Nagina

I like this film. To me, it's about not paying attention to others when they speak ill of your relatives. Interesting and different film.

The role of the Snake-Woman had been rejected by many leading ladies of the mid '80s. Most of them were unwilling to take a risk in their fairly new but stable careers by signing a film which had a story and screenplay written by two newcomers and a not-so-successful producer/director. Although Harmesh Malhotra has gone on record to say that he was very disappointed at the response he'd received from his fellow industry members, the audience were too entranced by Sridevi's performance to be worried about the "what-ifs?!" In fact, it's hard to imagine Nagina without Sridevi so I find it very difficult to understand why Malhotra hadn't approached her for this role in the first place? Much has been written about how this is the film that "made" Sridevi. I totally disagree as I firmly believe instead that Sridevi "made" the film. Her dedication and professionalism seeps through the entire film and its apparent that only an actor of her calibre could execute such a strong performance from a questionable script and low-budgeted film.

Ten years earlier, "Nagin" with it's snake-woman storyline only succeeded because it was a multi-starrer film and the snake assumed the form of almost every female actor that was in the star cast. And if that wasn't confusing enough, the audience couldn't decide if their sympathies lied with the Nagin (who was revenging the loss of her beloved but ultimately killed herself) or with the male characters that were being killed off one-by-one by her? Was the Nagin the villain or not – who knows? Who cares? In "Nagina" however, there is a steady build-up to the character played by Sridevi and it's not until two-thirds of the film is complete, and the emergence of Amrish the Sapera that we realise that she is actually a snake-woman. Before that, we assume that Sri and Rishi are reincarnated as lovers who have the protection of two snakes for a nearby derelict mandir.

Or, we're led to believe that it's a film about an inheritance dispute with Prem Chopra swindling Rishi's family out of their wealth. But, we realise later that Prem isn't the main villain at all.

And then, we assume that the film is about Saas-Bahu relationship as Sushma Seth, the mother-in-law doesn't accept her son's choice of spouse. But even here, we're proved wrong as Sushma warms to her bahu as soon as she sees her.

If these red-herrings aren't enough, Sridevi, in the first portion of the film appears extremely subdued and mellow in comparison to all the other films that we've previously seen her in. Not only does she sound different (this being one of the first Hindi films that she actually used her own voice and wasn't dubbed for) but also, you'll notice from the first three songs, that her dancing is at a slower pace and without the jhatkas-matkas that are always expected from her.

With any other film, the audience would probably get confused with the plot and walk out of the theatre. But "Alak Niranjan", in walks Amrish Puri with his snake sniffing skills and his magical "been" and to everyone's surprise (not at least the Mother in Laws), Sridevi reveals the other side of her character.

Then in every scene that follows, we get more excited seeing her transform from a loving pativrata nari into a Nag-Goddess, protecting her husband and family. The icing on the cake, of course, is the powerful dance at the end. A combination of her large expressive eyes, the hypnotising music and Sridevi's tremendous ability to captivate her audience but without being influenced by the Sapera, leaves the audience wanting more.

And trade-figures prove that the audience came back regularly to see more of their screen-goddess in this semi-mythological but modernly adapted character. In fact, this was the most popular film and successful film of that year. It's a shame that the "popular awards of Indian cinema" failed to recognise this. Luckily, Malhotra didn't as he made a sequel called "Nigahen" three years later which consolidated his position as an established film-maker and made him the proud recipient of an award.

Needless to say, Malhotra too became a devotee of Sridevi after worked with her in Nagina. In addition to Nigahen, he made Sherni, Banjaran and Heer Ranjha with Sridevi, and this time, for all these films, he made sure that she was given first-refusal!!

For me, 'Nagina' is one of the few very enjoyable Hindi films of the 80s. Harmesh Malhotra struggled a lot to find a leading lady for this mythological yet modernized fantasy thriller but all these actresses, not willing to take the risk, turned down the part. It finally went to Sridevi as, one would know after watching the film, 'Nagina' was only meant for her. Many famous Indian actresses, like Reena Roy and Rekha, have been witnessed to play snakewoman on screen but none of them have reached the proportion that Sridevi has with 'Nagina'. Who remembers a Rekha or a Reena Roy in such an avatar. One snakewoman is mentioned then it is Sridevi's 'Nagina' that comes to mind.

