Julie M: Watched Hey Ram (2000) tonight. I am officially in love with Kamal Haasan, who although he is not as good looking as Aamir Khan, is, I think, the better actor. The film was gut-wrenching and absolutely excellent, the story of an ordinary man caught up in extraordinary times, doing things he thought he’d never do as he searches for his convictions. Supporting turns by SRK and Rani Mukherji were likewise excellent (although SRK really overplayed his character’s death scene, what a ham!), and it took me a while to recognize that it was Naseeruddin Shah playing Gandhi, he so completely inhabited the role. 
Jenny K: I know what you mean, but it’s hard to miss that highly identifiable nose. He’s cute even creaky, old and in a dhoti…I’m so far gone…
Julie M: Haasan plays Sakhet Ram, a Hindu archaeologist in the 1940s who gets along well with the British and is vehemently opposed to Partition and the idea of Pakistan. Shah Rukh Khan is his friend and fellow archaeologist. A personal tragedy involving Ram’s wife (Rani Mukherji) radicalizes his hatred towards Muslims, and he becomes an anti-Gandhi activist. There’s quite a bit of violence and political back-and-forth, which was a little confusing, but a bit of research straightened things out for me.
This review/analysis does more than I ever could to unpack the layers of the film. I had to read it several times and it only confirmed my opinion of Kamal Haasan’s incredible talent as writer, producer, director and actor. And I really liked this German compilation of clips to music (not from the film).
Thanks for including this one in the box: amazing. You can tell how much I liked it by how speechless I am.
Jenny K: I should read the article thoroughly and then watch it again… Glad you liked it, though Rani’s final scene gave me the heebie jeebies for a while afterwards the first time I saw it. If you like Kamal Haasan that much, I’ll send you VeluNayakan, that Godfather film the next time I send a package. I know you don’t like mob films much, but it really is one of the best of his that I have seen, plus, it has Mani Ratnam directing it.
Julie M: So I watched the first hour of Pyaasa (Eternal Thirst, 1957) and was thoroughly bored. Unsuccessful poet Vijay (Guru Dutt—who also produced and directed the film, coincidentally like Kamal Haasan!) is turned out by his family, is appreciated only by a prostitute, and meets up with his ex-girlfriend who, as it turns out, is married to someone who can get his poems published. What to do? Who to choose? Bleh. Snore. Great songs, though, and Mala Sinha is (was) so stunning as Meera, the ex. Didn’t find Waheeda Rehman (as the prostitute) particularly mesmerizing, though–but I understand her big part comes later in the film. Worth continuing to plow through it?
Jenny K: Wouldn’t have sent it if I didn’t think so…a different kettle of fish from Raj Kapoor’s Awaara, but just as well known, and also classic. I think the tension builds as it goes on. It’s a bit more along the lines of Devdas in the tortured poet thing, but I found it easier to take. The last scene in the lecture hall is wonderful, and where he is silhouetted in the doorway, it’s almost messianic in its imagery…and the song is fabulous.
But, of course, you must decide for yourself.
[the next day]
Julie M: I took your advice and finished Pyaasa. Thanks for encouraging me to push on; glad I did. It actually made more sense to me than Devdas, maybe because I understand the artistic temperament more than I understand stupid boys too weak to claim their love for themselves. I understood why he rejected those who were only willing to acknowledge him once he proved himself financially desirable, because I would have done exactly the same thing. And about the messianic thing, I know it’s Hindu but I found lots of Christ-like imagery (hanging out with prostitutes, “you will deny me three times”, the Christ on the cover of the magazine Meena is reading when she learns that Vijay is dead, etc.) except, of course, this has a much happier ending, we are led to assume.
Jenny K: Some things are universal in their appeal to the human psyche, aren’t they? Whatever your religious point of view.
Julie M: Wonderful music, very interesting and poetic lyrics. I particularly liked this one, where Waheeda’s character is flirting with Vijay thinking he’s a potential customer, but all he wants is his poems back, which she had bought as scrap paper.
This one was cute, too. The massage-wallah is talking about how great people will feel after he works on them.
I also liked the call-back to Awaara‘s dream-sequence with the dream sequence in this film.
At first I thought that Rehman, who played Meena’s evil husband, was Dev Anand–if you take off the glasses they have a similar look. Or maybe it’s just the period–a lot of male actors looked alike.
