Nishant (1975)

“Zulm karna paap hai, par zulm sehna us se bhi bada paap hai”

This line may be an oft repeated one in many of the old Hindi Masala potboilers from the 70s and the 80s. But few would expect it to be the most definitive and poignant lines from Shyam Benegal’s take on the curses of the feudal system, Nishant (Night’s end). Nishant is a story set in the pre-independent era when our country was no country at all, but an agglomeration of fiefdoms, kingdoms, and states- some tiny and non-descript, while some mighty and formidable. Benegal tells the tale of one of the many insignificant Indian villages from that time, which has a landlord family lording over it. This village remains unnamed throughout the film which implies that the story could have been an occurrence in any part of our country. Though from the dialect and the customs and traditions shown in many of the scenes, it can be inferred that it is somewhere in Andhra where the cruel Zamindar (Amrish Puri) and his three younger brothers exploit the poor and helpless villagers in a bid to sustain and further their dominance over them.

Like Benegal’s previous work Ankur, this one is a no-frills representation of an era and a place that we deliberately choose to glaze over while talking about our great nation. Written by noted playwright Vijay Tendulkar, the seemingly straightforward story has many contours and dimensions that cannot be missed. However, the first forty minutes of the movie are devoted solely to setting the context and establishing the characters. Through some cleverly handled sequences we are introduced to the terror of the powerful feudal lords, their blatant and brazen suppression of the villagers through their illicit ways, their intra-familial dynamics wherein the eldest brother is the commander, the next two (Mohan Agashe and Anant Nag) are his devoted uncouth followers, while the youngest Vishwam (Naseeruddin Shah) is a sometimes reluctant sometimes eager follower of his elder brothers’ ways and means. This much confused youngest brother Vishwam later becomes the inadvertent catalyst of a violent revolution that sees the villagers take up the arms against their oppressive guardians, while his much affected wife Rukmini (Smita Patil) can be nothing but a silent observer.

Vishwam and Rukmini

While we have had movies that have dealt with the issue of zamindari, Nishant is unique as it mainly addresses the issue of carnal exploitation by the debauched men of the landlord family, while the other forms of exploitation are relegated to the backdrop. Unabashed in its treatment and unequivocal in its approach, the misdoings of the zamindars is clearly highlighted through the bouts of drinking and sexual gratification the brothers indulge in every night at the expense of one or the other innocent village girl. This world of moral depravity is shaken when the youngest brother Vishwam gets attracted to the wife of the village schoolmaster (Girish Karnad). The schoolmaster and his wife Sushila (Shabana Azmi) move in to the village and just as they slowly start to get attuned to the ways of the land, the Zamindar brothers’ forcibly take her away to their haveli, while her hapless husband kicks and wails watched on by the suppressed villagers. At the haveli, Sushila becomes a sexual object to the brothers, though the access to her is primarily given to the youngest Vishwam who is terribly besotted by her beauty. She is kept confined in the house, and slowly resigns to her fate. On the other hand her husband tries to appeal to all the official authority in this regard, but proves unsuccessful. But egged on by the village priest and spurned by an exchange he has with his wife in the temple (when she is allowed a visit there by Vishwam), the schoolmaster sparks a revolution in the villagers that takes a violent turn…

The reference to Ramayana is obvious in the way the narrative pans out. The Ravanas (Zamindars) forcibly take Sita (Sushila) as her hostage and keep her in Lanka (Haveli). Then Ram (schoolmaster) assembles a sena (villagers) to fight against the devil. However the similarities end here as everything else is a much stark departure from what happens in the epic. The treatment here is dark and disturbing, which makes the movie quite hard to watch (I saw it in two sittings).

It is tough to talk about performances in such a film where the written material is so strong. All the actors do a terrific job. In fact this movie is one of the early movies in the careers of all the major stalwarts of parallel cinema- Naseeruddin Shah, Shabana Azmi, Smita Patil, Girish Karnad, and Amrish Puri. However the two strongest performances are by delivered by Amrish Puri and Shabana Azmi. The latter is simply brilliant in the temple sequence when she meets her husband. The way she expresses helplessness, defiance, anger, and disgust is simply seen to be believed. Amrish Puri has the physicality and presence of the cruel villain, and the director fully capitalizes on it by giving him such a persona. 

