SAMTHEBESTEST

Dhund (1973) : Brief Review -

A brilliant Agatha Christie adaptation by B. R. Chopra. Dhund is one of the most underrated thrillers ever made in Indian cinema. In the 60s and 70s, Bollywood adapted several Agatha Christie works - some earned recognition, some didn't. Dhund falls in the latter category. It's a murder mystery that opens with a murder - one of the rare Hindi films to do so in that era. You see the killer in the very first scene, but soon comes the cover-up. A new suspect emerges, a few revelations follow, and the cops catch the supposed culprit. In the courtroom, it is argued whether he actually committed the murder or not, but then arrives an emotional twist. The real killer confesses to the crime and another twist hits you. The mainstream Hindi cinema audience must have never expected that. We had Gumnaam, Woh Kaun Thi?, Mera Saya , Mahal, and several other thrillers that might have served as warm-ups, yet Dhund still manages to offer something fresh. One major reason why it feels so surprising is that the original Christie play wasn't adapted by Hollywood then. It avoided spoilers for that small chunk who watched English films back in the day. Today, that section has grown huge, and since Dhund remains the first film adaptation of the play, the suspense still works - unless you've already seen later regional remakes. The film features a star-studded cast - Sanjay Khan, Zeenat Aman, Danny Denzongpa, Deven Verma, Madan Puri, Navin Nischol, and Ashok Kumar - and everyone delivers well. The screenplay remains engaging except during the songs. None of them are chartbusters, so they don't add much. The cinematography is impressive; the opening sequence in darkness for about 4-5 minutes is brilliant. Genius B. R. Chopra crafts a pacey, relatable thriller for Indian audiences while adding familiar emotional drama. A few hiccups are there, but nothing major. Overall, a very good movie.

RATING - 7/10*

By - #samthebestest.

The Killing Fields (1984) : Brief Review -

A high-tension biographical drama about journalism and survival during the Cambodian Civil War. The film famously won multiple BAFTAs, including Best Actor, while the same actor - Haing S. Ngor - was awarded Best Supporting Actor at the Oscars. Interesting how two institutions interpret a performance differently. Anyway, coming back to the film, it is painful, subtle, realistic, emotionally draining, and at times, undeniably overlong. But that length comes with a purpose: the story has to cover a wide range of real events - brutal killings, riots, oppressive political transition, war-torn chaos, and continuous survival attempts. There are cinematic liberties taken, but fortunately nothing feels exaggerated. The narrative follows reporter Sydney Schanberg, who arrives in Cambodia and reunites with local journalist Dith Pran. When bombings strike Neak Leung, the two are arrested, only to be released later. As the Khmer Rouge rise to power, Sydney decides to stay and document the situation, and Pran refuses to abandon him - leaving his own family behind. Eventually, Pran secures Sydney's release, but ends up imprisoned himself after a passport photo exposes him as a local guy. What follows is his terrifying ordeal under the merciless totalitarian regime, and his desperate journey toward freedom. The famous "killing fields" sequence is harrowing, and the moment Pran drinks blood from a cow's neck to survive is almost unbearable to watch. Haing S. Ngor is phenomenal - his deeply human performance truly earns every award and the audience's empathy. Sam Waterston also performs strongly, and the rest of the cast delivers solid support. The frequent dialogue in Khmer without subtitles was challenging. Roland Joffé directs with remarkable restraint and artistic precision, crafting a film rich in emotion, anger, trauma, and cinematic value. It may not be traditionally entertaining - and yes, the runtime could be tighter - but despite its flaws, it remains a powerful watch.

RATING - 7/10*

By - #samthebestest.

A Room with A View (1985) : Brief Review -

Helena Bonham Carter has never looked this cute. This Lucy & George British romance is fun, vibrant, and enchanting. James Ivory's romantic drama works wonderfully as a comedy too - let that be a pleasant surprise for you. A Room With A View begins with a scene that practically explains its title, but then never returns to it until the final moments when we revisit the same window and its view. In between, we follow a free-spirited young man, George Emerson, falling in love with a young, high-class Englishwoman, Lucy Honeychurch. George suddenly kisses Lucy, prompting her to cut short her vacation and return home to England. Lucy then agrees to marry Cecil, a cold and snobbish guy (played by Daniel Day-Lewis). They are soon to be engaged - and then George arrives in England, getting a villa through Cecil, coincidentally near Lucy's home. In another impulsive moment, George kisses Lucy again, igniting the spark of love, but she hides her emotions. Eventually, she breaks off her engagement with Cecil, calling him out for who he really is, while George prepares to leave London. Will the two get back together? I must say I have never seen Helena in a cuter role than this - she is absolutely adorable, perhaps the cutest she has ever looked. Julian Sands is charming and lovable. Casting Daniel Day-Lewis as the naive Cecil was a brilliant decision - he's unintentionally funny. Maggie Smith and Denholm Elliott are perfect in their roles. I started watching this movie expecting a romantic drama, but it turned out surprisingly funny and entertaining. Why is it called a romantic drama and not a romantic comedy? This is surely a joyful and enchanting flick by James Ivory. He has made an engaging and beautiful romantic film that doesn't bank on heavy theories or overly intelligent writing, but keeps a simple love story moving without too many romantic dialogues, kisses, or hugs. Wondering how it still works so well? You better watch it to understand.

RATING - 7/10*

By - #samthebestest.