Jenny K: I thought Rehman reminded me of Prithviraj Kapoor crossed with tiny bits of Shammi (in his quieter moments)…
Julie M: My other weekend viewing was Aarakshan (Reservation, 2011), the one I missed in the theater. This was the film starring (sigh) Amitabh Bachchan as the principled principal Prabhakar Anand, staunchly defending his view that education should be available to anyone from any caste and a reservation (aka quota/affirmative action) system acts to ensure access.
Saif Ali Khan co-stars as Deepak Kumar, a member of one of the low castes whose education was facilitated by Anand’s beliefs and who regards Anand as a mentor. Deepika Padukone plays Poorbi, Anand’s daughter and Deepak’s girlfriend, and Prateik (sigh) is Sushant, a college student and Poorbi and Deepak’s good friend. The villain is Manoj Bajpai, and Yashpal Sharma is a helpful stable owner. Hema Malini makes a cameo appearance at the end, although her photo is seen throughout the first half.
Jenny K: Yeah, I read reviews about this one and thought it sounded too dry to have me spend my hard-earned pesos on it, even given the good intentions of the theme, and Amitabh’s presence. Was the story interesting?
Julie M: The plot involves Anand, the longtime head of the renowned private college S.T.M., who has a practice of giving a “leg up” to lesser qualified but very promising applicants from backward castes. This enrages the trustees and the upper-caste parents whose children score higher but are rejected because there are no places. Things come to a head when a government minister’s son is rejected, and he installs the evil Mithilesh Singh first as a trustee, then as vice-principal, in an attempt to find a way to oust Anand.
Singh also runs a private coaching school for high-caste students as a very profitable side business. When the government formally adopts a 27% reservation system for public education and employment, the situation blows up both around the country and at S.T.M. Deepak (a S.T.M. instructor headed for the US for his doctorate) and Sushant are on opposite sides of the issue and have a violent confrontation; Anand fires Deepak and expels Sushant. Deepak flees to the US and Sushant disappears. Then Anand loses his job over some comments he made to the press and the family leaves town for a while.
When they return they find that their house has been taken over by Singh’s coaching school and they have no legal way to stop it. Anand puts his principles into action by starting a rival coaching school, for free, in the stable across the street, where he takes all comers, aided by Deepak and Sushant, who have since returned and are buddies again. This school becomes so popular that Singh seeks to ruin it. You can pretty much guess that he fails; at the end Anand is vindicated and S.T.M.’s founder, played by Hema Malini, funds a new coaching academy with Anand as the principal and chief trustee.
Jenny K: Oh, that Manoj Bajpai! He’s such a delicious villain…I’ve seen him in very few films that he wasn’t indulging in lots of moustache twirling fun. I remember first hearing of him when he was full of sour grapes that he hadn’t been asked to do Devdas rather than SRK. Not sure I can see it. My favorite one with him is still the very over-the-top-and-loving-it Aks with BigB. My winner for Best Psychopath Serial Killer in Hindi films…if not for accuracy, then for sheer audacity. Rather creepy, though…lots of rather unhealthy imagery. Can’t say it’s a true thumbs up.
Julie M: The first half of the film is what you’d expect: plenty of dramatic speeches by various characters on both sides of the reservation system issue, with personality-developing scenes for the main characters. Some people would find the speeches tiresome, but my love for issue-driven film and lack of real knowledge of the issue made it fascinating for me. The second half delves into the family drama and exposes the true evilness of the villain, with inspirational scenes of Anand’s influence on his young students and a stirring climax where the scrappy stable school resists the might of the corrupt government and profiteering private school system. Although it was all somewhat predictable, I was nevertheless quite entertained.
There was one big dance number that was very out of place, however, I liked much better this number from early in the film, introducing the Deepak/Poorbi romance.
This was about as romantic as it got, since they ended up fighting and then separated for most of the rest of the film, never really getting back together.
Jenny K: Were you really expecting romance in such a blatant issue film? Well, with your favorite, Saif in it, you probably had your fingers crossed.
