So the wrathful tourists converge on the steward, who seems a natural candidate for co-conspirator in this turn of events. Manoj Kumar is facing the camera, brooding handsomely, contemplating a long future playing martyred characters in patriotic films. Why not get in some practice? He looks down, covers half his face and says in a broken tone that somehow manages to be understated and overwrought at the same time: "Mera iss mein koi haath nahin. Main kuch nahin jaanta!" ("I had no hand in this. I know nothing!") Laurence Olivier, preparing to play Iago at
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- The pilot announces that the engine has a snag and they have to make an emergency landing. The passengers - a small group of lucky-draw winners whose prize was a trip to "videsh", and a young steward named Anand (Manoj Kumar) - disembark and wander about what could be a jungle, an island, a desert or possibly all three at once. Then the plane takes off, leaving them stranded (but thoughtfully unloading their luggage before going).
- This being an introductory column, I thought I'd say a little something about my journey as a movie buff - perhaps to provide a sense of the sort of mind that is going to be writing this fortnightly piece.
For me, the link between watching films and writing things about them goes back (at least) to age seven. It began, inevitably, with the most masaledaar Hindi movies, and a little notebook in which I would scrawl the titles and star casts of every film I saw, along with a conveniently pliable rating (love a film so much that you want to allot it 16-and-a-half stars? Can be managed).
At this point, like anyone who engages with films at a very elementary level, I saw them mainly as "pictures of people talking" (or singing, or dhishum-dhishum-ing). The actors and the fight scenes were the important things, one didn't think about the craft (or the art) involved.
It's notoriously difficult to pin down the first time one's cerebral circuits were lit up by a previously unfamiliar concept,
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