Kadina Rahasya: The Sandalwood Tiger Boy Movie

Hello South Indian Cinema Nerds! Today’s expanded subject is a comically retro film from the lower barrels of Sandalwood. 

The film is Kadina Rahasya, not to be confused with the more popular, succeeding Kadina Raja movie. Released on the 25th of March 1969, it is both one of the last pre-1970s South Asian jungle movies and one of the most successful South Indian jungle movies before the double whammy of Kadina Raja and the better known Adavi Donga ‘85. 

The film was likely created and conceived by M.P. Shankar when a Wild Magazine rewrite of Kenya Boy was briefly produced, which made some sense because he later had a strong love for wildlife. There is also a Hindi companion dub called Jungle King, but it’s so boring as both a part-remake and a film, that it’s become unavailable to the public for a long time, except for an otherwise pretty cool poster. 

Being filmed in a tropical seasonal forest, the story is both a banger about respecting environmental boundaries and a funny mystery-thriller-comedy for a lot of unintentionally questionable reasons. 

The film starred both the late M.P. Shankar as a mostly clean-cut explorer and the late Tiger Prabhakar, in his own debut, as a fallen (kinda native) tribal judge who looked like a grumpy schlump. 

It also featured Dwarakish (born 1942) as the comic relief, R.N. Sudarshan (1939-2017) as another explorer, his wife Shylashri (also known as Shyalashree) as the jungle girl, K.S. Ashwath (1925-2010) and T.R. Narasimharaju (1923-79) as yet another brutish guy. But its true show stealer was the Egyptian born Yusuf Khan (1940-85) as the first Raja himself. 

Is it a ripoff of the Weissmuller to Scott period Tarzan films? Due to factors likely related to which nation has the most flagrant nostalgia milking imaginable, It’s not a full on rip off of old Hollywood Tarzan movies, but an unofficial sequel to Tiger Boy, featuring a jungle girl, her estranged dad and their equally stranded friends. While the titular Zimbo does inspire the first Raja, the influence of Sōji Yamakawa is likely more significant, as implied by how the scientists and their daughter, along with their friends and another girl, moved into the jungle to enjoy its risky surroundings. 

Another proof of the film having strong Tiger Boy/Kenya Boy roots is that a horrible chief gets away with almost anything, which is plausible since he’s a frigging nobleman operating beyond conventional good and bad. Chances of the film being based upon Tiger Boy and Kenya Boy are higher than its creator would like to admit. 

Although the film’s flashbacks were likely set in 1937, The film setting’s most approximate main year was fourteen years later, when the real-life Kenya Boy strip was launched. 

The story began when a ballsy scientist pair and their young daughter moved into a tropical forest filled with dangerous thrills. They made a lot of fun experiments together, in spite of the well-meant dangers, as one of them also created dastardly elixirs of life in the shed nearby. But the middle-aged mother wasn’t as lucky even when handling wild animals, thus she died after clearly being bitten by a rabid old macaque! Meanwhile at the same time, the scion of a nouveau riche tribal village family - who’s a ready but rough judge in training - was clearly annoyed by such risky experiments and many other crimes. As a result, he tried to talk about the scientists to the messed-up village chief, shortly before taking him and a lower-caste, part time thug to the latter’s palace. 

But then he realised quite late that the chief was such a dickhead that he would still banish the poor younger girl to a hotter valley with his own brutality, which clearly scared off even the more thoughtful warrior guys. The self-aware but unattractive thug was somewhat luckier, as he realised that there’s something going on with the chief and his crazy aristo family, thus he had to retire from his generally nonviolent criminal career. 

The main plot started when the touristy explorers were on a truck to explore the same forest, which is full of pirated stock wildlife footage and restless but somewhat sympathetic tribals in loosely East African-inspired clothes. They successfully shot a stuffed old Indian leopard and made a lot of fucking noise while camping together after that. 

Meanwhile, they found out that Raja - a jungle raised survivor of another incident - had to warn them unintentionally. Although the first Raja himself lived in a nice but small treehouse, his Asian elephant friend lived on the ground nearby. He himself had to battle against a bunch of tribal mooks and a crapload of tropical beasts, and sometimes did a Tarzan yell too. After a series of creature battles came a funny singalong footnote of the young ladies taunting each other.  

