I always dream about living in the past, in the era of “those” years. The time when Cinema was considered art and not business. A time when there were real pujaari’s of music, the various artists that contributed, I mean.
Let us all discover, what the media was like, those days. How the people perceived and made or broke a film, through the various REVIEWS of films in the magazines, those days. There were 2 major magazines. The more sadistic janta turned to the ever-explosive reviews of Baburao Patel ( Filmindia ). The milder ones always looked forward to Filmfare. Unfortunately the authors of these Filmfare reviews were not credited in the magazines. So these personal views from both the magazines, more or less, formed the thoughts of the junta. Its a different matter that the passionate ones did not care for the reviews and watched all released films all through the year !
Let me start with the review of one of my most favourite movies of Kishoreda – Baap Re Baap. Without a shadow of doubt, one of the finest comedies that Indian cinema has ever seen. Simple yet endearing. A movie that I have seen more than hundred times. I will surely write my own review of the same, when time permits, but till then let us see through the filter of those day’s media !
Kishore Kumar just on the continuous wave of rising popularity. The busiest star in tinsel town with this Superhit film adding to his kitty.
Would you go and watch/buy this film, based on this review ? The fun starts …..
Source : Filmfare October 14 , 1955
Baap Re Paap – A Breezy Comedy with good portrayals, pleasing music.
Kardar Productions – Baap Re Baap. Produced & Directed by A. R. Kardar. Diaogue : S. N. Banerji, Jagdish Kanwal. Lyrics : Jan Nisar Akhtar. Cinematography : Darka Diwecha. Audiography : Ishan Ghosh. Music : O P Nayyar. Cast : Kishore Kumar, Chand Usmani, Smriti Biswas, Jayant, Ullhas, S. N. Banerji, Leela Misra, Meera Devi and Amir Banoo.
“Baap Re Baap” premiered in Bombay at the luxury cinema Liberty and released simultaneously at the Chitra and 5 other theatres on September 18, is a crazy comedy with touches of slapstick and dashes of drama strung on a tenous thread of romance and its sole and obvious purpose is raising loud and hearty laughter.
It may not be quite their cup of tea for intellectuals and the sophisticated, but who are they to carp or question when others, lords of the box-office, pack the theatre from floor to ceiling, rock its walls and blow its roof off with the gusts of their guffawing enjoyment ?
The slapstick is crude, the humour naive and loud, the comedy jejune but all that doesn’t alter the fact that the film, highlighted by sure-handed direction and excellent portrayals, especially those of Kishore Kumar, the picture’s pivot, and bubbling Smriti Biswas, his tomboyish fiancee, keeps the whole house rolling, in the aisles three times a day and keeps on doing that day after day.
The story concerns a young man who is so doted upon and tended by rich and overanxious parents that, in sheer desperation, he rushes from embarrassing and painful luxury to the quintessence of love in the heart of his poor gardener’s daughter. This theme provides the merest thread on which are strung a series of hilarious situations.
The latter rise from the father’s furious search for a suitable bride for his son and the son’s frantic efforts, attended by rambunctious adventure enough, to undo his father’s plans. Additional diverting and melodramatic interludes are provided by the six prospective brides chosen by the father from different provinces. Here the audience is treated to an entertaining display of the charms and imponderables of the six candidates. It is all foolery of the craziest sort, but the picture doesn’t pretend to offer anything else and certainly delivers he goods both at the box-office and in the auditoriums.
Kishore Kumar as the rich young man, carries off the acting honours. His role calls for a full mustering of talent and versatility, seen in his clowning, acting, singing and dancing, and there is a refinement in his work which lifts his fooling to a level of art.
Smriti Biswas, the colonel’s daughter who becomes the hero’s boisterous fiancee and has a penchant for slacks, puts over a delicious performance, sparkling with histrionic talent and brightened by her vivacious personality. It adds immensely to the gaiety of the picture, and her dances, executed with astonishing aplomb and luscious grace, are another high spot in the film.
Chand Usmani, the gardener’s daughter loved and ultimately married by the hero, is as pretty, graceful and uninhibited as her role demands.
Jayant as the hero’s family-proud father, Meera Devi as his doting mother, Ulhas as the retired colonel, Leela Mishra as the latter’s dominating wife and S. N. Banerji, the hero’s conniving uncle, also contribute cameos of his histrionic art.
The music of ‘Baap Re Baap‘ is pleasing to the ear, its songs beautifully worded and melodiously rendered. Production values in matter of photography, setting and decor display the taste and artistic quality one looks for in a Kardar picture.