Naram Garam is a 1981 Indian Hindi-language comedy-drama film directed by Hrishikesh Mukherjee. The film was produced by Subhash Gupta and Uday Narayan Singh and had music by R. D. Burman. It reprises many actors and actresses from the 1979 hit Gol Maal with the same names. It was also directed by Hrishikesh Mukherjee and starred Amol Palekar in the lead and Utpal Dutt won filmfare award best comic role .Plot elements of this movie have been used in the 1985 Malayalam comedy [[1]].
The film starts off when two photographers Makarand "Mac" Deendayal Chatpatiya and Shyam "Sam" Salgaonkar are doing a photo shoot. While Mac is shooting the models in exposing poses, his fiance Anjali leaves in disgust due to Mac's closeness to the models. Their boss calls them into his office and tells them that they are good-for-nothing photographers. He threatens to reduce their pay if they don't get some good pictures for the world photography competition to make his magazine Garam Masala famous.
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Now the film moves into its Mr. Miyagi phase, with Akbar patiently teaching Samir the meaning of cooking and of life. Samir has lost his roots, and must reconnect his cooking with his heart, mind and stomach. This particularly involves making his own garam masala. Now I'm on the edge of my seat, attentive. Do not make the mistake of so many Westerners in assuming that garam masala is some weird name for some esoteric component of exotic cuisine. No, it is the heart of South Asian cooking. Do not confuse it with "curry."
There is no mystery. It is a yellow spice mixture of various combinations of peppercorns, cloves, malabar leaves, long pepper, black cumin, cumin seeds, cinnamon, cardamom, nutmeg, star anise and coriander seeds. Every region and every chef has a different recipe. That need not overly concern you. Go to the spice racks in a grocery store, buy a jar labeled garam masala, and Bob's your uncle. It adds interest to just about everything this side of a wedding cake.
We learn that Samir, whose parents were born in India, who considers himself a great chef, has never mixed garam masala.This is like growing up in New Orleans and having to ask what a bean is. As Samir's father recovers, and Akbar teaches him about cooking and life, Samir also begins to fall in love with Carrie (Jess Wexler), a woman he met in the French restaurant's kitchen. Akbar's recipes transform the Tandoori Palace's cuisine, and crowds begin to form. After an obligatory setback or two, there is a happy ending.
So now you understand why I enjoyed the film. I know it is flawed. I know the story arc is old as the hills. The romance is cut and dried. Akbar is well-acted, but he is a story device. Aasif Mandvi is fun (he plays one of Jon Stewart's senior correspondents on "The Daily Show"). But as a movie, "Today's Special" is only just OK. What saves it, as it saves so very many things, is the garam masala.
Analysis:
Thirty minutes into the film, the first thought comes to mind is that have the writer and director already thrown their hands up helplessly with no clue to run the story till the interval bang comes.
Garam Hawa (Hot Winds) was the first feature from director M.S. (Mysore Shrivinas) Sathyu of India. The film was controversial from its inception, as it was the first film to deal with the human consequences resulting from the 1947 partition of India. This action, ordered by British Lord Mountbatten, split India into religious coalitions, with India remaining Hindi and the new country of Pakistan serving as a refuge for Muslims.
Despite its controversial subject matter the film was initially accepted by a commercial producer, but then pressure and fear of the critical and governmental reception of such a work led to a rapid withdrawal of the offer. Sathyu turned to the government sponsored Film Financing Corporation (FFC) for support. This agency was created as an alternative for filmmakers seeking financing for work which was not commercially embraced by institutional distributors. Its aim was to free these artists from the dominance of loan agencies and their control of film content. Sathyu secured FFC financing and his film, based on an unpublished story by Marxist activist Ismat Chughtai, was completed in the city of Agra. The production of the film was plagued by a smattering of public protests; ultimately, Sathyu had to divert attention from his actual locations by using a fake second unit crew and sending them out with an unloaded camera.
Once finished, Garam Hawa was again the subject of controversy; it was banned as an "instigation to communal dissension." Sathyu was strong in his conviction, however, and he showed the film to many government leaders and journalists. The influence of these people on the censorship board led to a reversal of the ban. The film went on to win a national award for its contribution to "national integration." More recognition followed, including accolades that praised the film's efforts to create "a language of common identity" and to humanize the situation endured by Muslims in North India who did not wish to move from their homes after the partition.