Later on, they met a somewhat reclusive jungle girl, who happened to survive being estranged from her unhappy father and childhood friend. The young lady had to entice them by showing the freshest fruit that they could eat. She’d been visiting the village for years and made uneasy friends with the other girl (who, as it turns out, is its judge’s rebellious daughter) nearby. A ravaging beast man appeared, complete with a primal chest pound! Raja just had to nag him off on his way to the chief's new palace.

It was close to the end that a tribal statue, which represented what’s supposed to be a Bigfoot like creature, came in to steal the show. Also, near the same time was that the well-meant judge was finally seen, albeit showing a traumatically dull surprise in spite of being messed over by the big bad chief, who himself would intend to demolish the whole unlucky village first. As implied by his wrathful wealth and horrid actions, he was a local upper nobleman who likely had various trading partners from both his favourite relatives and the logging cartel. Despite all that, there's also an epic dance off before the manly beast appears again!

Unluckily, the judge couldn’t escape a significant but small part of his beloved village’s own demolition, along with many members of the chief’s own mook army. Making things even worse was that the big bad turned out to be a scary man, who would manipulate the explorers to kill the unlucky beast, who turns out to be a friend of the jungle girl's father, with unintended consequences. 

Along with the aforementioned judge sacrificing his own life, the jungle girl’s marriage proposal to Raja was also a lead-in to a brief but bizarre Gainax-like ending. The mind screwy ending was made to forcibly stop the movie, likely for reasons related to how opaque the Indian Censor Board really is. The otherwise sympathetic ending Aesop has implied that while both the natives and the explorers had super questionable actions under their sleeves, the chief technically won since he’s a moneymaking hick of a Dirtbag. 

The film is a laugh riot with embarrassingly good-bad research (even by 1960s standards), which partly explains why it frankly doesn’t have as much YouTube views as its own sequel disguised as a remake, Kadina Raja. 

Jangli Mera Naam: The Lollywood Kenya Boy Movie

Hello Jungle Boys and Girls. Today's expanded subject is a campy movie, for people who love jungle fantasy stuff on a low budget. 

The film is known as Jangli Mera Naam, a movie made mostly in Lahore by an internationally unknown studio. It also has a few elements taken from another South Indian classic called Adavi Donga ‘85. It is also well known in its native country for its iconic publicity stills. Of such stills, the most famous is that of the forest princess, her pervert older sister and their other companion, a sultry maid. 

It likely was conceived by its creator Mohammad Latif Shah, when the latter was released, although it got delayed multiple times during lengthy and sometimes horrid social conflicts. But it was with the permissions of cooler heads that it finally got a cinematic release in 1994 instead of 1992 as initially thought. 

The film stars the smartly dressed beefcake Jehanzaib (with the surname of Khan) as Faisal Annu, a thoughtfully nutty nature hero who is Wataru Murakami in all but ethnicity and clothes. Making a stunning final role is the now retired actress Kaveeta, aka Nasreen Rizvi (born 1960), as his sidekick. It also has Shahida Mini (born 1972) as the local forest princess turned future tribal queen! 

Other cast members include a middle-aged actor as the dad of Faisal’s girlfriend, a well-endowed actress as the hippie’s wife, a comedienne as a more modestly dressed villainess, a senior actor as the wise hippie himself, a fairer haired Pashto actress as a forest maid wearing skimpier fashion, an older actress as the mum of Faisal’s younger buddy, and a chubby boy as the young Faisal Annu. 

Guess who are some of the actors behind the roles? Sunita Khan as the Forest Maid, Habib, Nasrullah Butt, Humayun Qureshi, Tariq Shah, Surayya Khan, Haider Abbas and Sheeba Butt. 

Is it a Tarzan movie? It's not based on the Tarzan books at all. In fact, it’s actually the loose Pakistani adaptation of Kenya Boy! It also has some elements taken from both Jungle Hunt and its 1960s spiritual predecessor Dara. The original Punjabi film is partly found media for obvious reasons related to copyright scruples. 

Unlike its immediate Sandalwood predecessors, the year of its beginning was most likely 1976, the same year as the actual Sankei Junior Books Edition of Kenya Boy. It was when a seven-year-old boy named Faisal Annu went out of school to face the local underworld gangsters. Being the snobbish beginner villains, they bullied him and his senile teacher hellishly, even though the goons’ master was both a pimp and a corrupt former schoolteacher himself. 

