saw him collapsing to the floor, his outstretched hand pleading to me to save him. But I could not.

A little down the lane, I met her. Beautiful as the earliest drop of morning dew was her face—spotless, without a feature out of place. Sparkling as the water of the clearest spring was her heart—blameless, without a shred of sin. She gave me love. She taught me to love. We vowed to share our joys and sorrows till death do us part. And death did do us apart. The sickness came over her when I was at my happiest, and consumed her entirely, leaving behind her rotting self in my trembling hands.

 

*

 

And that is not all the death I have seen.

I have seen corpses of people I hardly know. People dying in front of me, pleading with me for that elusive one more day to live. But they won’t get it, will they? Is there anything as unsympathetic as death is?

The young fresh-faced college boy, rife with the hope of a budding career, died in my hands last week. I was beside him as he winced in pain, clutching his torn abdomen. I cried for him, but death forgives no one. He should have known that, shouldn’t he?

The new mother who had just kept her baby in the crib collapsed and died in her house three days ago. Stabbed in the back. Right in front of my eyes. There was nothing to save her. Her baby cried, I cried, but death spares no one. The baby will learn that as he grows.

And now, here, the teenage girl lies lifeless in front of me. How innocent she looks! Even in death, she has the face of an angel, regardless of the fact that her throat is slit in the most gruesome way.

When I had no respite from death, how could they have had?

But I won’t see any more deaths now, I think.

They have been investigating, probably even following me; and, as I wipe the poor girl’s blood off the butcher’s knife in my hands, I hear the angry law-keepers banging at the door.

 

END

The Death of Parker Greene

And, sometimes, the sanest of us do the wickedest of deeds

And weep in repentance till the heart bleeds.

What would you feel if you knew you had only ten minutes to live? If you knew that in just ten minutes, your eyes would turn inside-out, your organs would fail, your body would stiffen, and you would die a nameless, ignominious death, leaving all those tasks undone, all those dreams unaccomplished? It would be the most excruciating ten minutes of your life. If you weren’t sure about your impending death, you would wish to die already.

Well, what would you feel?

But Parker Greene only felt thirsty—very, very thirsty.

The thirst began as a tingling sensation from the back of his mouth, then started to prick at the palate, and finally moved down his throat. He felt the rough-edged discomfort of wanting something to sip—it could be any liquid, it just needed to have the fluid consistency that could enliven his throat. In a few minutes he would turn blue and it would be all over, but why did he have to suffer this inexorable thirst before he popped out? Maybe it was part of the process.

He sat on the floor and tried to swallow his saliva to compensate for the dryness, but it didn’t work. He didn’t have any saliva left.

Almost gasping for breath now, he looked up at the bed. And then he began to forget about the thirst.

The first thing he saw of her was her feet. They were tiny and cute, and he had always remarked about how dainty they were. Just like the tight feet of a Japanese geisha, so fair and so delicate. But they had now turned blue. Like the rest of her body.

He slowly craned his neck to look at her.

She lay on her back on the bed in completely consuming and everlasting sleep; and she was a sick shade of blue, but still she looked lovely to him. He could see a portion of her face. An open eye still pleaded to him, begged him to save her, and the lips that had now turned dark blue were slightly parted, as if they were making a final request. Quite fittingly, her dress was dark blue too, and it was beset with shiny satin threads. It was a special dress he had gifted her that she wore only on special occasions. Could dying be considered a special occasion too?

But she didn’t know she would die. She was, in fact, surprised when she saw him at the house—this house, away in the woods, an investment they had made when things had been better. He had stood at the door with a smile on his face and a bouquet of very special roses in his hand. But the smile was just a façade—in his mind was dark, bottomless anger, anger for all the secrets this beautiful form had hidden behind his back. And the roses were just an illusion—within their thorns was the essence of poison of a thousand venomous snakes.

Plotting his wife’s murder had pained him more than his own impending death did. Berenice had been his sunshine for three years. She had taken him out of the depths of despair and drug addiction. She had sobered him up, and then given his sober life true meaning and joy. The beautiful caregiver that she was, she knew what life meant. Not only did she live each moment to the fullest, but she made everyone around her live to the fullest too. With her by his side, even the withdrawal had been easier; he had been born again.

But recently, Berenice had been drifting away. He had sensed it. A new man had entered her life. He was Timothy, his own best friend, with whom he grew up in that small neighborhood, and who knew every one of his secrets. Why did Timothy have to do this to him? Timothy, dear old Tim, of all people! Timothy always had had better luck with women. They were silly putty in front of his charming ways, and he molded them whichever way he wanted. He had seen that happen countless times before, in bars and clubs and even in the real estate firm where they briefly worked together. However, he did not expect Timothy would seduce his own wife with his easygoing charm.

