{"id":3133,"date":"2016-06-27T02:54:01","date_gmt":"2016-06-26T21:24:01","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3133"},"modified":"2016-06-27T02:54:01","modified_gmt":"2016-06-26T21:24:01","slug":"30-years-khoon-bhari-maang-rekha-kabir-bedi-crocodile","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3133","title":{"rendered":"How Rekha Made Khoon Bhari Maang A Camp Classic"},"content":{"rendered":"\n

L<\/span>ong before Ashutosh Gowariker and <\/p>Hrithik Roshan<\/span><\/a> jointly mauled the reputation of crocodiles in <\/span>Mohenjo Daro<\/span><\/i><\/a>, the aquatic reptile had quite a following in the Hindi film industry. Especially 30 years ago, when the humble crocodile was cast in a scene-stealing double role in Rakesh Roshan\u2019s <\/span>Khoon Bhari Maang<\/span><\/i> \u2014 where it played both villain and ally. <\/span>\n\nThe kitschy, cosmetic surgery, and croc-friendly film\u2019s most famous scene involved its unsuspecting lead, Aarti (<\/span>Rekha<\/span><\/a>), being pushed off a boat by her new husband Sanjay (Kabir Bedi), and straight into the jaws of a crocodile (You can look it up on YouTube by searching with the keywords <\/span>\u201cnatural murder\u201d<\/span><\/a>). <\/span>\n\nHeavily borrowed from the Australian mini-series <\/span>Return of the Eden<\/span><\/i>, the crocodile scene had generous helpings of gore, aimless flailing, hopeless hamming from everyone except the croc, and pinkish <\/span>blood<\/span><\/a>. Even its very premise was over the top: A naive Aarti squealing in joy and trying to photograph a crocodile swimming close to their boat. Kabir Bedi locking eyes with the inexplicably animated crocodile and yelling, \u201cMagarmach\u201d before throwing his new wife in the water. The moment is aptly topped off by her best friend and co-conspirator Nandini\u2019s (Sonu Walia) endless screaming.<\/span>\n\nAnd yet, this scene isn\u2019t even the most over-the-top aesthetic about the film. <\/span>Khoon Bhari Maang<\/span><\/i> marks the very pinnacle of \u201980s <\/span>Bollywood<\/span><\/a> \u2014 a time of big hair and big pearls, padded shoulders on gaudy-gauzy outfits, shiny reds, and <\/span>avenging female leads<\/span><\/a>. A time when a makeover was equivalent to a cosmetic surgery. A time when justice would be served within a span of three hours and Shatrughan Sinha could play a cameo as a fashion photographer who unironically wears scarves. A time we all love, miss, and remember fondly.<\/span>\n