Then he went to the hospital, so that his doctor father would do a lifesaving operation on his body. Unfortunately, the lower ranking goons, under their awful master’s control, still kidnapped and almost killed the poor doctor off in fear, even though his son was finally spared by their jackass pragmatism instead. Although they realised privately that their master treated them so horribly, they’re smart enough not to get gory, so they have to party hard with their similarly dysfunctional relatives nearby. But their same old boss was such a madman that he let his Python friend run loose anyway.

As a result, the boy became a subtropical forest hero, who not only made uneasy friends with most of the local forest animals - except for the goddamn moon bears! - but he also was seen as a brainy bruiser by them all. As he grew older, he befriended a hungry old cobra and a matronly Asian elephant, who gladly dared to make him look like a superstar. 

Barely 2 decades later, a brave college aged woman had her ill prepared parents kidnapped and then killed off by a bunch of stereotypical tribal mooks, who unfortunately didn’t have many choices other than supporting the main goons. She had to fight them off for a while. 

After that, the woman met a dizzy hippie and the boyfriend of her dreams, while also facing off a quartet of young moon bears, played by men in shoddy bear costumes. But it was the former who turned out to be just himself in his Forest clothes! She got to know him quietly and made unlikely friends with the scatterbrained hippie mentor and his more urban wife along the way.  

Meanwhile, an unhappy forest princess (albeit a somewhat saner future queen to boot!) was tired of her pervert older sister's awful antics and had to escape the chauvinistic bullying by said sister's henchmen, by luring Faisal into the dungeon of her palace. Said crazy older sister had to designate him as an unwilling guest for an epic party with a maid friend of theirs! Frankly, Annu escaped it with the help of local animals nearby. The parents were too tired to find their missing son, so they had to see him another day later. Thus, the hijinks still ensued within varying degrees, until the heroes bursted into a jumbled dance routine. 

Even when a hero’s wrongful arrest by the corrupt police came in, they didn’t know that Faisal was still innocent, and they’re way too messed up to catch wealthy local gangsters on a regular scale. Yet in a surprise twist, the big bad and his Python buddy were destroyed by a family of super mad cobras, which is the most deliciously fatal of creature-focused fates faced by many villains in South Asian Jungle movies. The film ends when the parents were reunited with the hero anyway, so that they’re safe from another calamity ahead. The son was smart enough to think of them not to go into messy situations like that again. 

It's a pretty funny film, a so bad it's good masterpiece of a box office flop, replete with a decently written, nature loving beefcake, a goofy hippie wearing stereotypical Adivasi clothing, a pouty girlfriend with the hots for the beefcake, and the hippie's well-endowed wife being a fun lady to hang out with. Then again, it’s just Kenya Boy without the lost world dinosaurs schtick. 

Junglee Manchhe: The Nepali Zimbo Movie

Hello Martial Arts Freaks. This is a very low budget film not only about the growing awareness of dystopian corruption in Nepali society, but also about how messed up Nepal’s prison system still is. 

The film is known as Junglee Manchhe, a stunningly crazy Nepalese martial arts movie spoken in Nepali. 

Unlike many other recent Tarzan Boy movies from South Asia, Junglee Manchhe was conceived by B.S. Balami and Bishnu Kumar Shrestha as a 'martial artsy prisoner revisits his hometown' social drama. 

It stars Arjun Karki, in his first antihero role, as the Kathmandu DogMan, while Geeta Shahi plays his pragmatic girlfriend.

Is it a ripoff of either the Abashiri Prison series or both Zimbo and Adavi Donga ‘85? Well, it’s not a total rip-off, but it does have some elements taken from the whole Yakuza-focused, book-based classic film series, the so bad it's good Zimbo series and the aforementioned Telugu hit film featuring superstar Chiranjeevi. 

The story likely began fully in 1985, the year when Adavi Donga ‘85 was released. It was when an autistic boy was having a fun time living with his lower caste parents. Then, he lost the mother to a higher caste gangster politician, whose equally corrupt friends sent him off to a prison dungeon. The situation was pretty messed up because their status TALKED more than his family’s status! It was also due to them getting away with having more corporate connections than the antihero himself or even the rest of their fellow populace, which is saying something about how influential corporations are. As a result, a stray dog was the only friend whom he had for over a decade. 

Even though the poor hyper empathetic boy was wrongfully imprisoned for being in a such a messed-up situation beyond his initial control, he had to learn self-defence and various creature themed martial arts while in prison mode all year long. By the time he was in such a mode, his only friend was a dog. Even as a teenager, his old clothes would be replaced not only with drab brown prison garb, but also with a pretty necklace and a pair of handcuffs. But the caveat was that it only happened largely offscreen, seconds before the first scene with him as an adult was shown. 