Julie M: I hated Saif’s mustache and the fact that he was OBVIOUSLY way too old for Deepika’s character (he was supposed to be a recent college grad, she was a college student who somehow had all day-every day free to hang out at her dad’s school). I kept rooting for Poorbi to throw Deepak over and get together with Sushant, because they were a much cuter couple. Alas, she fought with Sushant, too, and after they were out of the action she had nothing else to do except throw tantrums at her parents and narrow her eyes when she was in the presence of the evil Singh.
Overall I liked it–good issue and decent writing and drama. Three stars, would have been 3-1/2 had it not been so darned predictable.
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Jenny Ketcham
julialmoore
Filmi-Goris 
All right, I just finished Pyaasa and I have mixed feelings. I found it a bit dull although the music was lovely. The scene I loved with Waheeda was when she was luring Dutt with the singing of his poetry. After that, I barely recognized her in other scenes and found the rest of their interaction and her lurking about rather lifeless. I thought there was zero chemistry between the two; much more between Dutt and Mala Sinha (although I find her looks rather horsey; I think Waheeda is beautiful). I found I lacked much interest in the story until Dutt/Vijay was supposedly dead and then his poetry became worth something to the elite. I loved his response.
All in all, outside of the two scenes I loved (Waheeda’s romancing of her potential customer and Dutt saying he wasn’t the poet at the lecture hall), I found the rest of the story and interactions somewhat uninspiring. Wouldn’t watch it twice except for clips of those scenes.
Aw, come on…you didn’t even like Johnny Walker’s shaving song? There had to be more than two scenes you liked. I grant you, it is a quiet film, but I found it quite hypnotic. Maybe I’m just a sucker for messianic production numbers, a la the one in the assembly hall at the end. Given your reaction, you’ll probably like Awaara much better, as it’s more concrete and less artsy…though Awaara has always made me feel like I was watching Charlie Chaplin in Citizen Kane.
Yes, it did start out dull but for me it all came together in the end. One of those films that slowly builds…and really, the richness of the filmmaking technique and the small things that you only notice if you go back a scene to make sure you didn’t miss anything, that really make the film. Definitely not slam-bang-WHOO! but a lot in common with 1940s Hollywood.
Okay, now the two of you are leading me into a full rant against this classic! hehe (Yes, Jenny, Johnny Walker’s bit was cute and I did like him in the film and, no, Julie, I couldn’t force myself through the film twice). Personally, I thought the character development was very poor and no labeling the movie a classic will prevent me from stating that. I just felt very little for any of the characters; Not only were the characters poorly developed but they didn’t emote very well in my opinion. Take for example, the 1963 black and white film Harishchandra Taramati which can be seen in full on YouTube and there are a number of fabulous clips. My god, the beauty of the emotions in the film makes mesmerizes me. It is absolutely sublime. The characters love for each other the depth of the pain, comes across clearly. Pyaasa? Not so much….seems muted to me.
Now, my other issue with the film…Vijay is a selfish and self-centered bore. He is lucky to get an education (something apparently not afforded his brothers) and he does nothing with it. He refuses to work and is incensed when the publisher isn’t interested in publishing his stuff and actually wants him to earn his money. He isn’t willing to work part-time to help his family….oh, no….he must only write and why doesn’t everyone recognize my incredible talent and fall all over my poems? But, hey, when the lady of the evening does, he doesn’t even appreciate her. Yeah, she and her friends are later fodder for his poetry but in real life, he treats her like dirt. His ex-girlfriend was not all that wrong in her choice to dump him because he couldn’t even offer her a roof over her head and somehow she is considered a selfish broad for not being willing to live on the footpath with him because supporting his writing means accepting Vijay’s refusal to work at anything while he writes.
I get that they is a political and historical backdrop to this story and the film is a veiled social commentary, but, still, Vijay could have been a struggling working poet with a heart, not a total self-centered waste of space. And I say this with total understanding of having one’s work ignored and lambasted. I should be so lucky to have my writing and profilng work appreciated after my death (and I do get that one scene because I would feel like giving society the middle finger….but I wouldn’t because I would be happy my work finally was being understood). And, while one’s work isn’t always understood in one’s life, there is still a life to live and people to live for. Too bad Vijay didn’t understand that. Walking off into the midst with the golden-hearted prostitute may be a thumb his nose at society, but I feel sorry for the girl because she is going to be stuck with that ass.
King Harischandra and his wife and little son….wow…wow….there are some people to feel for.