The title comes from The Life and Adventures of Nicholas Nickleby by Charles Dickens: “It is an errand of mercy which brings me here. Pray, let me discharge it.” This ep is commonly known as “The Vietnam Story,” for its obvious allusions to Vietnam and its abuse by colonial powers. The Klingons and the Federation are poised on the brink, and then war is declared. Kirk and Spock visit Organia, a planet which lies on a tactical corridor likely to be important in the coming conflict. The Organian village was to be modeled on old English villages, w/ thatched huts and muddy back alleys. The simple/pastoral Organians are unconcerned by the threat of the Klingon occupation. Kirk has to hold in his anger when Kor interrogates him, as he is pretending to be passive like the Organians. Later in the street, Spock gets between Kirk and a Klingon warrior, so they don’t fight. Finally, Kirk and the Klingon commander Kor (Johm Colicos) learn why, and the reason will change Federation/Klingon relations!
Kor: Where is your smile?
Kirk [posing as an Organian]: My what?
Kor: The stupid, idiotic smile everyone else seems to be wearing.
This ep introduces the Klingon Empire; Klingons were named after creator/producer Gene Roddenberry’s friend, Bob Clingan. D.C. Fontana thought the Klingons were made the regular adversaries of the series b/c they didn’t need any special (and expensive) make-up like the Romulans, whom she thought to be more interesting. Colicos intended to reprise the role of Capt. Kor in a later, Day of the Dove, but he had a scheduling conflict. The role of Capt. Kang was written to take the place of Kor. The actor who played Kang, Michael Ansara, was of Arab descent and married to actress Barbara Eden (best known as Jeannie). Colicos reprised the role of an elderly Kor in a few eps of Star Trek: Deep Space Nine. The baldric that Kor wore was reused for Worf during S1 of Star Trek: The Next Generation. When it was exhibited at the Smithsonian Institution in the ’90s, the material could clearly be seen to be burlap sacking, painted gold.
[1] This episode resides at the top of the heap of Trek. Here is a well-paced, tension-filled, logical plot with good characters and an intriguing riddle at its core. John Colicos gives a simply great performance… And he gets the all time great line in Trek: “I don’t trust a man who smiles too much.”
[2] Kirk describes their society as a military dictatorship and there are parallels to Nazi rule in Europe during World War II.
[3] The Organian’s prove to be more interesting than they first appear, althoughI’m sure most viewers will have guessed that they aren’t quite what they seem long before the reveal.
This was the first episode of the original Star Trek to air on TV. We get to see the developing chemistry between the main crew members, an alien creature, and interesting planetary scenery. Captain James T. Kirk (William Shatner), Dr. Leonard McCoy (DeForest Kelley), and a young redshirt (Michael Zaslow, who later became a soap opera star) beam down to a planet to provide medical supplies to Dr. Crater and his wife, Nancy, a former girlfriend of McCoy’s. Oddly, each man sees Nancy as a different woman from his past. Redshirt is a term used by fans of Star Trek to the characters who wear red Starfleet uniforms and/or characters who are expendable, and often killed.
The joking banter between Kirk and McCoy shows that the captain is not just an authority figure, and the doctor has a lot of charm. We learn re: Spock (Leonard Nimoy) and his logical Vulcan personality. There is a flirty early scene between him and Lt. Uhura (Nichelle Nichols); this (no doubt) inspired the romance between the characters in J.J. Abrams recent reboot movies. Uhura tried and succeeded in making Spock hot under the collar (notice the little move Nimoy does at end of the clip).
Episode 4: Where No Man Has Gone Before
The episode title was the closing phrase of the opening credits (voiced by Shatner) and has gone on to shape sci-fi and pop culture! After investigating what happened to the Valiant, the Enterprise encounters a magnetic space storm that gives Lt. Cmdr. Gary Mitchell (Gary Lockwood) dangerous/godlike powers and ESP. When Mitchell, a friend of Kirk’s from Starfleet Academy, unleashes his powers on the crew, Spock suggests that he should be killed. Kirk disagrees and takes him to a remote planet, but there is more to the story.