Meanwhile, he had to escape some of the more corrupt police and meaner prisoners nearby. Thus, he would burst into the urban limelight for the first time since early childhood. Then he met his own lover and her cautious father, but both characters would ultimately make amends with him as time went on, since they were also themselves descendants of people who were below them. A slim former school bully and his wiser bearded father would rally him along with the other two, so that they all rightfully accuse the high caste money grabbers of both causing and growing the already messed up situation. 

But as they would belatedly see how powerful the main dude was, they had to watch him for a while, since he’s also beyond their regular control. Thus, he would batter the big bad to deathly smithereens, so that the other four are pretty much safe from more blatant corruption ahead. The story would end as when the wrongfully convicted dude was finally declared as being freed, two of his friends and his dad hugged him happily. 

The film is such a so bad it's good Schlockbuster that it may as well be released a decade before the awareness of disability rights in Nepal and the rest of South Asia was finally becoming known to societies in the subcontinent. Despite its amazingly overacted plot, be aware that the film is still a goldmine of cliche storms. 

Kadina Raja: The Sandalwood Jungle Hunt Movie

Hi there South Indian Cinema Nerds. Tonight's expanded subject is a fabulous Z-movie of a MockBuster popcorn flick from Karnataka in Southern India. 

The film is known as Kadina Raja ‘85, a Sandalwood movie not only about preserving habitats but also about a wild man named Raja. Released in the 9th of April 1985, it is like both of the succeeding Jungle Love movies, in which it only has barely ridden on the coattails of anything officially or even canonically considered Tarzan stuff. Along with its most immediate inspiration released a year earlier on the 10th of March 1984, it likely predated many notable examples of the Kids' Wilderness Epic genre by about a few years. 

The film was likely conceived by M.P. Shankar for writer Somu and director A.T. Raghu, but as a darker stealth sequel - disguised as a soft remake - to his and Geethapriya’s movie for a then-growing Sandalwood film studio. That was because another studio likely owned the rights to the preceding film released in the 25th of March 1969. Its conception was likely exacerbated by the release of Taito’s Jungle Hunt in America and the Japanese domestic film market flopping of an animated Kenya Boy Movie in 1984. It comes complete with a less popular Tamil remake-dub called Maveeran Tarzan, even though the latter film also has more to do with both Jungle Hunt and Kenya Boy rather than with ERB’s lord of the apes. 

The film stars the tubby late action star Tiger Prabhakar (1948-2001) as the definitive Raja, a stubborn dude who is Wataru Murakami in all but ethnicity and clothes. Unlike in Kenya Boy, there is a delicious tomboy girlfriend played by the multitalented but semi-retired item number idol Anuradha, aka Sulochana Devi (born 1963). The film's real show stealer is Usha, played by a retired child actress turned Drama Queen named Deepa, aka Unni Mary Fernandes (born 1962), a southern Keralite who is herself from a Malabar (Latin rite) Roman Catholic family. 

Fellow nutty cast members include Dwarakish as a minor comic relief, Sudheer (1947-99) as the Logging Cartel Boss, MP Shankar as a minor villain, and the late Lohitashwa (1942-2022) as Raja’s father. Also featuring are Supriya Pilgaonkar and Sulakshana as young women, and Sheela Ravichandran as a teacher.

Is it an unofficial Tarzan movie? Barely at all, apart from references to Johnny Weissmuller, Denny Miller and Miles O'Keeffe. Due to the characters being based loosely upon their (made in Japan) inspirations, the film’s immediate sources are most likely the two video games named Jungle King and Jungle Hunt, plus the Daiei and Toei adaptations (a live action film, a smash hit live action tv show and an anime film) of Sōji Yamakawa's Kenya Boy mixed together. 

The film is also a comically transparent cash in on Taito’s (insanely plotless) Safari arcade game. Chances of the late actor-writer-director M.P. Shankar (1935-2008) not knowing of it being based on both Jungle Hunt and Kenya Boy are higher than he would like to admit. 

