Ramesh Lakhani is a director I know very little about, and I’m not entirely certain I need to know much more than that. Judging from his typically incomplete online filmography, his specialty, if indeed he can be described as having one, is making cheap, crappy movies with the same title as a better made, more beloved, more famous film. Thus he is the director of Shiva Ka Insaaf, but not the one starring Jackie Schroff, and Kabrastan, but not the one directed by Mohan Bhakri. Now when you are trying to cash in on a director as disreputable as Mohan Bhakri, that’s really operating at an advanced level. However, despite what that knock-off resume implies, it seems that Lakhani has at least some degree of competency as a film maker. Or at least, he has more than is usually evident in this goofy world of Indian horror films.
Since my initial foray into the world of modern no-budget Indian horror, I’ve applied myself enthusiastically to watching more and more movies of the same type. And while I am indeed assembling an impressive — some might say terrifying, others might say unfortunate — collection of such movies, information on them and the people making them remains elusive. But I’ve bellyached about that in the past, and at some point we’re all going to have to simply suck it up, deal with the fact that we’re going to be watching these movies half in the dark, and then get on with things. So it is that I decided if I can’t glean from the world a whole lot of information about Harinam Singh (though I live, still, in anticipation of the day he Googles his own name, finds my site, and gets in touch — hey, it worked with Bobby Suarez!), then I might as well just get to know the man better through his films. Stabbing blindly into the man’s filmography, the next delicacy I came up with was a little something called Gumnam Qatil.
Seeing Diabolik was — well, to call it life-altering is to be a bit overly dramatic, I think. But it was something like that, and the movie did have a curious influence on me. For years, there had been this certain look and style of movie playing in my head. I knew it existed, but I had no clue where to start looking for it. Keep in mind that this is some years before the widespread adoption of the World Wide Web, DVD, and the rise of digitally remastered two-disc special collectors’ editions of Porno Holocaust. I knew these movies I wanted were very much like James Bond without being James Bond movies — sometimes a little cheaper, often more fanciful and outlandish. But just as in those disconnected days with a dearth of information I was unable to find a manufacturer or store where I could purchase a black, slim-cut three-button suit (I’m quite particular about such things), so too was I at a lost as to where I might find these mythical movies I’d invented in my mind and filled with go-go dancing Eurobabes and dudes in fezzes and sunglasses throwing stiletto daggers at each others’ backs.
It has been my intention, forever derailed and distracted from, that Teleport City would spent time here and there discussing style and clothing. However, I did not want to simply reiterate and regurgitate, and I did not simply want to post an occasional photo or comment about some fashion show that recently happened,especially since I more frequently attend shows revolving around the removal of clothes rather than the donning of them. So what was it, in other words, that Teleport City’s peculiarly skewed perspective on the world could bring to the table that might prove different than the usual, even the usual I enjoy reading? I decided I would keep mum on the topic until I could come up with an appropriate angle from which to approach it. And I think I finally have one.
Attempts to revive and revise the Japanese karate movie started in 2007, with this tale set in the early 1900s of guys kicking each other in the face really hard. Japanese films are mostly terrible these days, and Japanese martial arts films have almost ceased to exist, with there being little more to the genre anymore than CGI movies or no-budget T&A stinkers starring busty AV idols as ninjas. So a bunch of karate guys woke up one day and thought to themselves, “you know, maybe we should be the guys making karate movies.” While their efforts remain small scale enough so that we can’t trumpet them as a revolution or the rebirth of the Japan Action Club, the results are still promising. Not always good, but promising.
Every time I sit down to muddle my way through another cheap Indian horror movie, I assume that I’m not going to have much new to say about it that wasn’t said in a previous review, that eventually they would start to look so much alike that I would pretty much use up all my ammo and have nothing else worth shooting at. But so far — and we’re still, frightening as this may be, at the very beginning of our journey — each new movie I watch ends up being weird and incompetent in a way that, while similar to previous films, is also completely unique, allowing me to latch onto some tiny branch and inflate it into a full review. I’m sure I’ll run out of steam eventually, but for now, the ride still manages to surprise me no matter how prepared I think I am ahead of time. Eventually, and in typically convoluted, non-linear fashion, we will weave together, as best we can, a loose history of the Indian horror movie and its common themes. Along the way, though, we’re going to watch a lot of movies featuring guys in store-bought gorilla suits.
Man, what is it with the directors of z-grade Indian horror films sharing names with yoga masters who have lots of information about themselves on the web? Don’t these yogis know that their online self-promotion makes it harder to find information about the director Harinam Singh, or in this case, Kishan Shah? And what is a yogi doing with a web presence anyway? Shouldn’t he be balancing on one leg in a cave somewhere in Rajasthan?