Becoming a mega-star in the late 70s proved to be a double-edged weapon for Amitab Bachchan. On one hand, films would be specifically written for him. On the other, his roles became repetitions of his star persona, with popular gags and situations endlessly recreated film after film. Compared to the embarrassing shows in which Mr. Bachchan would later be involved, "Coolie" is quite enjoyable and dignified.
From the very beginning, it is pretty clear that Amitab Bachchan IS the movie. The opening credits (with his name above the title) do not roll till halfway into the film, when the main star makes his appearance: the camera pans towards him while he runs to the rescue of his father figure. "Coolie" somehow features the highest number of lost children, missing parents and secret identities per square meter. Bachchan plays Iqbal, a Muslim coolie (train porter), raised by a Hindi old man and in love with independent Julie, a Christian girl. Religious differences do not seem to matter in this movie, which curiously has Communist undertones, and not only for the coolies red shirts. The scene in which they invade the engagement party to demand decent homes looks like the camp version of an Einseinstein movie: Amitab fights against the villain while holding the sickle and hammer, which he calls "the weapons of the worker."
Waheeda Rehman, still stunning in her late forties, perfectly plays Amitab's estranged mother (in real life she was just six years older than him). To some extent she is the heroine: she is the goal of his quest and the one for whom he confronts the villain at the end. Rishi Kapoor is lovable as the hero's sidekick (nicknamed "tingu-ji/ shorty" in contrast to Iqbal's "lambuji/ tall" in a hilarious song). His dance with the child version of his sweetheart is absolutely cute. In addition, the love songs between Iqbal and Julie (an elegant Rati Agnihotri) are nice to watch.
Nowadays, this film is mainly remembered for the accident that almost killed Bachchan: during one of the numerous fight scenes, he knocked against a table and ruptured his spleen. India literally came to a halt, while fans camped outside the hospital, afraid that their beloved star would die. It is reported that blood donations (of which Bachchan would later become an advocate) dramatically increased. The actual take of the accident was the one used in the film. At that point, the screen freezes and an inter-title in English, Hindi and Urdu appears: "This is the shot in which Amitab Bachchan was seriously injured." The ending also blurs the limits between fiction and reality. The original one, in which Iqbal died, was changed (it would have looked like a bad joke). Instead, the last scenes recreate the real-life vigils of his fans outside the hospital. We see Muslims, Hindis, Christians and Sikhs all offering prayers for his recovery. The final speech truly sends shivers down my spine: a visibly pale Amitab (as Iqbal) thanks his friends (audience)for their support from the hospital balcony. Tears roll through his face while he says "It was your prayers what kept me alive", and you know that he is NOT acting.
If you want to know what it means to be a Bollywood mega-star, "Coolie" is the film for you.
From the very beginning, it is pretty clear that Amitab Bachchan IS the movie. The opening credits (with his name above the title) do not roll till halfway into the film, when the main star makes his appearance: the camera pans towards him while he runs to the rescue of his father figure. "Coolie" somehow features the highest number of lost children, missing parents and secret identities per square meter. Bachchan plays Iqbal, a Muslim coolie (train porter), raised by a Hindi old man and in love with independent Julie, a Christian girl. Religious differences do not seem to matter in this movie, which curiously has Communist undertones, and not only for the coolies red shirts. The scene in which they invade the engagement party to demand decent homes looks like the camp version of an Einseinstein movie: Amitab fights against the villain while holding the sickle and hammer, which he calls "the weapons of the worker."
Waheeda Rehman, still stunning in her late forties, perfectly plays Amitab's estranged mother (in real life she was just six years older than him). To some extent she is the heroine: she is the goal of his quest and the one for whom he confronts the villain at the end. Rishi Kapoor is lovable as the hero's sidekick (nicknamed "tingu-ji/ shorty" in contrast to Iqbal's "lambuji/ tall" in a hilarious song). His dance with the child version of his sweetheart is absolutely cute. In addition, the love songs between Iqbal and Julie (an elegant Rati Agnihotri) are nice to watch.
Nowadays, this film is mainly remembered for the accident that almost killed Bachchan: during one of the numerous fight scenes, he knocked against a table and ruptured his spleen. India literally came to a halt, while fans camped outside the hospital, afraid that their beloved star would die. It is reported that blood donations (of which Bachchan would later become an advocate) dramatically increased. The actual take of the accident was the one used in the film. At that point, the screen freezes and an inter-title in English, Hindi and Urdu appears: "This is the shot in which Amitab Bachchan was seriously injured." The ending also blurs the limits between fiction and reality. The original one, in which Iqbal died, was changed (it would have looked like a bad joke). Instead, the last scenes recreate the real-life vigils of his fans outside the hospital. We see Muslims, Hindis, Christians and Sikhs all offering prayers for his recovery. The final speech truly sends shivers down my spine: a visibly pale Amitab (as Iqbal) thanks his friends (audience)for their support from the hospital balcony. Tears roll through his face while he says "It was your prayers what kept me alive", and you know that he is NOT acting.
If you want to know what it means to be a Bollywood mega-star, "Coolie" is the film for you.