Being the world’s first unofficial video game-to-film adaptation, the movie’s beginning was plausibly set in 1969, likely at the same time as the real life prequel’s release. Said beginning had a school aged boy named Raja going AWOL at the garden with his friends. A few days later, he had to come out of the house and go on a risky safari with his parents. Unfortunately, the mum and dad had to flee from and then were killed by a despicable army of illegal loggers. Thus, he had to become a wild young hero by making animal friends in the seedy Allappa-Muttodi Ghats forest. Instead of Wataru's African bush elephant friend named Nanda, his only main companion, until he befriended fellow humans again, by the way, was played by a brotherly Asian elephant. 

Barely 2 decades later, Raja was now a mighty chest pounder with an affinity for leaving many animals alone unless when provoked. He and his wise elephant friend strode along through the monsoonal forest. Unluckily, he scarily found out that the same old logging cartel was destroying much of it. First he met a teenaged girl’s motorbike nut of a boyfriend in a super hard scenario, even though he had to restrain from accidentally killing the latter due to mistaking him for an illegal agro-logger. Later on, he met the tomboyish trickster and her long lost sis Usha, who turned out to be the movie's (somewhat sympathetic) main villainess. 

The fight between the heroes, the messed up Queen’s army of more stereotypical mooks and the logging cartel would reach a crescendo and then slipped into the hilt. It finally ends when Raja's elephant friend had to roughly execute the logging cartel’s leader, the actual heavy who might've taunted, groped and cheated on the poor villainess ages ago! The main reason why? When said fiery Queen Usha was in her young adulthood, her terrible northern peasant parents had to sell her away into the prequel chief’s messed up harem. As a result, she had to climb out by becoming a cunning queen in her own right. 

Unhappily, although she likely did marry the logging boss out of love, their home life was still messed up. Such a relatively vague situation was likely due to the ruling chief’s impact on their mental state and various other horrid circumstances.

The story would thus truly finish with the common-born Raja and newly crowned Honorary Chief Tomboy adventuring out of the prequel chief’s palace, by riding on the former's elephant friend. Cue the buddies behind their backs! As the ending suggests, they are on their way to become a married ruling couple of the forest. 

With the unexpected flexibility of both its Japanese made inspirations, it's a funny yet charmingly janky film, which was somewhat more progressive for its day than most mainstream Sandalwood flicks of its time. Unfortunately, as with many South Asian movies of the 80s and beyond, there is still a creepy 14 year age gap between the late main actor and the retired main villain actress. As MP Shankar was a legend in his native state, he finally got a biographic novel in 2011 due to demand from movie fans. 

Jungle Love: The Bollywood Baruuba Movie

Hello Bollywood Nerds. Tonight’s expanded subject is an adult only Schlockbuster from the lower barrels of Jiggle era Bollywood. 

The film, as it turns out, is known as Jungle Love, a funky Bollywood movie which has become a surprise classic hit mainly in its native land of India, although it otherwise has both a cult following and a small ironic fandom outside of it. 

The film was likely conceived by V.N. Menon and Mahendra Dehlvi shortly after the huge domestic success of Adventures of Tarzan at the ever-cutthroat Bollywood box office. Then it got delayed from 1986 up until 1990, mainly due to budget troubles and likely various other kinds of questionable company behaviour. 

Nonetheless, the director, producers and cast members had to semi-improvise for a few years until the film was fully completed and released in the summer of 1990. Chances of them still not knowing about their movie being an unofficial adaption of Buruuba and Baruuba combined are much more likely than audiences thought they would. 

Is it an unofficial Tarzan film for Ecchi loving adults or is it even a Tarzan movie at all? Nope. Not even close! Despite being billed as ‘a Tarzan movie’, the sources that the film most likely descends are the Baruuba books of Japanese pulp master Yoshimasa Ikeda (1893-1980) and the currently Kadokawa owned Buruuba film, written mostly by mystery master Hideo Oguni (1904-96) but otherwise directed by the reclusive visionary Shigeyoshi Suzuki (1900-76). Unlike the preceding ashcan copy movie, which was filmed in California of all places, it was partially filmed in a Southwestern Ghats park near Chalakkudi in southern Kerala. 

The movie’s resident hero is the little-known Rocky as Raja, a guy who is basically a rebadged Baruuba in all but clothes. Unlike his fiercer novel counterpart (at least in spirit, but not in clothes and hairstyle), only his estranged long lost birth mummy was shown, although she happily reunites with him at the end. Its main female star is Kirti Singh as Raja’s girlfriend Rita, a lady who is Reiko Watanabe in all but ethnicity and clothes. 

