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Reviews
Chhoti Si Baat (1976)
A simple 70s Urban Middle-Class Comedy
Firstly, this movie for me was a great 70s nostalgia trip: The Fort district of Bombay, Dadar Hindu Colony, Scooters, Flora Restaurant (The Best and probably the only Chinese Restaurant in Bombay those days- But I've never used chopsticks there!), the old BEST Double-Deckers, the bell-bottoms, Amol Palekars' glasses, Jehangir Art Gallery, and Samovar. They missed out Rhythm House, Flora Fountain, and Chetana, but well, it didn't matter. Whatever was served, was enough. Secondly, the nostalgia was not in stark B & W of Guru Dutt's 50s, but in glorious Color, which brought out even the shiny, worn flagstones on the footpath in a unique, fresh, perspective, a unique shade of gray that only color could do. All this to say that my youth was re-lived, real-life. Thirdly, the protagonists: Young, Fresh-Faced, Natural, Lovely, Naive, in love- yet shy enough to express it, and how they get together, it was all so simple, and the contrast is yet so apparent when compared to todays' Bollywood Kitsch. Fourthly, to realize that Nostalgia dies with the death of a Generation; How Col. Singh has his own deep memories of an age that would have been ancient for the protagonists themselves! I never realised then, but right now, I'm old(er) and the young 'uns cannot 'get it' when I'm nostalgic. Fifthly, This movie is about Bombay, and the spirit of Bombay, and kudos to Basu-da and Salil-da for their glorious effort.
Sigappu Rojakkal (1978)
Another interpretation
Though the obvious storyline: that Dilip (Kamalahasan) is a misogynist serial-killer, till he comes across Sharada (Sridevi) in whom he finds something of a higher love which was denied to him all these years- seems acceptable, I do feel there's another interpretation worth suggesting: The process with which he wooed Sharada was his modus operandi; he probably did this to all other girls he had killed. Maybe he didn't offer marriage to all of them, but by flaunting his physical beauty, his wealth and assets, and his promise of obvious physical prowess 'on the bed', was enough to lure the unfortunate girl to his bed and getting killed in bargain. In Dilip's mind, the more 'fun-loving' the girl, the more 'loose' was she, which meant she'd probably accept his advances unhesitatingly, and which probably meant that she deserved death even more promptly. Sharada has been portrayed as an upright, moralistic, Hindu girl, God-Fearing, probably from a conservative, but economically straightened background, but forced to work as a single working girl in conservative Madras, which highlights the straightened economic circumstances of her family back in Kumbakonam. Despite her protestations, she's internally happy with the attention bestowed upon her by the obviously rich good-looking young man, who even drives his own 'imported foreign car' (compare to the lumbering Premier Padminis and Ambassadors) and saves her from an accident! It's but natural, I feel, that after a brief, token struggle with her values/morals, she would plunge into a relationship like any other girl. However, part of the compromise with her morals was not to allow herself enter into a pre-marital sexual relationship with Dilip. But she did marry in haste, so as not to 'lose this ideal guy'. Note how they get married at the marriage registry! Not exactly what a conservative girl would have preferred! At that moment, I feel, her fate was sealed. Dilip probably might have realized that she was also 'one of them'. If not for the unforeseen events of the first day of their married life, he'd probably would have killed her that night itself (note his warning her of what would happen 'come night-time') He had already killed 6 girls before Sharada; the last being Sharada's co-worker/girlfriend at the shop. She discovers this modus operandi in Dilip's private confessional room, scrawled over the walls. She's terrified, and wants to escape that grim fate that befell those before her. Dilip does not want her to escape. Dilip is bipolar with a dominating dark side, and a suppressed child. He's relaxed and quiet in the light of day, but dark, brooding and demoniac, when away from the sun, whether it be night or in the confines of his home or office. At night he's given to wearing black Gothic leather apparel as a reflection of his dark side. His dark deeds have all been committed at night because at night he's in his wild element, a predator lurking in the shadows. He does not 'love' Sharada in truest sense. He just wants to protect his own ass, that's all, and hence goes along with Sharada's demands. He bides his time and returns to kill, but by then, his secret's out. Coupled with the tremendous mental strain (the stricken conscience of the good side) of killing the 6 girls, and being confronted by the police and public, and the realization that the truth is finally out, the dark pretense collapses and deserts the sinking ship, leaving behind the original, child-like, simplistic Dilip, now quite an idiot, whose mental growth had been stunted by the darkness, a reflection of the carefree village-boy who he was in his childhood. He obviously knows but little of those dark deeds done by the 'other one', or the 'terrible one'. He's probably cured now, but at a terrible price- he has lost the charm, business skills and managerial talents. He's also lost the freedom, and now behind bars. This 'Child', in stark contrast, is now dressed in rough white cottons, and he remembers only those few moments of happiness- like getting married to his wife (who ultimately did him in, but he doesn't know!).
Poor guy! Feel kinda sad for the character Dilip! The old man would have probably been remanded to a mental asylum, the servant jailed for being an accomplice to murder, which meant she'd probably inherit her husband's wealth and assets.Which means that Sharada, I feel, will have a ball of a time! Just an afterthought! :)
Kamalahasan is a great actor indeed- hats off!. The film, I think, was probably quite daring for it's time (circa 1978), especially for the bastion of South Indian conservative society- Madras.
There are many bloopers in the film: like the reflection of the camera and film crew off the side door of Dilip's car as it swings out of the porch of his house towards the gate. Another ambiguous point being the role of the gatekeeper in the whole affair.
Yet, overall, the originality of the concept, the sparse, silent dialogue, the camera-work and Ilayaraja's great 70s retro music, makes this movie unique, not worth made into an 'inspired re-dux'.