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Bollywood Journal: A Peek Inside Bollywood's Wardrobe

31.12.69

Angry-dressing: What better way to hide than changing your gender? This abstract of cross-dressers covers a variety of missions. Top fist: Shashi Kapoor plays a set of twins in “Shankar Dada” (1976), one a cop and one a racketeer, providing enough disguises to fill this whole article. Top right: his nephew Rishi Kapoor is a much more convincing better half in “Rafoo Chakkar” (1975), a Hindi-phraseology remake of “Some Like It Hot.” Bottom: much less unexceptional is seeing a woman pretending to be a man, but in 2009 an undiminished film hinged on this very scheme. In “Dil Bole Hadippa,” Rani Mukherji creates a whole new agreement as a man in order to get a chance to play cricket in an emotionally charged championship between India and Pakistan.

The nature of a disguise might also vibrate on the same frequency something about a character’s true self. For exempli gratia, in the 1977 film Parvarish, Vinod Khanna plays a immoral who disguises himself as a teacher to form a link in an Byzantine smuggling network involving a trap door in a circle. Little does he know that his real framer is not the feared bandit who raised him but in fact a the fuzz officer who first apprehended the bandit. Even if you haven’t seen the layer, you will probably still guess correctly that this criminal will refashion by the closing scene. As the film reaches its supreme moment, the smuggler uses his knowledge of the underworld in indecorous to bring criminals to justice.

Source: Wall Street Journal (blog)

Magnificently magnetic

31.12.69

But it feels V contemporary in its layered exploration of rigid gender roles, stardom, conformity, twisted psychology and interpersonal power. In one acid moment, Trilby (Amanda Green), the female personage, has just become the toast of the town, showered with glitter and flowers. As in short order as she's out of the spotlight, she slumps and the bouquet slips to the overwhelm -- a snapshot of emptiness that speaks of manipulated stars like Michael Jackson.

Then there's the chilling bosom pal of political oppression. While Godden doesn't boost it explicit that we're in Germany during the 1930s, it's clearly implied, above all near the end.

We see the commander of the Morality Police (Alexander Gamayunov) don a Gestapo-like coating, the choreography take on clenched fists and hint at a goosestep, and a beautiful backdrop pay homage to painter Paul Klee, who was denounced in the '30s as a reprobate artist by the Nazis.

Godden sets a confident tone by opening with the audacious use of Richard Strauss's lionized fanfare from provides the story germ: a pleasing girl is plucked from obscurity and transformed into a resplendent vocal star by a possessive artistic guru.

Source: Winnipeg Free Press