The script has its share of flaws. Note that this is an 80's movie (when commercial Hindi films were at their lowest but 'Nagina' shines and manages to stay above). I like how Malhotra sets the tone and lets the events unfold, keeping the viewers engaged. Sridevi is first portrayed as a bubbly village belle but as the plot unfolds, actress slowly peels each layer of her character, catching one by surprise but in a very believable way. Malhotra maintains the suspense and surprise element very well.

The background score is very annoying and the songs (with the exception of the last one) are terrible. 'Main Teri Dushman' is one song that lingers and it is shot quite brilliantly with Amrish Puri's snake charmer tormenting Sridevi's 'Rajni'. It is also well known for Sridevi's energetic performance as she sets the floor on fire with the most famous 'snake dance' on screen.

Clearly, 'Nagina' belongs to the magnificent Sridevi. Without her, there is no 'Nagina'. Whether it's as the mistress of the house who lives a double life, the concerned daughter-in-law, the protective wife or the tormented snakewoman, Sridevi pulls it off with ease and elegance. Sushma Seth is good as the mother and Rishi Kapoor and Prem Chopra are adequate. Amrish Puri is great as the over-the-top evil Bhairon Nath.

Though it has its flaws, 'Nagina' is a gem from the 1980's commercial Hindi cinema. One I tremendously enjoyed as a child, one that I still enjoy today.

Rajiv (Rishi Kapoor) returns home from studying abroad and encounters and falls in love with a mysterious woman, Rajni (played by the incomparable beauty, Sridevi). He finally persuades his mother (Sushma Seth) to agree to the marriage. They don't know that Rajni is harboring a dreadful secret, until the sage Bhairon Nath (Amrish Puri) reveals it.

This horror-drama is surprisingly good. The plot is riveting, with many unexpected twists. The actors are polished and believable, with the snakes being impressively controlled. (Though I will confess to some concern over the welfare of said serpents.) The costumes are good, with Sridevi's being extravagantly beautiful. The makeup was convincing, as well, from death pallor to turquoise eyes. The songs and choreography were, while not exceptional, solid. Overall, this creepy movie is highly entertaining.

(Cast also includes Prem Chopra and Guddi Maruti.)

On a side note: If you have ophidiophobia, don't watch this movie! I am not terrified of them, just moderately afraid, and I had snakes dreams three nights in a row afterwards.

Finally, a mainstream film from the 1980s which did something a little different and notably more substantial than the usual masala fare. Harmesh Malhotra's musical fantasy Nagina is no different in the way it's directed or acted, of course, and it's ridden with absurd action scenes and some of the occasional, unfunny comedy. But, where it scores is in the subject matter and the reference to Hindu mythology through the serpent-like, shapeshifting Naga protagonist. This folkloristic element, which the entire film revolves around, elevates its artistic merit considerably, especially at a time when no commercial film dared to waver from formula.

Indeed, that's what makes Nagina a consistently engaging and entertaining film. The story is captivating right from its start, and the writing manages to keep everything gradual, intriguing and unpredictable. Does everything in the film live up to the good premise? Certainly not, filmmaking-wise it leaves a lot to be desired, but here's a film where its fantasy and fairytale-like style allow much of the absurdity that would otherwise be an immediate letdown. Even the well-known, exaggerated delivery fits the mystical narrative. One is left wishing better technology had been in place at the time, as it would have made the film so much better.

Sridevi, an actress so extraordinary in her ability to communicate with and through the camera, is the perfect choice for this snakewoman role. She is everything that makes Nagina what it is. And boy, what a dancer she was. Her electrifying performance to the climactic "Main Teri Dushman" sequence is the film's artistic pinnacle in terms of how well it's shot, choreographed, and danced by Sridevi. Rishi Kapoor does well in the hero-filler role, but the character actors enjoy greater roles. Sushma Seth is very good as the shocked mother, and Amrish Puri is another example of perfect casting as the wide-eyed snake-charming villain. A nice, nice Hindi film, indeed.