The screenplay for Garam Hawa was written by Kaifi Azmi (an Indian poet and lyricist) and Shama Zaidi, Sathyu's wife. The tale is a complex narrative assembled with loving attention to detail. The story's main focal point is Salim Mirza, played by veteran actor Balraj Sahani in his final film before his death. Salim is a Muslim shoemaker and patriarch who does not want to relocate to Pakistan. There is the added element of a love story woven into this political narrative, however, and it is this element which adds greater meaning to the story. The filmmaker's adept use of light and framing adds dimension to the characters and their struggles.
Speaking to the sense of adventure and energy that the Gudang Garam Signature Mild brand aims to encapsulate, the film showcases stunning mountain scenes, winding coastal highways and secluded hideaway beaches.
Photographic still produced for the Hindi film, Garma Garam, featuring Nadira. Directed by P. L. Santoshi, Garma Garam (trans. Hot) is a 1957 film starring Agha, Nadira, Gope, Om Parkash, Bhagwan, Anwar, Maruti, Indira Bansal and Krishna Kumari.
FOR THE OVENAdjust rack to middle position and preheat oven to 350 degrees.Remove outer packaging and plastic film.Cover rice on tray* with aluminum foil, leaving stew uncovered. Place on a baking sheet and bake on middle rack for 20 minutes.Carefully remove foil and stir stew (leave the rice, beans, and plantains undisturbed). Return sheet to oven and bake, uncovered, until meal reaches an internal temperature of 165 degrees, 20 minutes more.Let stand for 2 minutes and stir. Divide rice, beans, and plantains between plates and serve beef alongside.
FOR THE MICROWAVERemove outer packaging and pierce plastic film a few times with a fork.Place tray* on a microwave-safe plate and microwave for 4 minutes.Carefully remove plastic film and stir stew (leave the rice, beans, and plantains undisturbed). Microwave until meal reaches an internal temperature of 165 degrees, 4 minutes more.Let stand for 2 minutes. Divide rice, beans, and plantains between plates and serve beef alongside.
another comedy of role-playing and economic desperation from hirishikesh mukherjee's wonderful late period, this one seems to be somewhat undervalued compared to his other late comedies perhaps because its virtues - a more rambling and digressive narrative sensibility, odd tonal shifts into melancholy or worse - are easily mistaken for flaws.
like many of mukherjee's best films this one gets sharper the closer you look, every digression providing a crucial doubling for tonally opposite events occurring elsewhere, each tonal shift a reminder of the stakes of what might otherwise seem a light or genteel comedy. all of which wouldn't work if it weren't extremely funny on its own merits, with especially utpal dutt and shatrugan sinha throwing themselves entirely into their characters blustering venality.
Doubtless there are local precedents, but Western onlookers will be reminded of Shakespeare's leisurely hangout plays, texts where maintaining the narrative line proves less important than the fostering of an especially chill, bucolic mood, the creation of an enchanted kingdom that serves as a safe space for characters and audience alike. Its indifference to urgency now seems a bit of a liability; it's one of those films that practically encourages the viewer to dip in and out of it, confident as we are that we won't miss anything of grave dramatic import. (As in "The Taking of Pelham 1 2 3", the climax is a sneeze - and that's really about your lot.) Undeniable charm while it lasts, though, with keening Gulzar songs; you come away amazed that something this blithe and innocent could still be made in 1981, the year of "Pixote", "Inseminoid" and "Cannibal Ferox".
Aadi is improving with every film and gives a mature performance. He has ample amounts of talent to showcase and is at ease in this film right from his dances to his emotions. Senior Naresh is showcased well as a doting father and all his emotional scenes in the second half work big time.
The major minus point of the film is the dull story line. Although the film has quite a few twists, they fail to keep the pace racy. Also, after the first twenty minutes and an interesting interval bang, the film fails to pick up during the second half.
Production values are quite good. Editing is at par, but the placement of songs could have been better. Background score is average and does not elevate the film much. Cinematography is just about okay.
Coming to the director Madan, he has faltered with this movie. His direction is below par and although he succeeded in showing emotions between the father and son well, he failed in all other aspects of the film. A more gripping screenplay could have done wonders. be457b7860
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