Changes between Initial Version and Version 1 of Jaane Bhi Do Yaaron


Ignore:
Timestamp:
Jul 10, 2012, 4:51:22 PM (8 years ago)
Author:
Trupti
Comment:

--

Legend:

Unmodified
Added
Removed
Modified
  • Jaane Bhi Do Yaaron

    v1 v1  
     1'''Jaane Bhi Do Yaaron''' 
     2 
     3 
     4aka Who Pays the Piper 
     51983 143’(130’) col Hindi 
     6d/s Kundan Shah pc NFDC co-s Sudhir Mishra 
     7dial Ranjit Kapoor, Satish Kaushik c Binod 
     8Pradhan m Vanraj Bhatia 
     9lp Naseeruddin Shah, Ravi Baswani, Bhakti 
     10Bharve, Om Puri, Satish Shah, Pankaj Kapoor, 
     11Satish Kaushik, Neena Gupta, Deepak Qazir, 
     12Rajesh Puri, Zafar Sanjari, Vidhu Vinod Chopra 
     13Extraordinary slapstick comedy, a genre almost 
     14unknown in Indian cinema since Kishore 
     15Kumar’s early films. Two bumbling 
     16photographers, Vinod Chopra (N. Shah) and 
     17Sudhir Mishra (Baswani), are employed by 
     18Shobha (Bharve), the editor of a scandal sheet, 
     19Khabardar. They have to spy on millionaire 
     20property developer Tarneja (Kapoor) and 
     21police commissioner D’Mello (S. Shah). The 
     22photographers uncover dirty business between 
     23Tarneja and his equally unsavoury rival Ahuja 
     24(O. Puri). The commissioner is killed by one of 
     25the builders who, as a result, wins the contract 
     26to build a flyover that collapses shortly 
     27afterwards. The photographers get hold of 
     28D’Mello’s corpse in order to prove that he was 
     29murdered, but they lose it, which gives rise to 
     30an extended sequence where everyone chases 
     31everyone else. In the end, the photographers 
     32are framed for the collapse of the fly-over. The 
     33film, set in the same early 80s of e.g. Anand 
     34Patwardhan’s documentary Hamara Shaher 
     35(1985), refers directly to specific corrupt 
     36Bombay politicians of the period. The collapse 
     37of the flyover, shown in a video clip in the film, 
     38is in fact footage of the actual Byculla Bridge in 
     39Bombay which collapsed shortly before the 
     40film was made. Commissioner D’Mello refers to 
     41the then police chief Julio Ribeiro (who 
     42appears in the Advertising Club meeting in 
     43Patwardhan’s documentary), Tarneja and Ahuja 
     44are a composite picture of Bombay’s biggest 
     45builder Raheja, while the Shobha who runs a 
     46scandal sheet is an allusion to Shobha 
     47Kilachand, aka Shobha De, former editor of a 
     48film gossip and city magazine. In addition, the 
     49film repeatedly refers to e.g. Antonioni’s Blow 
     50Up (1966) and to New Indian Cinema, 
     51including some of Shah’s former FTII 
     52colleagues: film-makers Vinod Chopra (on 
     53whose Sazaaye Maut, 1981, Shah had been a 
     54production manager) and Sudhir Mishra, who 
     55lend their names to the photographer duo. The 
     56Albert Pinto code-word of the two amateur 
     57sleuths refers to Saeed Mirza’s film (1980). 
     58Large posters of Kumar Shahani’s Maya 
     59Darpan (1972) and Mani Kaul’s Uski Roti 
     60(1969) can be seen pasted on the walls during 
     61the chase. The film was a mild commercial 
     62success and influenced mainly a brand of TV 
     63comedy (cf. Shah’s TV series Yeh Jo Hai 
     64Zindagi, 1985, and one he made together with 
     65Mirza, Nukkad, 1987). 
     66 
     67[[Film]]