There is action and fine acting by Lockwood and Sally Kellerman (psychiatrist Dr. Elizabeth Dehner). Lockwood (a former football player and stuntman) was the star of Roddenberry’s first TV show- The Lieutenant (1963). In 1968, he was cast as the co-lead in Stanley Kubrick’s iconic sci-fi film- 2001: A Space Odyssey. You get a glimpse into humanity’s struggle for power and the corruption it breeds. Kirk knows that Mitchell didn’t ask for what happened to him; thus begins a tradition of complicated/sympathetic villains in the world of Star Trek.
Episode 5: The Naked Time
Spock and a redshirt- Tormolen- beam down to a planet (wearing funky/orange environmental suits) to investigate. They discover a frozen lab w/ 6 dead scientists. They also get exposed to a substance that strips people of their inhibitions. After beaming back aboard, Tormolen ends up killing himself (riddled w/ self-doubt). You get to see the chemistry between Bones (Kirk’s nickname for McCoy) and the captain; they’ve known each other a long time.
Riley, another young crewman, begins acting goofy (going on about being Irish and singing songs). Most famously, Sulu (George Takei), begins to parade around w/ a sword (like a musketeer). Riley ends up taking over the engineering room, and basically, the ship becomes chaos! Spock stops Sulu by applying the Vulcan nerve pinch (which Nimoy came up w/ himself, as an alternative to a violent strike). As you see in S1 E6, it was Shatner’s over the top reaction that sold this move to producers. Nurse Christine Chapel (Majel Barrett) and Spock have a nice scene, and he gets infected (after she holds his hand). There is a lot of comedy, but fans also love it for Nimoy’s terrific performance. Capt. Kirk is even infected, so we hear his regret at not having a personal life.
Episode 6: The Enemy Within
Star Trek takes on Jekyll and Hydew/ an ep focused on Kirk (and Shatner’s unique style of acting). During a survey of a new planet, a technician is exposed to a substance that alters the Enterprise’s transporter. When Kirk beams aboard the ship, he is split into two: one good, one evil. After the lustful/violent Kirk attempts to assault Yeoman Janice Rand (Grace Lee Whitney), Spock deduces that there is an imposter aboard. The good Kirk is lacking confidence and indecisive (looking to Spock for his trusted guidance). The episode looks into the duality of human nature; the two halves need to coexist together inside one body. There is also an alien animal which is (obviously) a small dog in a furry costume w/ a horn on its head- LOL! This ep was directed by Leo Penn (father of actor Sean Penn); he went over-schedule, so was sadly not asked back to work.
Episode 11: The Corbomite Maneuver
While developing star maps of a distant region of space, the Enterprise is confronted by a box-shaped alien ship commanded by a powerful being- Balok. When he threatens to destroy the ship, Kirk comes up with a cunning bluff to convince the alien that the Enterprise is carrying a deadly substance (corbomite) which could destroying both ships. This is the first ep to show Kirk’s daring in a face-off w/ another ship in space. Kirk bends the rules for the greater good and turns a potentially fatal situation into a victory. By using his imagination instead of violence, a better outcome is achieved.
Episodes 12 &13: The Menagerie (Parts I & II)
The only 2-part episode of ST: TOS which calls back to former star dates when the Enterprise was comprised of a different crew (aside from Spock). Before Shatner was cast as Kirk, Star Trek shot a pilot (The Cage) starring Jeffrey Hunter as Capt. Christopher Pike and Number One (Majel Barrett)- his female first officer. The network rejected that pilot, considering it too cerebral and thinking it too unrealistic to have a woman as senior officer. Barrett would play Nurse Chapel on the show (w/ a blonde wig) and the voice of the computer system. She married the show’s creator, Gene Roddenberry, in 1969.
This is a clip-show w/ Starfleet’s version of a courtroom drama. Spock abducts his former commander, the recently disabled Capt. Pike, and heads for Talos IV, where The Cage took place. The punishment for traveling to this planet is death, according to Starfleet. Spock turns himself in and presents an elaborate story in defense of his actions. We meet a beautiful/mysterious human woman (played by Susan Oliver) and the Talosians (a large-headed alien race who communicate w/ their thoughts and have the power to create illusions which look like reality).
