Teesri Manzil

Directed by: Vijay Anand

Starring: Shammi Kapoor, Asha Parekh, Prem Chopra, Helen, Prem Nath

Released: 1966

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Teesri Manzil is a proof that even a thriller with some mystery thrown into it can be a great entertainer wrapped in bright colours, adorned with melodious songs and with some delightful comedy. Ad to it the pure adorable lead couple, and you have a winner.

When a young woman Rupa falls to her death from the third floor of a hotel, everybody thinks she committed suicide. Even her younger sister Sunita, who even has a letter, in which Rupa confesses she fell in love with some musician and even crossed all limits. After some time Sunita decides that the man who „deflowered“ her sister (subtitles were also delightful) should get some punishment at least, and so she plans to use her own beauty to lure him into some deserted place – where her female friends with hockey sticks would give him a piece of their minds (if this does not scream delightful I don´t know what is).

However on her way to the hotel destination already Sunita runs into a happy and carefree „Sona“, who takes immediately liking towards her, but doesn´t really get to her good side with his constant teasing. When he finds out, Sunita is looking for Rocky, he is in real trouble. Because he is the man she is looking for. And because he falls in love with her and to win her over creates a false identity for himself. And because he is going to have a hard time proving he is actually quite innocent.

 

Teesri Manzil is one of those rare films that have a great repeat value even when you know who is the bad guy. Usually there is not much point re-watching movies like that, but the film´s strength does not lie in that one final twist. It is the way the story is told and shot, that makes it so good. And while I can usually guess who is the villain right from the beginning, Teesri Manzil provided me with three possibilities at once (because which one of you will not suspect Prem Chopra the moment he appears, no matter what he does). Wonderful camera work is most notable during the cabaret songs that feature Shammi and Helen, as they get to dance among some huge and very much 60s sets, that would looks awesome on the big screen even today. Of course the „Aaja Aaja Main Hoon Pyar Tera“ is the most famous of the songs, also because of the iconic „I have just been hit by a live wire“ movements, but all other songs are extremely melodious as well. And to see Helen dance is just an experience in itself.

I don´t know if the Kapoor men have always had a passion for roles of adored musicians, but all have grasped that very well and Shammi as Rocky is no exception. A showman he was, nearly unmatchable. He was absolutely endearing and it´s been a long while since I´ve seen an actor so comfortable in front of the camera! His expressions were priceless and his passion for his art just pure. Asha complimented him beautifully, though the film belonged to him primarily, as she hardly appears in the second part. Like way too many other heroines her role practically ends the moment she stops resisting the man of her heart and agrees to marry him.

Teesri Manzil stood the test of time. It is just as entertaining as it once was, and the 60s styling gives it an engaging background and kind of a verdigris instead of making it look outdated.

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Bobby

Directed by: Raj Kapoor

Starring: Rishi Kapoor, Dimple Kapadia, Pran, Prem Nath, Farida Jalal

Released: 1973

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

To people who started their Bollywood journey with the kinds of films like Dilwale Dulhania Le Jayenge, Maine Pyar Kiya or Qayamat Se Qayamat Tak, the basic story of „Bobby“ will not bring anything new. It is one of the films that needs to be seen in a context of its own time, when it was probably the first movie about teenage romance between a rich boy and a poor girl. Bobby was a trendsetter and as such it should be approached by the viewers today. Before they condemn the plot-line as „seen a million times“, they should realize that at the time of its release nobody has seen the plot yet...

Rishi in his pre-sweater era.

Debuting and sweet.

Wealthy with money but somehow deprived of family love, Mr. and Mrs. Nath send their little son Raj to be brought up in a boarding school in England, partly as a punishment for his willful childish behaviour and partly because they do not really want to bother with him (probably having no idea what to do with him either). So the kid grows up into a perfect 70s stylish Rishi Kapoor, a good and just boy who only longs for his parents´ appreciation. Upon his return home he is indeed welcomed by reasonably excited mum and dad, but just like when he was a child, he is largely left to himself. Up until a moment he spots a young girl on a party, and while the famous European classic Danube Waves melody plays in the background, he lets himself to be charmed. Soon he falls in love with Bobby (I was kinda confused when I found out that was a girl´s name, but whatever...) and she returns his feelings. 

The girl´s family is at first not excited about a rich guy getting involved with Bobby, fearing the reaction of his family, but thinking about the girl´s happiness and wishes they are willing even to bend their backs in front of her potential father-in-law. However the aristocratically snobby Pran accuses them of trying to ensnare his rich son to get money, and after some more insulting everything seems to be ruined for the young lovers. You know the routine. There is of course more to the film, including a song about a girl and a boy in a locked room, lovers getting hurt, lovers getting teary and lovers willing to sacrifice lives but not love. Rishi even gets his own towel scene, not that different from what his son would one day do in Saawariya. There is his father insulting her father some more and her father threatening his father afterwards. And there is the inevitable happy ending.

Rishi´s very own towel scene. Like father, like son....

 There is sweetness and freshness in the film, that somehow managed to overcome the years and charms as much as it did back then. It may be the Raj Kapoor´s direction or maybe Rishi Kapoor´s puppy eyes, or perhaps simplicity of debuting Dimple Kapadia, or maybe everything and more put together. A person not to be forgotten is Farida Jalal. One of the most loved „screen mothers“ appears only for several minutes, however such is an impact she makes as a mentally challenged girl, it is impossible to forget her. Pran of course, is as delightfully intense as ever, not exactly evil, but not a guy to be messed up with either.

Bobby was the main heroine, but I´m team Farida! She was heartbreaking.

Bobby is definitely, even today, a sweet romance of the best kind, succeeding in making nostalgic even those, who were born years after it first released.

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