It\u2019s only a film like Khoon Bhari Maang that can turn a complete lack of logic into poignancy.<\/blockquote>\nKhoon Bhari Maang\u2019s<\/span><\/i> big twist hinged on the fact that its killer crocodile was on a mysterious Keto <\/span>diet<\/span><\/a> and didn\u2019t make a complete meal out of Aarti; leaving her alive but badly disfigured. Out of great conflict comes great creativity aka cosmetic surgery, that allows Aarti to be reborn with a completely new personality. By the time Aarti (as the avenging Jyoti) is done with him, Sanjay faces the same fate that he tried to inflict on her: He gets attacked and eaten to death by a crocodile, who, by then, is Aarti\u2019s partner-in-crime.<\/span>\n\nAt its heart, <\/span>Khoon Bhari Maang<\/span><\/i> is like any other indulgent vigilante <\/span>justice<\/span><\/a> saga. In it, a demure rich widow with two young kids who tragically loses her husband (Rakesh Roshan) and father (Saeed Jaffrey), is wronged by a handsome \u2013 and by extension, loathsome \u2013 suitor. Instead of waiting for the police to punish her perpetrator, the scorned woman decides to exact revenge herself. Like most revenge dramas, the film displays a complete lack of a moral code or an understanding of how the law works. <\/span>\n\nAnd yet, show me a person who dislikes <\/span>Khoon Bhari Maang <\/span><\/i>and I will show you a humourless toff. Despite its confused message, it\u2019s impossible to not root for Rekha while she goes about exposing the duplicitous Sanjay, his evil mama, and snatching justice on her own terms. All my morality and hand-wringing over vigilante justice disappears when I watch <\/span>Khoon Bhari Maang<\/span><\/i>.<\/span>\n\nI suppose it’s because the film succeeds in straddling camp and a satisfying payoff. Take for instance the fact that when Aarti (as Jyoti) becomes the newest <\/span>modelling sensation<\/span><\/a>, she also replaces a furious Nandini on almost every magazine cover. The latter insists on a challenge to prove that she is more loved. The result is a dance-off even though it has barely any connection to modelling. The duo dress up in garish outfits and move to \u201cMain Haseena Gazab Ki\u201d trying to outdo each other\u2019s hip strength, while simultaneously giving girls in the 80s dress-up goals. The song ends with Aarti lassoing Sanjay with a gold necklace as if he were some kind of object in a hoop game at the local fair. <\/span>\n\nOr the part where Aarti heads straight to her children\u2019s <\/span>school<\/span><\/a> after flying back to the country after her makeover: She and her son make eye contact as she spies on him from behind the school\u2019s walls and she promptly wears shades to not be recognised. The kid, on the other hand, assures himself that the woman in front of him can\u2019t be Aarti even though <\/span>she looks exactly the same<\/span><\/i>. It\u2019s only a film like <\/span>Khoon Bhari Maang<\/span><\/i> that can turn a complete lack of logic into poignancy. Thirty years later, you\u2019re laughing at it \u2014 but not without acknowledging the tug in your heart. <\/span>\n\nMuch of the love that we\u2019ve continued to afford <\/span>Khoon Bhari Maang<\/span><\/i>, which is replete with glaring loopholes, is because it allows its vengeful female lead the space to become a strong and decisive individual: a direct contrast from how the film\u2019s paints her in the first half. <\/span>Before her makeover, Aarti sported a facial birthmark, dark circles, rabbit teeth and let her grief consume her into being an under-confident, introverted woman \u2013 basically, bait for a horde of Sanjays. But as Jyoti, she is flirtatious, blunt, and owns her <\/span>sexuality<\/span><\/a>. Aarti may have been defined by her responsibilities as a mother, benevolent heiress and grieving wife, and daughter \u2013 but Jyoti is free from these constraints. Instead, she is her own person, whose ambitions, desires, and revenge were driven by her own motivations. <\/span>\n\nIn doing so, <\/span>Khoon Bhari Maang <\/span><\/i>ends up disseminating a surprisingly progressive memo in a climax that name-drops Kali, Rani of Jhansi, and Raziya Sultan: It\u2019s foolish to mistake a <\/span>woman\u2019s<\/span><\/a> vulnerability as a lack of strength. That, and never photograph crocodiles.<\/span>\n\n\u00a0\n","protected":false},"excerpt":{"rendered":"

Khoon Bhari Maang marks the very pinnacle of \u201980s Bollywood \u2014 a time of big hair and big pearls, padded shoulders on gaudy-gauzy outfits, shiny reds, and avenging female leads epitomised by Rekha, the camp queen.<\/p>\n","protected":false},"author":103,"featured_media":3134,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[141,6126,6127,6128,6129,6130,6103,151,6131,6132,6133],"class_list":["post-3133","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-bollywood","tag-classics","tag-crocodile","tag-kabir-bedi","tag-khoon-bhari-maang","tag-magarmach","tag-rakesh-roshan","tag-rekha","tag-return-of-the-eden","tag-saeed-jaffrey","tag-shatrughan-sinha"],"yoast_head":"\nHow Rekha Made Khoon Bhari Maang A Camp Classic<\/title>\n<meta name=\"description\" content=\"Khoon Bhari Maang marks the very pinnacle of \u201980s Bollywood 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