Episode 15: Balance of Terror
At the 50th anniversary Star Trek convention in Las Vegas in August 2016, fans voted this the 8th best episode of the entire franchise! The Enterprise battles a Romulan ship suspected of destroying outposts in the Neutral Zone in this tense, intelligent, and though-provoking ep. The Romulan Bird-of-Prey has a cloaking device. Since two-way visual communications didn’t exist during the Earth-Romulan War about a 100 yrs ago, Romulans and humans have never seen one another. The Enterprise has to confront a brilliant enemy leader and also its own bigotry, as the unnamed Romulan commander (Marc Lenard, who later played Spock’s father- Sarek) resembles a Vulcan! Budget and time constraints prevented the make-up and costuming departments from dressing up each of the Romulans in Vulcan ears. They decided to give the lesser Romulans helmets, which were redressed Roman helmets from the studio’s Biblical epics of the ’50s.
Network restrictions at the time forbade the tackling of any controversial subjects (EX: Vietnam War, the Civil Rights movement, and the rise of feminism). ST: TOS, under the form of sci-fi, boldly flouted these rules! This story openly deals with the subject of racism, as reflected through Lt. Stiles’ (Paul Comi) opposition to Spock. Lenard (who worked mainly in theater until his early 40s) said: “The Romulan Commander was one of the best roles I ever had on TV. In many ways, I did enjoy that role [Sarek], but I think the more demanding role and the better acting role was the Romulan Commander.” When Nimoy held out for a better contract (after the first season), Lenard was one of the leading candidates to replace him as Spock. Nimoy (who received more fan mail than Shatner and an Emmy nom) eventually got a raise from $1,250 to $2,500 per episode.
Episode 17: The Galileo Seven
This ep features a shuttlecraft (for the first time). Spock leads a research team aboard the Galileo on a mission that begins as an investigation of a mysterious quasar-like formation. Forced to make an emergency landing on Taurus II, a fog-shrouded planet, Spock and crew face off w/ large/ape-like creatures armed w/ huge spears. These creatures pose immediate threats to the crew, but Spock also goes up against hisgreatest enemy– his own logic- when faced w/ decisions of command. Nimoy comes center stage (for the first time and proves that Spock can serve as the driving force of an ep). Spock’s logic is thwarted by several events. In a desperate attempt to escape the planet, Spock makes an illogical gamble!
Episode 23: Space Seed
This very famous ep introduced Star Trek‘s most popular villain: the genetically enhanced superman from the 20th century, Khan Noonien Singh (Ricardo Montalbán). Following positive feedback from producers and the network, this was the first episode to feature a prominent role for Scotty (James Doohan). The Enterprise comes across a long-lost Earth vessel, the Botany Bay, containing a cryogenically frozen Khan and his crew. After manipulating historian Lt. Marla McGivers (Madlyn Rhue) w/ his strong will/magnetism, Khan and his superhuman soldiers take command of the Enterprise. Carey Wilber (the scriptwriter) used the 18th c. British custom of shipping out the undesirables as a parallel for his concept of “seed ships,” used to take unwanted criminals out to space from the overpopulated Earth.
Khan is the perfect villain for Kirk to take on, as he is a mentally/physically superior being who threatens his command and crew. Montalban was always the first choice for Khan; he had been suggested by casting director Joseph D’Agosta, who was not looking to cast an actor of a particular ethnic background due to Roddenberry’s vision (of race neutrality) for the series. Montalban (born in Mexico to Spanish parents) came up in the theater, like several actors in the Star Trek franchise, and does a terrific job. The actor thought his role was “wonderful,” saying “it was well-written, it had an interesting concept and I was delighted it was offered to me.” This episode inspired two films: Star Trek II: The Wrath of Khan (1982), in which Montalban once again played the role, and Abrams’ Star Trek: Into Darkness (2013) w/ Benedict Cumberbatch.
