Palkon Ki Chhaon Mein (1977)

A completely misleading poster of the movie- playing up the drunkard jilted-lover image of Rajesh Khanna, and glorying a five minute Jeetendra appearance. The movie is nothing like what this poster indicates. 

Five minutes into the movie, and you can make out it is a Gulzar film. This Rajesh Khanna and Hema Malini film is though not directed by the maestro himself, but by Meraj, who was an assistant to the man in most his earlier directorial ventures. But everything- be it the dialogues or the treatment, or even the look given to the lead actors- looks straight out of the Gulzar school of film-making. That he has written the screenplay is just a part of this happy occurrence.

The story is set in a village, very much like the Jeetendra- Hema Malini starrer Khushboo that came just two years or so before this movie. But this time, instead of Jeetendra, the moustache is donned by (the then on the wane) superstar, who gets to play a meaty author (read Gulzar)-backed role. Ravi (Rajesh Khanna) is a city bred educated but unemployed youngster, who doesn’t lose his sense of humor and wit despite his many failures to secure a decent employment. A chance encounter leads him to the job of a dakiya (postman) in a nearby village, which he gladly accepts. In the village he soon gets around to doing his job with much sincerity and dedication. Within no time gets acquainted with most of the village folk- each of who have their own story to tell. These include a senile old lady who awaits the return of her son, a young widow who has lost her husband in the war- but has not lost the zest for living, and a young lady named Mohini (Hema Malini) who to Ravi’s pleasant surprise appears more than willing to strike a companionship. Soon Ravi and Mohini start meeting everyday and Ravi falls in love with her, completely oblivious to the fact that she has very little interest in him- the person, and most of her attention is reserved for Ravi- the postman. This is because Mohini expects a letter from her lover, an army-man, to reach her. Ravi’s pleasing ways and respectful manners lead her to confide in him her relationship with this soldier (Jeetendra in a guest appearance). This love story of hers completely shatters Ravi’s heart, who had genuinely felt that Mohini’s affections were a result of them drawing closer to one another with each passing day. But consoling himself, Ravi decides to go the city and look for this soldier who had not written to Mohini despite his many promises. When he returns, the news arrives that Mohini’s beloved is no more and has lost his life in the war. It then becomes his responsibility, being a postman, to break this news to Mohini…

Not unlike Khushboo, this story too looks like a chapter out of Malgudi Days with all its simple and unhurried appeal. The drama in the story is somewhat based on the fact that in those days very few village people could read and write their own letters- and the responsibility of the same then rested upon the village postman- who thus became an essential part of their lives. In that sense the village postman acted like a ‘social glue’, being a common element in all the villagers’ lives. Here the song ‘Dakiya Daak Laya’ reflects on pretty much the same sentiment. While the postman drama is the backdrop, the innocent love-story with all its uncertainty and apprehensions, is the motif in the movie. Ravi’s one sided love, and his expression of the same through his sketches (that are revealed at the end), is quite endearing. The most unique thing about the movie however, is that despite all its underlying tension; it retains a light-hearted spirit on the surface. There are many instances of humor, though like in all other Gulzar movies, they are quite understated. But quite unlike most of his films, the music score here is not too memorable with two of the songs being quite situational, and a forced nautanki dance number (picturised on Rekha) not being as fun as it should have.

Rajesh Khanna puts in an earnest act, and quite underplays his character for most parts. It is easy to make out that he was a very fine actor, and thus his fall from fame appears more baffling (though perhaps that had more to do with his off-screen issues). Hema Malini is effective, though it looks like she walked down straight from the sets to Khushboo to this movie. The supporting cast doesn’t have much to do here with Farida Jalal (another Khushboo connection), Asrani, Amjad Khan, and Master Raju being the most popular ones from the ensemble.

Parting Note: This movie is a sweet love-story that deserves a watch by all those who like such village themes. And when you add the fact that it is almost a lost Gulzar film, it becomes a must watch for his fans. 

Parichay (1972)

On the maestro Gulzar’s 75^th birthday, this is my humble attempt to recall one of my favorite films of his, one that I have watched many a times over the years and still find as endearing and as fresh as the first time I saw it- ‘Parichay’.

One of his early films, Parichay starred Jeetendra, Jaya Bhaduri, Pran, and Sanjeev Kumar (in an important cameo appearance). It is a simple story of an unemployed youngster, Ravi (Jeetendra in his first of the three movies with Gulzar), who takes up the job of coaching and reforming the five grandchildren of a wealthy businessman, Rai Saheb (essayed by Pran), in his uncle’s (AK Hangal) village. The grandchildren include Rama (Jaya Bhaduri), who is the eldest and is thus the leader of the pack. The five children are disrespectful and obstinate, and don’t share good vibes with their grandfather, owing to the strained relationship he shared with his son and their late father (Sanjeev Kumar). In an effort to reform them, Rai Saheb employed a series of tutors prior to Ravi, but all of them had been forced to leave by the five children’s reluctance to study and their penchant for naughty antics.

