Starcast :- Raj Babbar, Rati Agnihotri, Aruna Irani, Agha, Madan Puri , Deven Verma and Utpal Dutt Music :- Rajesh Roshan Direction:- Subo...
Starcast :- Raj Babbar, Rati Agnihotri, Aruna Irani, Agha, Madan Puri , Deven Verma and Utpal Dutt
Music :- Rajesh Roshan
Direction:- Subodh Mukerji
"Ulta Seedha" (transl. Upside Down Right Side Up), a 1985
Bollywood comedy-drama, marks the final directorial venture of the seasoned
filmmaker Subodh Mukerji, who also produced the film. Released on April 26,
1985, this film blends humor with social commentary, starring Raj Babbar and
Rati Agnihotri in lead roles, supported by a robust ensemble cast including
Utpal Dutt, Aruna Irani, and Deven Verma. Known for his storytelling prowess in
earlier decades, Mukerji’s last cinematic offering attempts to capture the
generational clash between tradition and modernity, wrapped in a light-hearted
narrative. While not a blockbuster, the film holds a modest charm, reflected in
its IMDb rating of 5.4/10 and a user rating of 3/5 on FilmiClub, making it an
interesting subject for retrospective analysis.
Storyline:
The plot revolves around Justice M.K. Roy (Utpal Dutt), a traditional and
orthodox judge who struggles to reconcile with the carefree attitudes of the
younger generation. He has raised his daughter, Shobha (Rati Agnihotri), with
strict traditional values, hoping to marry her into a respectable family.
However, Shobha falls in love with Ramesh Saxena (Raj Babbar), an unemployed
photographer and textile technologist who lacks respect for tradition in
Justice Roy’s eyes. The judge vehemently opposes their relationship, insisting
Ramesh secure a respectable job and embrace traditional values.
Ramesh eventually lands a job at a textile mill and earns a bonus, which is to
be awarded in a ceremony presided over by Justice Roy. Just as Ramesh seems to
win the judge’s approval, a woman emerges, claiming to be his abandoned wife,
throwing the narrative into chaos. This accusation leads to a murder mystery
when the woman is found dead, and Ramesh is arrested as the prime suspect. With
the help of his dramatist friend Sapan (Deven Verma) and Shobha, Ramesh embarks
on a comedic yet dramatic quest to clear his name and uncover the real culprit.
The story, penned by Subodh Mukerji with dialogues by Rahi Masoom Reza, uses a
mix of humor, mistaken identities, and social satire to critique societal norms
and the rigidity of tradition. The narrative, while engaging, occasionally
stumbles with convenient plot twists, but its topsy-turvy premise keeps the
audience entertained.
Direction and Other Technical Departments:
Subodh Mukerji, a filmmaker celebrated for his storytelling in films like
Junglee (1961) and Sharmeelee (1971), brings a seasoned yet somewhat dated
approach to Ulta Seedha. His direction focuses on character-driven comedy and
emotional conflicts, but the pacing falters in the second half, particularly
during the murder mystery subplot, which feels hastily resolved. Mukerji’s
attempt to blend comedy with social commentary is commendable, but the
execution lacks the sharpness of his earlier works, possibly reflecting the
challenges he faced in adapting to the evolving Bollywood landscape of the
1980s. This was, notably, his final film, marking the end of a career that
spanned over two decades.
The technical aspects of Ulta Seedha are functional but unremarkable. The
cinematography captures the urban settings and courtroom scenes adequately,
though it lacks visual flair. The editing, while maintaining a brisk pace in
comedic sequences, struggles to integrate the dramatic shifts, resulting in a
slightly uneven tone. The production design, under Subodh Mukerji Productions
and United Producers, reflects the modest budget, with simple sets that serve
the story without standing out. Overall, the technical departments deliver a
serviceable experience, but they do not elevate the film beyond its narrative
core.
Music:
The soundtrack, composed by Rajesh Roshan, is a mixed bag. While the songs are
not widely remembered today, they complement the film’s light-hearted tone.
Tracks like the title song and dakkan ki ek haseena and uncle Robert are
situational, blending romantic and comedic elements, with lyrics that align
with the film’s playful narrative. The background score supports the comedic
and dramatic moments effectively but does not leave a lasting impression.
Performances:
The cast of Ulta Seedha delivers performances that are the film’s strongest
asset. Raj Babbar as Ramesh Saxena brings charm and earnestness, portraying a
rebellious yet principled youth with conviction. His chemistry with Rati
Agnihotri, who plays Shobha, is natural, though her role is somewhat
underwritten, limiting her to a reactive performance. Agnihotri still manages
to shine in scenes showcasing Shobha’s defiance, such as when she slaps an
eve-teaser, a moment that sparks the story’s conflict.
Utpal Dutt steals the show as Justice M.K. Roy, infusing the rigid patriarch
with humor and depth. His impeccable comic timing and authoritative presence
anchor the film, making his interactions with Babbar particularly entertaining.
Deven Verma, as the dramatist Sapan, adds a layer of wit and warmth, serving as
the narrative’s moral compass. Supporting actors like Aruna Irani, Shubha
Khote, and Dinesh Hingoo contribute to the comedic chaos, with Irani’s brief
role adding intrigue to the murder subplot. The ensemble’s synergy elevates the
film, compensating for some of its narrative and technical shortcomings.
Conclusion:
Ulta Seedha is a quintessential 1980s Bollywood comedy-drama that encapsulates
the era’s fascination with generational conflicts and mistaken identities. As
Subodh Mukerji’s final film, it reflects his enduring belief in storytelling,
even if it doesn’t match the brilliance of his earlier successes. The
storyline, while engaging, suffers from pacing issues and a convoluted resolution,
but the stellar performances, particularly by Utpal Dutt and Raj Babbar, keep
the audience invested. The technical aspects and music are adequate but
forgettable, making the film rely heavily on its cast and comedic moments. For
fans of classic Bollywood, Ulta Seedha offers a nostalgic, if flawed,
experience that showcases Mukerji’s attempt to adapt his storytelling to a
changing cinematic landscape. It remains a bittersweet farewell to a filmmaker
whose contributions to Indian cinema endure through his more celebrated works.
-Ayushman Mitra
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