Episode 25: This Side of Paradise
Was humanity meant to live in an Eden? This memorable ep explores that question when the Enterprise investigates a colony destroyed by deadly ray beams on a planet. Kirk, Spock, McCoy, Sulu, and some redshirts beam down to the planet’s surface to discover that Elias Sandoval (Frank Overton) and his colonists are still alive and in perfect health, enjoying a pastoral existence off the grid. The colony’s botanist, Leila Kalomi (Jill Ireland) knew Spock 6 yrs ago and has deep feelings for him still. She leads him a flowering plant whose spores cause euphoria and loss of inhibitions. Spock declares that he loves Leila and agrees to live in the commune! As you will see in the clip below, Nimoy plays this scene totally straight (revealing that he does love Leila, but was unable to express it before).
This ep has mutiny, temptation, and comedy. Kirk struggles to maintain control over the crew members who have been exposed to the spores. McCoy starts talking more Southern (w/ a slow drawl) and looking for ingredients of a mint julep- LOL! Writer D.C. Fontana (who started as a script editor) thwarts audience expectations by putting Kirk in the intellectual lead, while Spock’s half-human side is further developed. Nimoy was initially taken aback when he was told that they were working on a love story for Spock, but said it turned out “very lovely.” Here is a (funny) clip; we also get to see Nimoy’s smile.
Episode 26: The Devil in the Dark
The Enterprise travels to the planet Janus 6 to assist a mining colony. Kirk, Spock, and McCoy beam down to the planet where Chief Engineer Vanderberg tells of a creature loose in the mine tunnels killing his men. It seems to appear out nowhere, then disappears just as quickly. Finding that the creature, a Horta, lives in a newly-opened part of the underground mining complex, Spock uses the Vulcan mind meld to determine why it is killing the miners. Nimoy said the closing banter between Spock and Kirk was one of his faves, as “it was a wonderful moment which defined the relationship and defined the whole Spock character’s existence and his attitude about himself.”
Roddenberry considered this one of the best eps, saying: “The Horta suddenly became understandable… It wasn’t just a monster- it was someone. And the audience could put themselves in the place of the Horta… identify… feel! That’s what drama is all about. And that’s it’s importance, too… if you can learn to feel for a Horta, you may also be learning to understand and feel for other humans of different colors, ways, and beliefs.” Shatner identified this as his fave ep, b/c his father died during filming and Nimoy’s delivery of the mind meld lines made him laugh. He thought it was “exciting, thought-provoking and intelligent, it contained all of the ingredients that made up our very best Star Treks.”
Episode 29: The City on the Edge of Forever
This ep (loved by TV critics and fans) by Harlan Ellison shows us a sympathetic tale mixed w/ elements from the best of sci-fi. This was the most expensive episode produced during the first season, and also the most expensive episode of the entire series, except the two pilots. The average cost of each S1 ep was around $190,000. Production went over schedule, resulting in 8 shooting days (not 6, as usual). Ellison won a Hugo Award and a Writer’s Guild award for best teleplay. Joseph Pevney was chosen to direct on this episode because of his experience in directing 20+ films.
After an accidental overdose which makes him temporarily insane, McCoy beams down to an alien planet. A gateway, The Guardian of Forever, sends him back to Earth during the Great Depression. He somehow alters the course of time, erasing the Federation from history! Trapped in the limbo, Kirk and Spock travel back in time to 1930 (a week before McCoy) in an attempt to correct the course of history. They meet Edith Keeler (Joan Collins), a social worker who runs a mission and has dedicated her life to the needy. Spock works on building a computer to access material on his tricorder. Kirk and Edith have a romance; there is great chemistry between Shatner and Collins. The shocking truth is revealed- in order to fix the time alteration, Edith must die! When asked whether this ep was consciously commenting on the anti-Vietnam War movement, associate producer Robert H. Justman answered (in 1992), “Of course we did.”
Ellison’s original story outline and first draft script featured a crewman named Beckwith (not McCoy), who was dealing drugs. Beckwith murdered a fellow crewman, LeBeque, who was on the verge of turning him in, escaped to the planet the ship was orbiting, and went through time and changed history. The Enterprise was gone, and a savage pirate ship was in its place, full of renegade humans. Kirk and Spock follow Beckwith through the time portal to 1930 in NYC. Kirk still falls in love w/ the young social worker. Finally, w/ the help of a disabled WWI vet- Trooper (who dies in the action)- Kirk and Spock find Beckwith. In the end, Kirk does not stop him saving Edith, but freezes and Spock prevents her rescue. In the epilogue, Spock tries to console Kirk by saying: “No other woman was offered the universe for love.” This script was unusable for different reasons, so was rewritten several times. Roddenberry objected to the idea that drugs would still be a problem in the 23rd century, and even present among starship crews. Also, the production staff was strongly against Kirk’s final inactivity. It seemed that being unable to decide and act, viewers could never be able to accept him as the strong leader in later eps. Some elements were simply impossible to create on the series’ (low) budget.
