Annadata (1972)

Many of our old Hindi movies have messages that have not lost their relevance over the years. In fact some of them seem to have been written with a crystal ball in tow, for the incipience of the issues they reflected on at that time has turned into a chronic persistence in the modern world of today. Annadata, one such film made by Asit Sen almost forty years ago, is a film that moots the breeding selfishness in the modern materialistic world and questions whether there is any good left in the world deafened by the rumble of avarice and ambition.

A rich industrialist Amba Prasad (essayed by an immensely likable Om Prakash) is referred to as annadata because of his largesse and charitable disposition. In the urban jungle that incubates the battle between the haves and the have-nots, he stands tall as someone who uses his wealth for the good of everyone, and not just for himself. However, false news of his death opens a can of worms when a large number of his blood relatives start fighting amongst themselves while staking a claim to his empire. But what truly breaks his heart is when his adopted daughter claims to have been an illicit relationship with him (forced by her gold-digging parents), just to proclaim herself to be a true heir to his vast empire. This cruel accusation completely shatters the old man’s faith in the world and he leaves everything he owns in care of his manager, while embarking on a journey, with only his pet dog accompanying him, to discover his lost belief in mankind.

On his journey when he is just about to give up all hope, a chance encounter brings him in touch with Aarti (Jaya Bhaduri), who nurses him to good health. In the days that follow Amba Prasad discovers how one woman epitomized all that he was looking for in the world- honesty, selflessness, benevolence, and righteousness. When he had started getting the feeling of been marooned on an island of spite and no respite, Aarti’s care and love ensnares him in her small yet salubrious world that blossoms with empathy of its occupants. Amba Prasad also strikes a quaint companionship with Aarti’s lover Arun (Anil Dhawan), an idealist painter whose lack of means makes him hesitant to solemnize his love for Aarti.

The movie is far from perfect despite the well intentioned premise. There are unnecessary scenes and also some shoddy acting, led by a very stiff and unintentionally hilarious Anil Dhawan. A polished actor would have definitely added tremendous weight to some complex scenes that fail to achieve their purpose with the present actor. The songs by Salil Chowdhary, though melodious, aren’t as neatly woven with the story as say Gulzar film songs would be. But Jaya Bhaduri and Om Prakash’s assured presence, and the brevity of most scenes that could have fallen in the trap of sermonizing, ensures that the film remains a light yet meaningful watch that ends on a positive note. In fact the film traverses the gargantuan distance between pessimism and optimism in just about two hours.

Parting Note: Annadata is akin to a Hrishikesh Mukherjee film that has its screenplay woven around a good idea, and is given a light-hearted treatment with melodrama kept to the bare minimum.

Buddha Mil Gaya (1971)

Hrishikesh Mukherjee and Salim-Javed never collaborated on a movie. In the 1970s, these were two institutions of the Hindi film industry that operated in different spaces altogether- and yet were able to enthrall the same audience with their distinct approaches to telling a story on screen. Both were prolific, and both were big brands. At the start of the decade Hrishikesh Mukherjee directed Buddha Mil Gaya’, comedy-thriller that is funnier than most out and out comedies of that time, and also has more thrills than most out and out thrillers of the period. And the striking thing about the movie is its almost ‘Salim-Javed’ian plot treated by Mukherjee in his own trademark manner. Also, it is one of those rare non-art-house Hindi movies in which the hero of the show is an old man- essayed by the inimitable Om Prakash. And what makes it more unique is that the old man here is not shown as frail or dependent on someone. The man here fights his own battles and takes everything head on, while not losing his sense of humor even for a moment. This elderly fellow is younger than most youngsters at heart- he is quick, he is nimble, he is charming, and he is brave. And he is remarkably entertaining.

The movie stars Deven Verma and Navin Nischal as slackers who do a bit of photography to earn their daily bread. Tenants to a kind yet fiery old lady and her granddaughter, the two guys are forever hard pressed for money. Then one day they see an advertisement announcing for a missing old man to report himself to his corporate partners in the next fifteen days, or else be at the risk of losing all his money to them. The two of them wish to catch hold of this old fellow and apprise him of this news. They think that this might lead them to a handsome sum of money. In a happy coincidence they spot the old man in one of the photographs they had clicked a few days back and very soon run into him at the same place where they clicked it. They request the man to accompany them to their home, and the man agrees because of a personal reason. The two however are unaware that this old fellow is on a grave mission to rest the ghosts of his past. Within no time they too get well and truly embroiled in the dangerous game of the old fellow. What follows next is what the movie is all about.

There are slight cinematic liberties that Mukherjee takes in the movie, especially in the first half. But all in all he has a taut script at hand which he executes with great dexterity on screen. It looks like the making of the film was a joyride and that fun and frolic gets reflected in the way the characters perform. The humor in the film is clean and sans any innuendos (as you expect with any Hrishikesh Mukherjee film), and it is remarkable the way the director derives genuine laughs in the most simple and innocuous of situations. The two heroines opposite Deven and Navin are Aruna Irani and Archana. The exchanges between the two couples are most deftly designed and it is ensured that none of it is the run of the mill stiff.

When the old man enters their lives and Deven and Navin get involved in his affairs- the two of them form a pair not far off from the Amar-Prem Jodi from Andaaz Apna Apna- two not-so-smart people led by the slightly less duffer but vastly more articulate fellow on the trail of something intricate. Both the actors do a fine job, more so Deven Verma who lights up the scenes with his flair for comedy. However, the life and soul of the film is the performance of Om Prakash. He is effervescent on screen and completely owns the second half of the story. The way he expresses himself in the ‘thumri’ he teaches Archana is simply amazing. It is pretty evident the man knew that he would never get many such opportunities to play such a flamboyant character- and thus makes the most of it. The story and the intentions of his characters in the film are kept as suspense till the last few minutes, and this adds an additional dimension of intrigue to the narrative.

The music by RD Burman is superb- two of the songs are quite popular. ‘Raat Kali Ek Khwab Mein Aayi’ is one of the timeless romantic numbers created by the maestro. There is also one slightly weird comic dance number with Om Prakash as the center of the attraction that comes towards the end of the film and works well in the context of the narrative.

Parting Note: Buddha Mil Gaya is the closest Hrishikesh Mukherjee gets to the Salim Javed brand of entertainment. But what makes it a must watch is his own trademark touches that ensure lots of fun throughout the film. I would place it slightly ahead of Bawarchi in the list of my favorite Hrishikesh Mukherjee films- a list that is led by Golmaal, Anand, and Chupke Chupke.