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Hawas (1974)

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Hawas (1974)

Hawas (1974)
Cast:  Bindu, Neetu Singh, Anil Dhawan, Faryal, Pinchoo Kapoor, Mehmood, Vinod Mehra, Rekha
Director: Sawan Kumar
Nutshell:  Sawan Kumar’s Spectacular and deliciously sleazy tale about the dreaded curse of Nymphomania with Bindu as the smouldering victim.

 

As Hawas unspools, we have shady Pinchoo Kapoor is running a flourishing trade with his posse of smooth accomplices, ripping and scamming people on a daily basis to allow themselves the luxurious life most of us dare not even dream of.  Bodacious babes, flashy sports cars, luxurious and wild parties, flowing booze, sublime 70s disco vibes…all the trappings of the finest way of life that only money can buy.

Among the motley crew are especially smooth star asset Anil Dhawan along with moll Faryal and their daily routine involves scamming jewellers, money lenders, banks, businessmen or anything with a wallet for that matter.  It’s a well oiled and finely tuned machine and the money pours in at a steady rate but sadly in the criminal world, steady is not even close to enough.

Pinchoo and gang now set their sights on a hugely wealthy industrialist who is doddering just a wee bit and has recently taken a gorgeous bombshell of a wife who he is known to shower massively expensive jewels upon.  Though clearly ailing, the doddering magnate (think Rupert Murdoch) has himself the finest buxom woman in town as his trophy wife and is somewhat rejuvenated, much to her chagrin.  Bindu, his wife, is afflicted with the rather serious medical condition known as Nymphomania, and it this particular weakness that Pinchoo, Dhawan and the gang are going to attempt to exploit to the maximum.  Nymphomania, as Pinchoo explains is a western phenomenon but has found a home in India lately and an increasing number of cases and sightings being reported.  Basically, it means that Bindu is utterly incapable of keeping her panties on when she sights any member of the opposite sex.

A modern age predator equipped with the finest equipment, she goes about her business bedding men on a regular basis including a Priest, A cop, a doctor and indeed any man attached to a penis; a comical and pitiable sight for sore eyes.  Complications inevitably arise when sleaze ball Anil Dhawan develops the hots for Bindu’s luscious step daughter played by Neetu Singh and soon becomes romantically entangled with both mother and daughter leading to rather prickly situations with increasing frequency.

The film was a shameless exercise in exploitation and a delight at that.  “main kya Dharmendra hoon, jo larki dekhi aur gana shuroo” is just one of many classic dialogs littered throughout this deliciously tawdry slice of sleaze with Bindu chomping up her juicy role with aplomb.

Sawan Kumar ropes in Rekha for a sizzling “Dum Maro Dum” style number as the “Malka e husn” singing “Aao Yaro Gao” one of a few catchy numbers composed by lifetime B-grader, Usha Khanna who has turned in a memorable score with Hawas.

The deranged Bindu has a line she uses on her victims claiming a past love of hers died in a tragedy leaving her in a state of perpetual state of lust which pervades and defines her identity. When her assets fail her, she uses pity to try to find satisfaction but the burning fire within seems to grow out of control and as she lusts endlessly, living solely for sexual satisfaction. When push comes to shove, even murder is an option she is keen to taste, the heady concoction of guilt, sex and deceit likely to take her to new heights of satisfaction but sadly things start slowly for the devious Mrs. Singh and her obsessive and psychotic predicament comes to light and people realize she is a slave to her lust; a very sick, pathetic creature.

Poor old Singh is now an obstacle in Bindu’s yellow brick road of lust and she decides to do away with him in style.  First she smothers him with love and kisses before removing all his clothes and laying him into a steamy bubble bath.  She proceeds to massage and rub him feverishly in order to “relax” him but when she strikes she does so with deadly conviction and the old fart is yanked forcefully by his legs so that he is submerged and drowns as she callously forces him under, refusing to allow him any chance of survival.

Later she plays the grieving widow but her plan falters when Anil Dhawan joins hands with a good hearted thug and together they unravel the debauched and murderous intentions of the diseased woman and her downfall appears imminent. However, will Bindu manage to repulse these efforts with one last diabolical plan or will she fall foul and painfully have to watch her step daughter stepping out with the man who was so much the target of her lustful malaise.

Sawan Kumar, true to form has produced a trashy piece of b grade sublimeness with Bindu devouring the screen in a role that is tailor made for her talents.  Neetu Singh is fresh off the Yaadon Ki Baraat set, still very green while Anil Dhawan is suitable in the sleazy role of the conman but it is Bindu whose film this is from start to end and she does complete justice to her character performance wise.  Usha Khanna, always relegated to the sidelines and B grade productions turns in a score that compares perfectly well with the major music producers of the era.  Some of compositions have an infectious jazz funk rhythm to them which render them rather fascinating.  Asha Bhosle sings Aao Yaro Gao, Apne Dil Mein Jaga Dijiye and the infectious Yeh Hawas Kya Hai and Mohammad Rafi sings the most famous number from the movie Teri Galiyon Mein Na Rakhengay which was fairly popular back in the day.

It’s far from being a classic of any kind and is simply an out and out sexual exploitation mainstream piece of shit but its entertaining and there is enough glitz and cheap glamour to pull things though and Bindu does the rest adequately.  But, if you are not into Bindu, perhaps this is not the film for you.  Bindu at this time in the mid-70s had become massively popular as a vamp playing nasty bitchy characters right from the start with Do Raaste and her popularity was such that she signed a number of films in the lead role but couldn’t break the from the image of a bad bitch.  The 70s was an era where film makers were much more experimental with their themes and this film though totally within the confines of mainstream Bollywood cinema manages to create a little niche for itself as an “almost dirty movie” with an Adults Only certification and not the kind of movie you might want to watch on Sunday afternoon with the in-laws.