The Killing (1956) starring Sterling Hayden, Vince Edwards, Jay C. Flippen, Marie Windsor, Elisha Cook Jr, Joe Sawyer, Timothy Carey, & Coleen Gray
None of these men are criminals in the usual sense. They’ve all got jobs. They all live seemingly normal, decent lives. But, they’ve got their problems and they’ve all got a little larceny in ’em. -Johnny explains re: his team
After being released from a 5 yr. stint in prison, Johnny Clay (Hayden), has assembled a five man team, incl. two insiders, to carry out a $2M heist at Lansdowne Racetrack. Besides Johnny, none of the men are criminals in the usual sense. He has also hired two men (external to the team) for a flat fee; these men won’t know re: the bigger plan. Each of the five men has a specific reason for wanting his share of the money. Johnny wants to marry his long-time girlfriend Fay (Gray). Mike (Sawyer), a bartender, wants better healthcare for his sick wife. A cashier- George (Cook Jr.)- wants to make his cold/sarcastic wife- Sherry (Windsor)- happy.
I know you like a book. You’re a no good, nosy little tramp. You’d sell out your own mother for a piece of fudge; but, you’re smart along with it. Smart enough to know when to sail and when to sit tight and you know you better sit tight in this case. …You got great big dollar sign there, where most women have a heart. -Johnny sizes up Sherry
The total budget for the film was only $320,000; United Artists provided $200,000 and the rest was raised by producer James B. Harris. Initial test screenings were poor; the non-linear structure was the main problem, so Kubrick (just 27 y.o.) edited the film in a linear fashion (making the film even more confusing). In the end, it was released in its original form, and is often cited as being an influence on Quentin Tarantinoand Christopher Nolan. Kubrick wrote a script outline, then asked Jim Thompson to add the dialogue. The narration was added by the studio; Kubrick hated the idea. The film wasn’t marketed much by United Artists, premiering as the second half of a double feature. However, Kubrick (working for the first time w/ a professional crew) impressed Kirk Douglas (who soon hired him for Paths of Glory).
I read praise re: this movie recently (on Twitter and Facebook); it’s notable in the genre of film noir. The pacing and editing are very well-done. This is one of the first films to use natural lighting (EX: lamps) instead of studio lights, adding to its realism. There are no good/moral/heroic characters- quite rare for a ’50s film. The film had themes and characters identifiable (and recognizable) w/ any period. The supporting characters are almost as interesting as the lead.
Paths of Glory (1957) starring Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready, Wayne Morris, Joe Turkel, & Timothy Carey
After refusing to attack an enemy position, a general accuses the soldiers of cowardice and their commanding officer must defend them. -Synopsis
Patriotism is the last refuge of the scoundrel. -Col. Dax describes Gen. Mireau’s (a line attributed to Samuel Johnson)
[1] It will really make you question things about our troubled, convoluted world and how things are to often immorally and inhumanly run all in the sick name of greed and destructive power. Not too lovely, for the director pulls no punches. This film really has grown more profound (and currently pertinent) since its initial release.
[2] Menjou and Macready portray two different military types. The arrogant Macready as vs. the very sly Menjou. Not very admirable either of them. Menjou was not very popular at this time in Hollywood because of the blacklist. He favored it very much, his politics were of the extreme right wing. Nevertheless he was a brilliant actor and never better than in this film, one of his last.
-Excerpts from IMDB reviews
Kubrick (then only 28 y.o.) purchased the film rights to Humphrey Cobb’s novel for $10,000. He approached Douglas with the script who fell in love with it, saying: “Stanley, I don’t think this picture will ever make a nickel, but we have to make it.” The film was not a success at the box office. The young director, who became known for his perfectionism, made Menjou (a veteran actor), do the same scene 17 times! Six hundred German policemen were hired as extras to play the French troops, while six cameras tracked the attack, recording their deaths. You see Kubrick’s trademark- the attention to the composition of shots (reflecting his background as a photographer).