When Ravi takes up the job, the five of them try to do with him what they had done with their previous tutors and make him a subject of their tricks and pranks. But what leaves them utterly surprised is the calm manner in which Ravi brushes aside these pranks and does not even complain about the same to Rai Saheb and their strict aunt. What furthers their astonishment is that Ravi even refuses to use the stick to reprimand them, much to the displeasure of their aunt. Soon the kids take to his honesty, simplicity and affable nature, and start responding to his methods and his words. He becomes a very important part of their lives, and even Ravi develops a growing fondness for them, especially for Rama. How their relationship pans out is what the film is about.

The one thing that is noticeable about all Gulzar movies is that they all have very simple titles, which however always have some deep meaning attached and some strong connect with the story and the mood of the film. He calls this story Parichay, and rightly so for it is essentially about how the kids get introduced to their grandfather, with whom they don’t share a warm relationship, and vice versa. It is also a story of Ravi’s self discovery and his journey towards developing a purpose in life.

The performances by the leads are fantastic, but the real highlights of the movie are the really cute acts by the two youngest kids, and the stellar performance by Pran as the misunderstood Grandfather who is really out of ideas about how to make up with his distanced grandchildren. Even Asrani pitches in with an honest act- he was really one of the most versatile and efficient character artist of his times. The music of the movie acts as a character in itself, such is its beauty and such is its relevance to the narrative. RD Burman came up with some memorable music for Gulzar’s words, and the result were three splendid songs- the evergreen ‘Musafir hoon yaaron’, the haunting melody ‘Beeti na Bitayi raina’, and the charmingly playful ‘saare ke saare’.

As in all his other films, Gulzar chooses a simple tale with a heart and adds his masterly strokes in the form of witty dialogues, splendid music and moving drama. The craft of caressing a simple plot into an evocative and engaging feature is something that Gulzar practiced with trademark precision and uncanny ease over the years. It is hard to find any other Indian director with such a rich and full body of work, and adding his contributions to the world of poetry and music, he becomes truly unmatched and unparalleled.

Hoping that the magician lives on and on… his films and songs surely will…

Khushboo (1975)

I have always had a liking for the friendly and warm rural settings in both books and movies. Such settings may seem idealistic and may refrain from showing the murky realities, but their simple tone, and the simple problems that people in such stories have, have always allured me. Malgudi Days is my second favorite book after the Harry Potter series- and I was thrilled when I saw Gulzar’s ‘Khushboo’ unfolding in a manner similar to the RK Narayan’s classic fable based on the lives of people in a fictional village.

Starring Jeetendra and Hema Malini in lead roles, Khushboo is based on a story by Saratchandra Chatterjee (The man who also wrote Devdas). Kusum (essayed by Hema Malini) looks after a wealthy old lady who lives all alone in the village. This lady falls sick and Dr. Brindavan (Jeetendra in a role and look similar to his earlier film with Gulzar-Parichay) is summoned from a nearby village to tend to her. Kusum soon realizes that Dr. Brindavan is none other but the guy who she was engaged to marry as a kid. Their alliance had been fixed when they were very young, but it could not materialize due to certain misunderstandings. Subsequently, she and her mother had been unceremoniously disowned by Brindavan’s family- and while he and his family move on in life- Kusum remains still stuck in the past. She still considers herself married to Brindavan and refuses to marry anybody else.

Soon Kusum learns that Brindavan is married and even has a four year old son Charan. When Dr. Brindavan recognizes her and learns about how she still considers him her husband, he starts to feel a little guilty- but at the same time she gains a lot of respect in his eyes. He decides to marry Kusum (his first wife being no more) and solemnize the possessiveness she felt for him, but due to certain misunderstandings it does not happen. At the same time a beautiful bond develops between his son Charan, and Kusum. Charan also becomes very close to Kusum’s brother (played by Asrani).

The story takes a turn when Dr. Brindavan’s village gets hit by the epidemic of Plague. Many people die, including some of his near and dear ones- his highly efficient and respectful compounder Birju being one of the victims. As many people start leaving the village out of fear- there remains no option for Brindavan to leave Charan with Kusum at her home. He too starts living there on her behest, though most of the time he remains away tending to the victims of the epidemic.

Gulzar treats his stories with a lot of love and affection. I am yet to see many of his works, but I can bet that this would rate as one of his finest efforts ever. He is perhaps the most perfect writer/poet who has graced Hindi Cinema- I won’t exhaust my eulogies for him as, as I mentioned I am yet to see many of his works and hopefully write about. Hema Malini delivers surely one of her best performance ever, and Jeetendra is equally sincere and effective. The supporting cast, that includes the likes of Farida Jalal and Asrani, too leaves a mark with their earnest performances. Special mention must be given to Master Raju (who plays Charan) who simply lights up the screen whenever he appears and is most definitely the best child artist ever in Hindi Cinema.

This movie also boasts of memorable music by RD Burman. Each and every song is a gem and may be a part of the playlists of old Hindi film music lovers- ‘Bechara Dil Kya Kare’, ‘Oh Maajhi re’ being two of the most popular ones. 

Parting note- I loved watching this movie, and people who don’t mind a simple story unfold at a leisurely pace will surely enjoy it.