Dard Ka Rishta (1982)

An artist’s best work is often the one that has risen out the melting pot of his own life experiences.  The best artists in the world are known to create art for themselves, not caring much about the expectations the world burdens their shoulders with.  In fact, there have been innumerable cases where an artist was not even acknowledged during his or her lifetime; the famous painter Van Gogh’s name comes to mind as a prime example of such an occurrence. If we have to looks for an example closer home, the name of Guru Dutt can be mooted in this regard. Although he wasn’t completely unappreciated while he lived and made movies, his true worth was recognized only after an untimely death. Though, it must also be said while citing his example that cinema, as compared to painting or music, is a highly corrupted art form, owing to the fact that films are almost always made for an audience and are hardly ever devoid of commercial considerations.

Another observation that I will make before turning to discuss the movie I wish to discuss in this post, is that it is often painful experiences and grief that act as the most effective catalysts to the most creative of expressions. This particular sentiment has been widely popularized by the movie ‘Rockstar’, but I had to say it to set the context.

Sunil Dutt, was a prolific actor, and more than just an occasional director/producer. In fact it won’t be wrong to say that some of his directorial/production ventures were far more ambitious than most of the movies he starred in as an actor. From ‘Yeh Raaste Hain Pyaar Ke’ which dealt with a taboo real life adultery case, to ‘Yaadein’ that was an unique experiment with just a soliloquy piecing together a narrative, to big canvas dacoit films like ‘Mujhe Jeene Do’ and ‘Reshma aur Shera’, the man was never afraid to challenge the stereotype. In 1981, the year in which his son Sanjay was launched by him in ‘Rocky’, he suffered a huge personal setback when his beloved wife Nargis succumbed to cancer. Out of this great grief must have emerged the story and concept of ‘Dard Ka Rishta’ a movie that he made just after, as a tribute to his wife, and apparently to further the cause of cancer awareness and research. And in my view, this particular movie, made as a labor of love and pain, is the best movie out of all that were produced by him. 

The structure of the story is simple but touches upon many issues that remain relevant even today. One, it highlights the conflict in the mind of an expat originally from a poor/developing country like ours, of whether to lead a somewhat selfish existence where there are many personal gains to be had, or whether to go back to one’s own country and contribute using the skills gain abroad. Two, it talks about the conflict in the mind of a doctor, of how to best use one’s education, that is, to use it as a privilege or as an aid to the society’s betterment, also whether to make best use of what’s current, or whether to throw oneself into research and look for better methods to improve on the current.  Three, it looks at the relationship between an estranged couple, and how it plays out when they meet after many years. Four, it looks at the plights (and the delights) of a single parent, on how kids such raised, mature quicker and come to terms with life’s realities and responsibilities a lot sooner than kids indulged by both the mother and father together. Five, through a somewhat clichéd and yet entertaining side-track it looks at the eternal Hindu-Muslim communal issue, which again is an apparent offshoot of Sunil Dutt’s own life, owing to his marrying a Muslim lady. Lastly, and above all, it highlights how difficult it is to face loss, to watch a loved one die, and not being able to do anything about it.

The story, refreshingly for a Hindi movie of that time, has a broad geographic canvas a narrative that has a wide time span. Thus, the characters and lives evolve and grow as the story progresses. Most impressive is the restraint on melodrama, which is left implied and unsaid on most occasions, truly unique for a 1980s Hindi movie. A lot of this can be attributed to the calmness and grace that is brought to the screen by all the female actors- Smita Patil, Reena Roy, and a young Khushboo (the famous actress in South Indian films) who plays Sunil Dutt’s daughter. Sunil Dutt, essaying the lead male part, expectedly acts with great sincerity and sensitivity. The music by RD Burman is pleasant to the ears and complements the mood of the film.

Also unlike most Hindi movies, it is difficult to decide what the best parts/scenes of the movie are. The father-daughter relationship is heartwarming and in essence is the core to the plot, but the subsidiary emotional linkages, for instance the relationship the girl shares with the servants/helpers of their household comes out very well through some nicely written scenes. The NRI portions of the story, which would have done Jhumpa Lahri proud, have a stamp of finesse and class. The medical procedures and functioning of a foreign health-care setup, as shown in the movie, give the impression of being well researched. The only dated bit of the movie is the part where Sunil Dutt has to marry Reena Roy because of certain unfortunate circumstances, but even that can be excused as a well-received big-star movie used the same plot device as much as twenty-five years later (How Shahrukh Khan ends up marrying Anushka Sharma in his blockbuster hit Rab Ne Bana Di Jodi).