Fellow members of the crazy cast include a little dude in a shoddy chimp costume, a baby and a preteen boy as Raja in his early years, Disco Shanti as a skank, the deliciously villainous Goga Kapoor as a Treasure Hunter, and a bunch of trained animals. 

Bollywood’s spin on the Baruuba books and the Buruuba movie, had the aforementioned Raja be the child of a lower noblewoman named Jamuna in the Rani’s palace. Said palace was in a divided kingdom almost always run by snobbish royal chauvinists who fought each other too much. Then again, while trying her best to manage a divided land, an unhappy Rani wrongfully forced her poor maid in waiting to cast off the former’s own dirty son, on the rapids of a muddy river. But the fake chimp instead rescued and delivered him to a disappointed lioness, whose male cubs would be kicked out by their own pride leader days later. Meanwhile, the local Asian elephants and their leader would adopt him as their own newbie. Let’s see the kingdom’s vast amounts of useless treasure in the coming minutes. 

Then the story continued. Throughout childhood, the ageing lioness mentor taught Raja how to become a lionhearted man, but he made a friendship with the chimp who saved him years back. The adoptive brother elephant taught him how to be like a knight, while their helpful chimp buddy watched them play fight hard.  

As with Baruuba and Buruuba in their respective domains, Raja sometimes drank the milk of his adoptive mummy mentor’s tits as a baby, which implied a rather close bond between mummy mentor and son. But unlike them all, he occasionally does this even as an adult, which is both gross and creepy. 

There are two subplots which have a more significant presence on their own in their respective sources. However, they merge into something else entirely, which is that of Rita and her well-meant father. They’re the two people who were forced into joining the forest expedition of an unscrupulous Treasure Hunter related to the two, who doesn’t even care about them. Then she met Raja while in distress, thus he freed her, even though she taught him to speak a small bit of human language later on. 

The hijinks continue until she gets into a crazy cat fight with a lady who was likely the Treasure Hunter’s cunning daughter. The cat fight leads to Raja tearing the legs of an unlucky giant muppet spider, who in turn eats such a mean female antagonist, which is before Rita is captured once again, this time by something questionable which does appear more often in the film as well as both the novels and the mangas, a group of nasty fellas (and part time cannibals), themselves played by relatively browner skinned Indians from across the country, who had to look for paycheques when the film was being made. 

Unfortunately, they’re still portrayed as stereotypical (though otherwise reasonably spoken) Bollywood Safari Natives, who are actually some of the kingdom’s distraught men in East African inspired clothing (except for the dhotis, which are genuinely South Asian). It’s also chauvinistic when at the same time, Rita wears skimpy (if not too Super Hardcore PR0N) clothing during uncomfortable false boyfriend encounters like this one. Even though the circumstances are still iffy, the men do not intend to actually eat and assault her gratuitously, yet they still chain her up instead. 

But as they sing one of the snoopiest villain songs of 1990s Bollywood, they do not only get distracted, but they’re also entertained by her dancing. Later on, despite preparing to rescue Rita once more, Raja himself gets captured by a cuddly looking man-eating plant and has to cut his way out by attacking a stuffed leopard in a hurry. 

There’s also a minor subplot focusing on him fostering a baby boy! Even the local forest Rani is smart enough to rethink her boundaries - not only by singly ending the sick custom of abandoning (mainly dirty) baby boys and also baby girls (although the latter ones aren’t really mentioned in the film) but also by mitigating more chauvinism. She also regrets her messy actions, once she reveals to both the goons and the male tribals that she ain’t their toy to play with. Thank goodness, the Treasure Hunter gets struck by something deadly as the consequences of his own greed. 

Even funnier and more heartwarming is that unlike in the succeeding Nepali movie, which should’ve had a better sequel, both Raja and Rita get married at the very end. Thereafter they can live in a simple house with their newly adopted baby son. Their adoptive elephant family friends are still living next door, albeit on the nearby ground. 

Despite its generally mediocre status, its soundtrack, although a bit behind time, is still pretty good. Another fun fact is that Chandrachur Singh was originally intending to play Raja until he turned it down. Bollywood Jungle Love is also the first non-Japanese jungle film based on the Baruuba books, with the last non-hardcore one being Samir Miya Pawariya and B.S. Balami’s Nepali Jungle Love. It’s also more polished than the Burmese brain-rotting Mockbuster known as Wild and Tame and the tentacle PR0N script that it’s based on.