The film is set in WWI amidst the incredibly destructive and futile trench warfare between France and Germany. Colonel Dax (Douglas) is ordered to make an impossible assault on a heavily-fortified enemy position. The only reason this charge is being made is that Gen. Mireau (Macready) believes that capturing the position will earn him a promotion. When the assault doesn’t happen b/c of heavy enemy bombardment, Gen. Mireau is infuriated and demands that three men be arbitrarily chosen to stand trial for cowardice (punishable by death). Col. Dax defends these men at their court-martial.
One memorable scene is where a soldier is nervously rambling to his buddy: “Most guys say that if they got shot they’d want to die quick. So what does that tell you? It means there not afraid of getting killed, they’re afraid of getting hurt. I think if you’re gonna get shot and live, it’s best to get shot in the rear than in the head. Why? Because in the rear its just meat, but the head, that’s pure bone. Can you imagine what it’s like for a bullet to rip through pure bone?” This dark humor helps show the insanity of their situation.
There is great use of irony in the film. The title comes from a poem by Thomas Gray called Elegy In a Country Churchyard where he noted that the paths of glory lead but to the grave. In the end, no one finds glory; Col. Dax loses the fight and turns down a promotion (b/c of his disgust for the army). Gen. Mireau is found out and court-marshalled. Churchill said that the film was a highly accurate depiction of trench warfare and the sometimes misguided workings of the military mind.
James Stewart is superb as Chico. He’s awkward, gruff, reluctant to get involved with other people…
It’s as if Stewart’s star quality is irrepressible. It’s as if his personal good character comes across better than the script can tell...
-Excerpts from IMDB reviews
This was James Stewart’s first film in 1937; he was loaned out from MGM (the studio to which he was contracted) to 20th Century Fox. This is a remake of a silent classic that starred Charles Farrell and Janet Gaynor (who won the first Best Actress Oscar). It was based on a play by Austin Strong that ran for 704 performances on Broadway (1922-1924). Some are going to think it’s odd that Stewart is playing a Frenchman, but it was common for American actors then not to attempt accents when playing foreign parts. I came across this movie on YouTube; it’s in the public domain.
In pre-WWI Paris, Chico (a late 20s Stewart) is sewer worker and atheist b/c his prayers were not answered. He wanted a better job and a beautiful, golden-haired wife. Though disappointed w/ his lot, Chico continues to do the right thing, but wonders why. A young woman, Diane (Simone Simon), is working for her abusive sister (a madam) in a small tavern (until she throws wine at a customer who violently kissed her). When that customer threatens to have the police close the tavern, Diane’s sister beats her all the way out to the street! Chico pops out of the sewer and saves her; he even claims that she is his wife when a policeman comes by. Several colorful characters join in the film w/ this pair, as they pretend to be married while waiting for the police to verify their claim. Chico’s flat is on the 7th (top) floor of the apt. building, hence the title.
In the late 30’s to early 40’s, Simon was a wanted actress by the studios. She’s petite, bouncy-haired, and adorable (reminding me of a more mature Shirley Temple). In 1936, Darryl F. Zanuck signed Simon to a contract at 20th Century Fox. She was launched with an expensive publicity campaign which accentuated her European allure, esp. her pout. Problems surfaced re: her command of English and also her limited singing skills. Dissatisfied w/ the roles she was given, she returned to France for a time. During the production of the cult classic Cat People (1942), Simon was under FBI surveillance (b/c of her relationship w/ a Russian MI-5 spy)!
Aamir Khan plays Mangal Pandey passionately with a complete conviction. All the scenes between Aamir and Toby are a delight to watch. Toby doesn’t fail to impress with his acting or his Hindi-speaking lines.