Berenice was all he had—and she had been slipping away like dry sand from his fingers.

Lately, Timothy had been coming to their house often. What rankled him more was that these visits were mostly in his absence. There were small signs that he noticed—two water rings left by two glasses on the coffee-table, two dining table chairs pulled out irregularly, the stubs of his favorite brand of cigarettes in the ashtray, the big prints of shoes on their suede welcome mat, and once even the commode lid was fully open. She spoke of Timothy more often too, and when he asked probing questions, she just laughed them off. Something was definitely brewing between the two.

He thought he would confront Berenice about it, but what would be the use of it? No self-respecting woman would accept that she was in an extramarital affair. No one could elicit that out of her. For a while, he chose to ignore the dalliance, hoping it would be just a passing phase. That she would return to him.

Then one day she asked him what gift he would like for his forthcoming birthday, and he actually thought she had begun caring for him again. He sensed the warmth in her question, like there was no one else she cared for.

He would have happily chosen to live with that illusion. As long as Berenice loved him and was with him, he could choose to be a little blind to her ways outside. True love is forgiving, and he could forgive. But then the next day he overheard something that did not sit well with him at all.

It was a phone conversation, and he did not need to know who was on the other line. Berenice took the phone and moved out of the room, but he tailed her, and stood outside the door and eavesdropped.

And he heard it—she was planning to meet him at the cottage in the woods. She doubly promised him that she would be there. She told him that Parker wouldn’t know of it; he never went that way in the woods anymore.

The affection in the voice, the silent whispers, the planning behind his back—it all added up to a monstrous surge of anger in Parker’s chest. He felt he would explode. He could not have this scheming going on. It ate him from within, his head felt fit to explode. He had a sick feeling in his abdomen as if it would rupture with anger.

But he checked it.

He had learnt to keep his anger within himself.

He would have the final strike though, there was no doubting that.

Parker Greene had spent the previous evening visiting an herbalist’s shop that he had once seen in a shady corner of the town. The herbalist’s fliers had proclaimed that he had all kinds of medicines for all kinds of illnesses, however lethal they may be. He had also proclaimed to have a cure for cancer. But the thing that had caught his eye was the small line at the bottom of the flier—stocking all poisons and their antidotes.

He did not want the latter, and he paid a hefty price for the former.

Then, in the early morning when she had left, he stayed behind. He bought a bouquet of special roses from the florist outside his church and  started to meticulously daub their thorns with the essence of the poison he had bought. The herbalist had told him that one drop would be enough to bring a slow painful death in a few minutes, and death would be quicker as soon as it hit the bloodstream.

When she had seen him at the door of this cottage about an hour ago, she had a puzzled expression. He was certainly unwelcome. Parker had hoped to catch both of them together and he had brought the remaining poison in its bottle, but that eventuality did not arise. She was alone when he knocked.

Still with the smile on his face, and without a word, he had offered her the roses. She had said something that he did not quite catch, and took the roses. He had made sure they hit their mark. He had seen the poison-smeared thorn pressing into her white flesh. And then he had seen her retracting horrifically, grasping her throat at once, falling on the bed and twitching to her death in the most merciless manner.

Then it hit him.

The loss. The tragedy. The end of everything that meant anything to him.

Berenice was gone—what was left for him? He cried with a hollow sound. He sat on the floor, froglike, with his head buried between his knees, refusing to see her fallen form, and saw the darkness within himself.

There was nothing left for him.

Slowly, he took out the remaining poison from the bottle still with him and placed one unholy drop of it on his outstretched tongue.

The impact wasn’t as immediate though since the poison didn’t mix into the bloodstream all at once. It took its own time, making him suffer every imaginable pain of his death.

And when his vision was starting to become blurry and he realized that his suffering would soon come to an end, he heard the knocking on the door.

He had closed the door behind him as he entered and the windows had never been opened. The knocking continued, almost insistent. For a moment, he got a nagging feeling that he should open the door, but he couldn’t even open his eyes now.

When his tongue began to hang out, and his body collapsed to the ground, unable to ever rise again, he heard Timothy.

From a slight opening in the window, Timothy shouted out:

“Berenice! Berenice! Open the door. I have brought the decorations and invites for Parker’s surprise birthday party tomorrow.”

END

 

 

The Death of Parker Greene also appears in Neil D’Silva’s short story collection Bound in Love.