Separated childhood friends Sunny and Roma (Sunny Deol and Amrita Singh) meet again as adults in ***Betaab Valley, when Roma returns for holiday . He's a devil-may-care rancher, she's a devilish heiress.
He realizes who she is.
|luckily, she didn't get the waterslide|
'Course, when Roma's found out, she's also "forced" to stay on the farm to repair the damage and by extension, get to know her childhood friend all over again.
|not the way to rebuild a chicken-coop, darlin'|
Fortunately, Sunny's Ma (Nirupa Roy) is off looking for farm equipment or something, and has no idea how scandalous the situation at the farm is quickly becoming. (Note: I know I've seen this gimmick before in a Hollywood movie, but I just can't remember where. Maybe some screwball comedy ... seems like something Katherine Hepburn would have to do.)
By the time she finally figures out who he is and is de-thorned enough to commence embracing, Big Daddy shows up and objects to the snuggles. (I know this is a Tennessee Williams thing but I can't help using it to describe Shammi Kapoor characters.)
Turns out, the two families have a messy history (duh). Scenes from The Man From Snowy River (released just a year earlier) may be invoked. Etc. Etc.
The audience bait:
This film contains two kissing scenes (without much fanfare), a snake-bite/poison removal orgasm (as if nagin symbolism ever needs any help) ...
|just when you think you've seen it all|
... a castle and a strange art-museum-inspired gazebo ...
|I am in love with this monstrosity.|
... a well-paced script from Javed Akhtar, and A LOT of Sunny Deol.
(Like there's chest hair coming out of the seams, and maybe check your viewing device for stray fur balls at interval). Luckily, this is taazi roti-Sunny, just out of the film industry oven, and relatively free of the stiff mannerisms of his later days. [Or romances with co-stars a third of his age: *ahem* I Love NY.] The director did everything he could to exploit the family genes, it seems to me. Sunny is really the sexualized debutante in this production, and groomed bachpan-se, too. You can tell just by his frequently donned short-shorts, signature Deol wear that could only be more of a tradition if they weren't so much shorts as a robe or a blacksmith's skirt. A smart business move, as he was the star kid from a massively publicized family scandal, and people were more likely to be heading to the theatre to see Sunny, Dharmendra ka bacha, than a potentially disposable new starlet. (I mean did anyone see Heropanti for a better reason?) Still, he's not just a pretty face, either. His horsemanship is to be envied, and his comedic timing is pretty good, with the exception of some poorly-advised fake laughter.
|glam but not so glam as you'd expect|
Amrita Singh clocks in a debut performance as the heroine. Though she's rough around the edges (especially in her early dialogue delivery) you can't quite look away from her theatrics. My favorite thing about her is that she's believably vicious. Something about the look in her eyes and her cat-like way of lunging makes her scarier than the average romantic lead. Hema could use a whip, and I hear Amrita gets one of her own in Mard, but I don't really think she needs anything but her finger nails do to serious damage. That is, until she sheds some of them in the second half. If you like Bollywood heroines to be more riot grrrl than girl-next-door, you'll probably like her. Frivolous though it may be, I also have to mention that she wears the hell out of a pair of trousers...the staple of her wardrobe throughout the film (she never switches to saris). Also, Amrita was one of the best things about the recent 2 States (2014) for me, so it was fun to see how she got her start.
The well-matched physicality and athleticism of these two leads certainly must have contributed to the film's success. When they're not riding bucking horses, tumbling in the grass or hay or in the water or in the mountains, they're jumping off of roofs, throwing chickens, catching chickens, and playing chicken on the road ... jeep vs. truck vs. hairpin curves.
Really, some of the action made me nervous, especially the dubious horse stunts. I'm not sure how much of it was stunt-double work, either, which points to either excellent framing and choreography, or terrible safety practices.
|Pretty sure that's actually Sunny. Mithun did a similar stunt the year before in Aamne Samne, clearly Bollywood was obsessed with Raiders of the Lost Ark (can you blame them?).|
Annu Kapoor also shows up for a welcome and touching role as the family nauker; a self-described "chhota aadmi" who still manages to help his favorite rude heiress out in a time of need.
But by far the best supporting performance came in from the anipal actor ... a yellow lab with remarkable dishooming abilities (canine-fu?) and amazing restorative powers. (People never recover from GSWs in Hindi films, but thankfully, nobody seemed to tell the dog that rule.)
|"Here comes the dog, strong and brave!"|
The sum of its parts:
|"You gave each other a pledge? Unheard of, absurd."|
Values-wise, I appreciated the attitude towards parental authority in this film. As far as I can tell, Roma doesn't spend any time feeling guilty about her father's disapproval of her romantic choice, and neither Roma nor Sunny put up with patriarchal abuse. Worlds away from DDLJ, thank God.
Sunny does cook up a bit of a taming of the shrew project for Roma, but it hangs more upon natural consequences than his will to dominate. He just wants his friend/sweetheart back, which is about as innocuous as it gets. And even when she's a bit tamed, she doesn't lose her edge entirely, or give up her ability to make decisions for herself.
So, ok, this film doesn't do anything new, but perhaps that's too much to ask of a star-launching vehicle. Even so, it's pleasant-viewing, with few of the usual wasted scenes, and creative wide-shot cinematography. You may or may not like the six R.D. Burman songs... for me they were just so-so. Still, Betaab has the gleam of new talent and the support of the old, and enough is as good as a feast. And the dog, did I mention the dog?
I know some of you are thinking, BUT WHY? Recently, when a former prof of mine compared Sunny's career in the 80s to some commercial (but critically ignored) mass hits of the 50s, I had to laugh. But I realized I couldn't in good conscience continue to giggle about Sunny without experiencing the height of his stardom for myself. Now that I have, well, I wouldn't mind seeing more ... maybe even films that better fit the "obscure" half of the "obscure hit" equation.. But I draw the line at ... No, actually, I have no idea where I draw the line anymore with Hindi films. The minute I draw one, I resent it and immediately want to see the other side. All you have to do to get me to try a new category I have vowed not to watch is to talk it up while I talk it down. Eventually, the curiosity will get the better of me.
***Did you know that the Kashmiri valley was named after the film, not the other way around? Thanks, A.B.! That's going to end up in my South Asian geography unit next year, I can tell you that.
Note: I saw this on a whim, so pardon any mistakes in details from a lack of subtitles (though the Hindi is easy to follow and anyhow, you really don't need to understand the dialogue to understand this film) and the sub-par cropped screen caps.