Parting Note: Like Ankur, this one too is a disturbing watch that basically mirrors some uncomfortable truths about our society through an engaging story. These Shyam Benegal films are a study in contrast to the Rajshri films from the same time that dwelt on all the things that were happy, well, and bright in our villages. In my opinion each of these schools of film-making is as important as the other and should be treasured equally.

Humraaz (1967)

A BR Chopra movie from the late 1960s, ‘Humraaz’ starred Sunil Dutt, Rajkumar, and Vimi (an actress I did not know at all before watching this film) in principal roles. Before I go on with my mumblings about the movie, I would like to mention two things about it that I found to be quite strange.

First. I have never seen a more disjointed movie. Essentially a murder mystery, the real action starts very late into its runtime. The first half of this lengthy enterprise is a slow romantic drama that takes place in the serene locations of Darjeeling.

Second. The first half an hour of the movie has three songs almost back to back. Now, there have been many movies that have used songs quite generously in their narratives, but I for one don’t recall seeing any other movie that has three songs with almost no spacing between them. And this one was supposed to be a murder mystery. However, it must be said that all the three songs are memorable ones.

“Neele Gagan ke Tale…dharti ka pyaar pale…”

“Naa Muh Chupa ke jiyo… aur naa sar jhuka ke jiyo…”

“Tum agar saath dene ka waada karo… “

But despite these two obvious shortcomings, Humraaz is a pretty good watch overall… Captain Rajesh (Rajkumar) and Meena (Vini) are in love and marry each other in a secret ceremony, without taking the approval of Meena’s father. The very night of their marriage brings bad news and Captain Rajesh has to leave for the front to fight the war. Subsequently, Meena receives News that her husband had lost his life while fighting in the war. Completely devastated, Meena, who by that time had discovered that she was pregnant, is forced to confide in her father. In a real predicament and fearing a loss of face in the society, Meera’s father decides to hide the whole affair. A few months later, he also tells her daughter that she had given birth to a stillborn child.

Some time soon, Kumar (Sunil Dutt) and his troupe- famous theatre performers from Mumbai, visit Darjeeling. Predictably, Kumar falls in love with Meena, starts to woo her, and finally manages to convince her of his love. They get married, much to the glee of Meena’s father, and then the story shifts to Mumbai. There, Meena starts accompanying Kumar to all his theatre performances, and ends up becoming a guiding strength in his life. Three years of marital bliss pass, and Meena receives the News that her father is terminally ill. She visits him and he makes a shocking admission that, three years back, she had not given birth to a stillborn child, and that he had lied to her. The child, her daughter, was with an orphanage in Mumbai. Wasting no time, Meena visits the orphanage and meets her daughter Sarika.

She starts frequenting the orphanage, and even takes Sarika home to make her meet Kumar. Kumar really takes to Sarika’s innocence and vivaciousness, but refuses to adopt her citing the problems that may arise in the future when they have their own kids.

A twist in the tale is executed when Meena runs into Captain Mahindra, and old confidante of Captain Rajesh, her first husband. Subsequent to her meeting with him, Meena stops accompanying Kumar to his performances and starts to make some clandestine visits in the city. Here things pick up pace and a series of quick happenings culminate in Meena being found murdered at her home, in circumstances which throw the needle of suspicion towards none other than Kumar. What happens next is the crux of the movie and is what makes it worth a watch.

The story, it can be said, is formulaic till the murder happens, after which things become really interesting and engaging. The last one hour or so has a frantic pace and keeps the viewer glued to the proceedings. The climax and the revelation of the culprit is not something on which most viewers would be able to make an accurate conjecture. All loose ends are tied-up pretty nicely and no questions are left unanswered.

BR Chopra was known for making musical suspense thrillers, and Humraaz is considered to be one of his better works. What makes this movie work apart from its last one hour is its music, and the performances by the cast, especially by Sunil Dutt who is fantastic in his portrayal of a suspect trying to prove his innocence. Flashes of his genius can be seen in the scenes of his on stage performances, especially towards the part when he starts to suspect his wife of some misdoing. His subsequent on-stage performance of Othello is stellar.

Rajkumar is a true scene-stealer and makes his presence felt. The actress Vini plays the damsel in distress pretty well, though in certain sequences, she appears a bit wooden. Balraj Sahni is featured in an extended cameo, as the investigating officer, and needless to say, he is just superb. Rest of the cast, including Mumtaz, provides able support.

Parting Note: ‘Humraaz’ is a pretty good suspense thriller with good music, suitable for a lazy Sunday afternoon viewing.