Now, you can read Bollywood classics!
"Deewaar", "Jaane Bhi Do Yaaro" and "Disco Dancer" may be of different genres but the three films have redefined Bollywood in their own ways and in the process enjoyed a nearly unrivalled popularity in its history.delhi Updated: Jun 06, 2011 01:25 IST
"Deewaar", "Jaane Bhi Do Yaaro" and "Disco Dancer" may be of different genres but the three films have redefined Bollywood in their own ways and in the process enjoyed a nearly unrivalled popularity in its history.
And now movie lovers have something to cheer about as HarperCollins has come out with monographs of these three movies under its India Film Series.
Yash Chopra’s 1975 film "Deewaar", one of the most iconic and influential works of Amitabh Bachchan, has been (to borrow a line from the film itself) the 'lambi race ka ghoda'.
Its remarkable plot, crisp dialogues and epic narrative structure, revolving around the familiar story of two brothers whose paths diverge and lead to a fatal collision, have endeared it to millions. And its most famous line, 'Mere paas ma hai', has been endlessly imitated, parodied and referenced in cinematic and cultural works.
However, as author Vinay Lal demonstrates in his study of "Deewaar", the film lends itself to much more complex readings than is commonly imagined.
"The attraction of 'Deewaar' stems, on the one hand, from its deep structuring in the mythos of Indian civilisation; on the other hand, it works at an elemental level, reminding us that however bound we may be to orders of rationality and the materiality of everyday life, we can never fully run away from chance, destiny, fortune and serendipity," Lal writes.
Kundan Shah's "Jaane Bhi Do Yaaro" is now a byword for the sort of absurdist, satirical humours that Hindi cinema just hasn't seen enough of. This is the story of how it came to be despite incredible odds – and what it might have been. Writer Jai Arjun Singh's take on the making of the film and its cult following is as entertaining as the film itself.
“The film Jaane Bhi Do Yaaro used humour for potent social commentary and to skewer holy cows. It made us chuckle along with it, even as it held up a distorting mirror to society,” Singh writes.
In the glory days of socialist India, where the Hindi film industry churned out hero versus system stories, “Disco Dancer” turned that concept virtually on its head.
Part screenplay, part interviews, some analysis, this book by playwright Anuvab Pal tries to understand what it was about this film that drove Osaka, Japan, to build a Jimmy statue, stadiums of devout Russian fans for three generations to go into raptures when it came on.