Honestly, should maybe not have enjoyed it because Mala Sinha is technically being kathputli'ed by various men who decide what she must do because that's what they feel like -whether it is to get a divorce, marry her off again, send her away to ensnare her husband, etc. But, since it leads to Ashok Kumar doing a pygmalion on her, leading to a wonderful montage where Mala Sinha learns French, English, gets her hair done, and practices other essentials for…
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Talash 1969
Only somewhat redeemed by the shenanigans of the last 15 minutes, before that it suffers from wooden-principal-male-character syndrome. Balraj Sahni had more emotion in his five minutes of desperately tossing over giant suitcases filled with notes, pearls, golden coins, rubies, and valuable documents than Rajendra Kumar had in all his trauma of seeing doubles! Why must Sharmila be saddled with Rajendra Kumar? Why must we?
Also, very nice lair at the end, and the songs are generally nice! And Helen has two epic dances and gets to have her happily ever after, so there's that.
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Zindagi Na Milegi Dobara 2011
I find myself wishing that Zoya Akhtar and team had spent as much time developing the film's female characters as its male ones.
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