Stephens’ brief speeches about the ruthlessness of a private corporation pillaging a country seem all too relevant to our own time… The film is wildly entertaining, filled with the color and beauty of Bollywood- superb cinematography, epic sets and crowd scenes, music-and-dance numbers that pop out of nowhere, and a love story…
-Excerpts from reviews on Amazon.com
This is an epic set against the backdrop of what the British called the Sepoy Mutiny; for the Indians, it was the First War of Independence. It took two years to complete this film b/c of the research that went into its production. “Company Raj” (the British East India Company) had been plundering the country, treating the locals unjustly, and causing widespread resentment. During battle in one of the Afghan wars in the mid-1800s, Mangal Pandey (Aamir Khan), an Indian sepoy, saves the life of his commanding officer, Capt. William Gordon (Toby Stephens- son of Dame Maggie Smith). He is indebted, even giving Mangal his pistol. The first act is focused on the friendship; historians have pointed out that this was unlikely. A few years later, the Company introduces the Enfield rifle, which comes w/ a new cartridge rumored to be coated w/ grease from cow and pig fat. This cartridge has to be bitten before it is loaded, which ignites resentment and anger among the sepoys; the cow is sacred to Hindus and the pig is forbidden for Muslims.
The film was offered to Bollywood superstar, Shah Rukh Khan, but he declined (thank goodness). Director Ketan Mehta first thought of making this film in 1988 w/ Amitabh Bachchan. Hugh Jackman turned down the role of Gordon; this required Stephens to speak w/ a Scottish accent and also in Hindi. A very young Kiera Knightley was considered for the role of Emily Kent, who is new to India and develops a crush on Gordon. After Aishwarya Rai turned down the part of Jwala (due to contract issues), Rani Mukerji was given the script to consider taking the part. Mukherji, however, liked the character of Heeraand asked if she could play her instead. Khan requested to cast Ameesha Patel as the young widow, Jwala, after he saw her on a BBC game show. Patel wears no make-up; this was Khan’s suggestion.
We only sell our bodies; you sell your souls. -Heera explains to Mangal re: the difference between her girls and the sepoys
The BJP wanted to ban the film, as it showed Pandey visiting a prostitute (though their scenes are platonic in the movie). As Lol Bibi (veteran actress Kiron Kher) points out, her house is only for white men (mainly the British officers). Though this is not a “typical” Bollywood film, it contains songs and dances. One number by Heera and other nautch (dancing) girls, Main Vari Vari, created controversy due to Mukherji’s outfit (where her cleavage was covered by transparent fabric). This song serves a dual purposes- to entice the British officers and to show how conflicted Mangal feels re: trusting Gordon (and biting the new bullet). A.R. Rahman was the music director on this movie; the music flows w/ the story. My favorite song is below- Rasiya.
In your Ramayana there was one villain “Ravana” who had ten heads, company has a hundred heads and they’re all joined by the glue of greed. -Gordon replies when Mangal asks re: the Company
I think this movie is a must-see, though it is uneven (particularly when it comes to editing). The narration (in Hindi) done by veteran actor Om Puri is repetitive; I think it was used to appeal to Hindi speakers who may not be fluent in English. There is a mix of English and Hindi spoken in this film, which I’m sure was accurate for the period. The bromance is much more stronger than both the romances. The relationship between Mangal and Heera was underdeveloped, but I could see the chemistry between the actors. I liked the wrestling scene and hand-to-hand combat between Mangal and Gordon. The sepoys and villagers confronting the British one night w/ their torches stood out to me. However, the scene where Gordon stops the sati (bride burning) looks disorganized. Mangal Pandey: The Rising was shown at the 2005 Cannes Film Festival. The screenwriter is British of Parsi heritage- Farrukh Dandy- associated w/ black (as in minority in UK) and left-wing intellectuals and activists.
You have tasted a black man’s loyalty – now taste his fury! -Mangal declares to Gordon
On second viewing, I noticed how colonialism was compared to slavery (which we may associate w/ the American South and West Indies). Hewson beats a waiter and insults him w/ “kalla kutta” (“black dog”). One of the villagers near the cantonment, Kamla, works as a wet nurse for one of the British officer’s wives. When she gets home, there is no milk left for her baby. Perhaps the most direct correlation to slavery is made in the market scene; Emily is appalled to see an auction of men and women (incl. Heera). It turns out that the Company buys girls, too!
Knightleyemma 