The character of the high-kicking female badass was fairly commonplace in Asian cinema by 1974, especially in films coming out of Hong Kong and Japan. But in Bollywood, not so much. In fact, until recently, the only such character in a seventies Bollywood film I would be able to name off the top of my head would be the one played by Zeenat Aman in the original Don. Still, the 1974 film Geetaa Mera Naam puts just such a character front and center, talking tough, sticking it to the man, and dealing out whoopass to all comers without a thought of depending on male chivalry for her fortunes. Just what would it take to get a film focusing on such a character made in the Bollywood of the early seventies? Well, in the case of Geetaa Mera Naam, it probably didn’t hurt that the film’s director was a woman, and that that woman was also the movie’s star — a star who intended Geetaa Mera Naam to be her farewell to her audience after a short-lived but eventful career as a beloved screen icon.
Shaan is an over-the-top Bollywood masala film that plays in very much the same vein as Don or The Great Gambler — which makes sense, since all three of them star Amitabh Bachchan. For me, they work as sort of a trilogy, even though none of the films is technically connected to the other in any official capacity. But they share so much, both in terms of pacing and overall atmosphere (and the fact that Amitabh’s character is named Vijay in all three films), that I like to think of them as some great, flared slack-clad, bow-tie sporting, kungfu-packed epic saga. Shaan is actually the least of the three films, but that by no means implies that it is anything less than absolutely sublime. Heck, as soon as the credits start rolling, projected as they are on the swaying rump of a sexy lass, you know you’re in for a real treat.