Man, when you say to yourself, “I need to do some light reorganization of my A-Z indexes,” it sounds so simple. until you remember that there are like 800 reviews, and the indexes have to be rebuilt lovingly by hand. Plus, that unfinished review of Heavy Metal 2000 is STILL all that’s waiting for me at the end of the tunnel. Luckily, Todd is there to pick up the slack:
If Rani Mera Naam is any indication of Rowdy Rani’s content, I can very well understand what Doss meant by that “100 percent action” distinction. Because, in contrast to the typical “masala”-style films of its era — which incorporated action as just one part of a larger stew of genre elements — Rani Mera Naam offers its viewer a steady stream of under-cranked fistfights, shootouts, vehicle chases, and stunts from pretty much its first frame to its very last. Although, as the 70s progressed — and especially in the aftermath of Amitabh Bachchan’s introduction of the badass, “Angry Young Man” screen archetype — mainstream Indian films became increasingly action oriented, I imagine that, as early as 1972, a film like Rani probably struck its audience as being fairly novel.
Max Allan Collins’ one-man play 