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Mehmood: A Man of Many Moods, by Hanif Zaveri
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- Sales Rank: #5662702 in Books
- Published on: 2011-12-31
- Original language: English
- Dimensions: .0" h x .0" w x .0" l, .0 pounds
- Binding: Paperback
Most helpful customer reviews
4 of 4 people found the following review helpful.
aam chhum taam chhum
By Rajyashree Tripathi
I had never been a great fan of Mehmood. On the contrary, I always associated with him (in fact held him responsible for introducing and promoting) vulgarity in Hindi cinema. His comedy was not clean in spite of having the late Johnny Walker as his Guru, benefactor and mentor whose humor was clean, and who simply with typical gestures and voice inflictions could send the audiences into splits. He was truly funny and simply delightful.He himself had refused to continue acting when vulgarity became an essential part of Indian cinema humor. Kishore Kumar, another friend of Mehmood, was quite a good comedian, although I rather hear him sing than see his slapstick comedies, But KK was not vulgar. He was just a bufoon. Mehmood too started out OK, but began to be more vulgar than humorous as the time went on. His dialogues with double meaning were not totally innocent (for lack of better word) and his body movements were borderline obscene. The only exception was his home production "Padosan." His relationship with Nargis and Sunil Dutt, whom he considered his sister and brother-in-law, respectively, is sweet. In fact (the book does not say so), it was Nargis, who had discouraged Sunil Dutt from taking on the lead in "Padosan," lest him playing the simpleton, Bhola, would spoil his image as a serious actor. Needless to say that for Dutt, with Kishore Kumar and Mehmood, "Padosan" turned out to be not only one of the greatest comedies ever, but also the highlight of his career. I liked Mehmood the best in this movie. Until then nobody had ever thought of Dutt acting out comedy of this sort, with the exception of "Ek Phool Char Kante" but even there the comedians really were Johnny Walker, Rashid Khan and Dhumal.
Early on Mehmood was quite desperate for work. His desperation also made him act as lover of his younger sister, Meenu Mumtaz, on the screen. But for that one can only feel compassion for a struggling actor with a large family to support, rather than judging him adversely for making poor choices. He just did not have the luxury of turning down ANY offers.
Before reading this book, all I knew about Mehmood was that he was the son of dancer Mumtaz Ali; brother of Meenu Mumtaz; brother-in-law of Meena Kumari; and his nephew being married to the late Geeta and Guru Dutt's daughter, Neena. As "disinterested" I was in Mehmood, I was very curious about his association with Guru Dutt. My curiosity centered around the unlikely marriage of Dutt's daughter, Neena, to Mehmood's nephew, Naushad Memon, the son of his sister, Shano, and the late Ismail Memon. However, I did not learn anything. I also knew from a book on Guru Dutt that Mehmood NEVER drank; he was surrounded by many who had ruined themselves by drowning their joys or sorrows in alcohol. Once you read about the life (rise and fall) of his father, Mumtaz Ali, the reader knows why Mehmood stayed away from alcohol. He, however, did not consider indulging in other addictions -- charas and ganja-- as beinng bad. I knew very little about his father except that he was a singer/dancer, and had seen some clips of the senior Ali on youtube. The reader cannot help but feel sorry for Mumtaz Ali who destroyed his career, life and family because of his addiction. It was sad to learn of the desperate times that the family faced.
