“Every day I live, every day I die in Your memories…”
The elegant melancholy in Bachchan’s voice almost compels one to try to watch Nishabd till you realize there is always a Jhund to look forward to. The least heard of these must be the lovely elegy ‘Rozana’, from Nishabd made by a Ram Gopal Varma who hadn’t yet devolved to a second rate porn maker (so I hear). There are of course the two Holi staples, his drag number from Laawaris or more recently, the fantastic Piddly. The Amitabh-Manmohan Desai combo always succeeded in making something so enjoyable that you’d start finding it believable.īachchan’s baritone has been the base of many iconic conversations, dialogues, monologues, narrations and over time, quite some songs. The (completely improvised) mirror scene, him coming out of an egg to deliver a monologue are all well known, but there is another egg scene that the genius Manmohan Desai made Amitabh Bachchan do in a much later film.Ĭoolie will forever be associated with the accident, the public outpouring and prayer that seemingly brought a clinically dead star back to life, where fate decided to outdo even Manmohan Desai to such an extent that he was forced to change his ending.īut amidst all this, this delightful little scene where the coolie Iqbal mixes up an omlette broadcast and a yoga one for hilarious results is ample showcase for not only Amitabh the comedian but also Amitabh’s great physical agility that was always emphasized in Desai films. And why not, Anthony is one of the greatest and most iconic comic performances that has influenced and continues to exist in every masala film, particularly the Southern (Telugu) variety. It is a commonly heard story in the pantheon of the Bachchan myth of how the Middle East and Africa fell in love with that bootlegger Anthony Gonsalves so much that they would refer to Amitabh in any film as Anthony. Even in Yash Chopra’s romantic universe, the Rage of the Towering Inferno cannot be suppressed.
#HERO LYRICS STARSTRUCK TV#
It is the scene where Amit learns of his brother’s death from TV and breaks a TV in sudden inconsolable rage. This leaves me to mention another favorite moment of mine, an ironic choice as it comes to be. Had a Vinod Khanna or Shatrughan been in Deewar, the bad blood between the brothers would have been obvious from scene-1, but it’s Shashi’s fondness for Amitabh that makes the later confrontations doubly tragic. It always seemed to me that the Shashitabh couple worked so well because of all of Amitabh’s many co stars, Shashi was the only one not trying to outshine him. There is a well aged scene of the both bathing together, earning Silsila a place of honor in every piece discussing homosexuality in Hindi cinema. Much has been said and written about the Amitabh-Jaya and the Amitabh-Rekha pairs and especially the Amitabh-Jaya-Reha triangle, but I bring up Silsila not to mention any of these three but another, a most favorite Amitabh pairing of mine, that of him and Shashi Kapoor.Īmitabh’s ‘favorite heroine’ as Shashi was called, makes an important cameo and encapsulates all the chemistry and bonhomie that lit films like Suhaag and Shaan, from that delightful drunk scene to them drinking and singing “neeche paan ki dukaan, upar gori ka makaan” in the Kashmir cold. It is not very surprising why, apart from its obvious flaws, it was one of the rare flops for the box office Supremo. A small drop into the ocean of words and wishes surrounding the colossus that strides our ageįew films can be as postcard pretty and deeply uncomfortable as Silsila.
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