This, needless to say, will involve him demonstrating the ability to do some very un-snake-like things, like unlocking doors and leaping through the air like some kind of self-propelled reptilian javelin, as well as more conventional Bollywood anipal antics like terrorizing Bob Christo. He is the KENNY G of snake charmers.Īnd needless to say, Charles the cobra, whose memory is as long for a solid done him as it is for wrongs that need to be avenged, eventually finds his way back to Suraj and his mom in time for him to act as an instrument in their plot to get payback against that damn Amrish Puri and his friends.
As in, needless to say, little Suraj grows up to be Jackie Shroff, and while he is raised to be a blacksmith, he quickly finds that he has more of an affinity for snake charming.īut Jackie is not just any snake charmer. Happily, much of what transpires from this point on in the movie is exactly the kind of thing that the term "needless to say" was designed for. Obviously, it's time to speed thing up, because, while I enjoyed this movie well enough, it's not the kind of thing I want to while away hour after hour painting vivid word pictures of. Which means that I have just spent the last several paragraphs of what I was hoping would be a brief review describing only the prologue of Doodh Ka Karz. Oh, and what's this? That's right, it's the opening credits to Doodh Ka Karz. Goga pledges to raise Parvati's child as if he were his own son, and Parvati, taking a page from Mithun's psycho mom in Kasam Paida Karne Wale Ki, urges him not to spare the rod, and to give little Suraj the kind of upbringing that will basically result in him growing up to be a dead-eyed, vengeance crazed meat puppet.
Fortunately, once Amrish, Prem and Sadashiv have chased her and her baby off a cliff, they leave her for dead and she is rescued by a kindly blacksmith played by Goga Kapoor. What with giving birth, seeing her husband flayed alive before her eyes and witnessing two murders, this has been sort of a rough day for Parvati, and its not going to get any easier. Unfortunately, she arrives at Amrish's estate just in time to see him murder his own father. Perverts should also note that we do get a shot of some - no doubt body-doubled - lactating boobs during this sequence, which, though not presented in any way that would be titillating to a normally inclined person, are nonetheless quite shocking to see within the context of an Indian film.Īnyway, because she does not have the means to care for him, Parvati urges Charles to slither off on his own, which he does, after which she goes off to confront Amrish Puri. Now I'm happy to know that, from this day on, anyone who does type those words into Google will be dumped directly into my lap. Now, I've just recently completed a survey of the search terms that bring people to this blog, and while the term "Aruna Irani feeds her breast milk to a cobra" was not among them, given what was there, it certainly wouldn't have been out of place. And so she squeezes out some of her breast milk and offers it to him. Later, as a despairing Parvati nurses her baby, she notes that the loyal Charles, while lacking the means to communicate it, must also be a bit hungry. Gangu stumbles upon the scene and is framed for the crime by the three upper-caste villains.Īnyway, while Charles cannot see all of the action from between the narrow slats of his basket, he makes a point of committing to memory the distinctive necklace worn by Amrish Puri. And sure enough, just as Parvati is popping the bun from the oven, Amrish and his pals make off with the diamonds adorning the temple's idol, though not before killing a priest who catches them in the act. Unfortunately, also in the vicinity are Amrish Puri, Prem Chopra and Sadashiv Amrapurkar, which is a sure indication that something even more messy and unpleasant than the miracle of childbirth is about to go down. Especially when that cobra is bonded in spirit, as is the case in Doodh Ka Karz, with a human as evolutionarily designed for being angry and violent as Jackie Shroff.ĭoodh Ka Karz begins on a somewhat biblical note, with snake charmer Gangu (Kuldip Pawar) and his very pregnant wife Parvati (Aruna Irani!) seeking shelter from inclement weather in a temple to the god Shiva. And the same goes a hundred-fold when you're dealing with an animal as evolutionarily designed for the purpose of killing humans as a cobra.
Even a gerbil, once crossed, is not safe to turn your back upon. If Bollywood has taught us anything, it's that animals have a limitless capacity for holding grudges and exacting bloody-minded vengeance.
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