Only recently on one of the Asian Cable TV channels in the US, I saw Mehmood's interview. The elderly gentleman I was looking at was nowhere close to the Mehmood, the comic and the buffoon, of the Hindi silver screen. This senior chap I saw on TV came across very polished, poised, and articulate. He seemed God-fearing. This one spoke crisp Urdu and flawless English, rather than the "Bambaiya" Hindi of many of his screen characters. I liked what I saw. My aim in reading this book was more to learn about Mehmood's contemporaries, his interactions with them, rather than reading about Mehmood, the man himself. I was not interested in the gossip but then I also knew that it was a part of the package. Admittedly, Mehmood's nagging habit of improvising the dialogues and surprising everyone was an issue of contention with the most of his star colleagues and sometimes even the directors. The book mentions several instances. His eagerness for one-upmanship was also offensive to many. After working in "CID" with Guru Dutt, he was offered a role in "Pyaasa." While playing as the youngest brother of Vijay (a character played by Dutt), whose other brother and mother spoke Hindi (giving them a North Indian rather than Bengali background), Mehmood spoke his few dialogues in Bengali-mixed Hindi. The scene filmed in Dutt's absence, bothered the director to the hilt. Consequently, after "Pyaasa" Mehmood NEVER acted in any Guru Dutt films again. However, Mehmood's sister, Meenu Mumtaz remained almost a permanent fixture in the Dutt films until "Sahib Bibi Aur Ghulam." In fact, surprisingly, "Pyaasa" is not even mentioned in this book.
The book is a candid account of Mehmood's life and to some extent a certain period in India cinema that he touched. The author has remained objective about the comedian's temper tantrums; many addictions and vices (charas and ganja, and of course shameless womanizing); numerous affairs; his kleptomania (for the sheer thrill of it often warning the person from whom he was going to steal--a "skill" that even transferred to his wife, Madhu, who in later years suffered from mental illness and almost in a Houdini-like manner disappeared even from captivity and went through heroic measures to steal); his vindictive nature (getting even with, for instance, with Kamal Amarohi by humiliating him by asking him to come over at his house after Amarohi's wife Meena Kumari left him and moved in with Mehmood and Madhu, her sister); his callous attitude towards Madhu, a woman who gave up everything to marry him, lived under sub-standard conditions, supported him through the worst of times, only to be humiliated at the hands of his hostile and superstitious family, with absolutely no support from him and finally to be betrayed by him when he pursued his American girl friend, Tracy, whom he later married. His selfishness comes through and through, with many instances of deception. He also, perhaps as a justification of his indiscretions, helped others who were carrying on their own affairs. Somehow as disgusting as it is, it also seems to make him more human. This is in sharp contrast to various charities that Mehmood generously syupported.
One of the most touching parts of the book is Mehmood's own confessions in Chapter 19. For the first time, the reader sees Mehmood as a feeble human-being, who, by his self-admission, was a liar, a cheat, conniving, manipulative and vindictive. And, was now remorseful. He asked for others' forgiveness and in turn forgave those who had wronged him. He made peace with his one-time fianc�e, Rashida (she died a few days after their meeting after 45 years), whom he ditched for Madhu, and then Madhu whom he had treated so shabbily first by not defending against his family and then pursuing his interest in and marriage to Tracy. He felt triumphant when in spite of "predictions" of some of the cinema folks he succeeded. He also strikes as the one who only focused for his work and never paid attention to the judgment of others-- sort of "don't-give-a-damn" attitude. He acknowledged many who had helped him--Johnny Walker for one-- and also others whom he had helped build their careers, but who had now forgotten him. He, however, takes this in stride as his good deed of the day. In the golden years of his life few had remembered him or visited him, and this naturally saddened him. His lasting friendship with Shubha Khote (one of the last ones to talk to him before his passing) was indeed a surprise. They made quite a successful pair on screen. However, their platonic relationship might have been an exception for Mehmood. Equally striking was Mehmood's secular disposition. This came as a total surprise to me. Unknowingly, in my mind I had almost labeled him as an orthodox, non-practicing or practicing-only-for-selfish-reasons Muslim.
Anyway, at the end the person who walked away with my total compassion was Madhu. I hold Mehmood solely responsible for driving her to ultimate desperation, depression, madness, loneliness and alcoholism. She, who gave him so much, got very little, and ultimately lost everything-- home, marriage and her children-- and tragically died young. What a reward for love and loyalty!!!
All Mehmood fans should read this book to get a true perspective on the star.
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