 

Overall, the movie is well worth its slightly long duration, and is quite a classic if you consider the period it was made in, and the personal element of the maker involved. It is unfortunate that this movie is seldom talked about in the media circles (it even fails to receive a mention in the main body text of Sunil Dutt’s Wikipedia page).

Door Gagan Ki Chhaon Mein (1964)

The impression you get about Kishore Kumar after reading his interviews is, that he was a highly reluctant actor ,and abhorred the task of making a fool out of himself in front of the camera. This, and that he was extremely critical of most movies that were being made in the 1950s and the 1960s, and despised the standard melodramatic fare that was being dished out by the tinsel town copiously. But despite all this he starred in dozens of films, most of them comedies, out of which a few are fondly remembered even today- ‘Half Ticket’ and ‘Chalti Ka Naam Gaadi’ leading the pack. As a singer, he is arguably the most popular male voice to have made listeners swoon and sway, with some of the most popular and iconic songs over the decades, to his credit. But very few are aware that he tried his hands at film-making as well and directed quite a few movies. At least I had little clue about his directorial efforts till recently when, on a whim, I decided to browse his IMDB page. A frantic online search later, I was happy to find two of these movies and downloaded them almost at once.

 

'Door Gagan Ki Chhaon Mein', his second production, seems to have had his absolute control over all aspects of its making- He is credited as the writer, director, producer, music composer, singer, and lead actor. In addition to all this, his real life son plays his screen son in movie, a sensitive father-son tale. Kishore plays an honest army-man who returns to his village after a war, only to discover that all his near and dear ones, except a son, have succumbed to a tragic fire and have left for the heavenly abode. If this wansn't agony enough, he finds that although his son had escaped the clutches of death, the shock had been too much for his young impressionable mind and as a result the boy had lost his gift of speech.

 

With hardly any means to support themselves, and no emotional anchor except one-another and a pet dog, the unfortunate father-son duo leaves the village with the intention of relocating to a new place and making for themselves a new life, far removed from the ghosts of the past. The father makes it a mission to restore his young boy’s ability to speak, committing to make all kinds of personal sacrifices to achieve this goal. Soon, on their journey, they encounter a group of goons and in a conflict, the father is injured, and they land in the home of a kind and young village landlady who gives them a place to stay and tends to the father’s injuries, while forging a motherly bond with the son. Thus the wanderers soon become householders, with both the father and the son playing an active role in the daily life and works on the land holdings of their benevolent host.

 

 A slightly awkward romance soon develops between the adults, but before things become too intimate, the father decides to leave for the city for his son’s treatment. Predictably the city offers no respite and after consulting a multitude of doctors who all express their inability to bring about a change in fortunes for the boy, they decide to return to the place where they had found love and an emotional refuge. The movie culminates with on a clichéd and dramatic note, with villains and a kidnapping thrown in, a heroic performance from with father included, and a miraculous recovery of the boy, all leading to a happy ending with the union of hero and the heroine and the karmic completion of the boy’s circle of family ties.

The movie has a sincere theme and a stirring emotional stamp throughout, most probably due to the fact that the subject might have been very close to Kishore Kumar’s heart. However, a lot of the screenplay is contrived and lacks finesse, especially the later portions of the film. For a more commercial presentation a lot of the usual elements appear to have been added, which makes the effort a bit hotchpotch and jarring. The music and the acting by the leads are quite good and some of the scenes, especially the ones depicting the awkward romance blossoming between the father and the landlady, display unusual restraint and subtlety.

Overall, to the fans of old Hindi cinema, the movie would be worth watching as it is the work of a highly creative and genius mind who wore multiple hats, some fine some shabby. Just as a glimpse into his personality, the movie is quite a decent watch despite the fact that it appears a bit dated today, but that can be said for many of the acclaimed classics as well from that time.

Anand Ashram (1977)

I pushed back watching this Shakti Samanta movie for quite some time, expecting it to be one of those moralistic tale laced with melodrama and strung together by a few good songs. Another big reason for my lack of enthusiasm was that this movie, unlike most other Shakti Samanta movies of that time, does not star Rajesh Khanna, and instead features Uttam Kumar, an actor I am not particularly fond of. As it turned out, as I finally got around to watching it, I was somewhat right about my pre-conceived notions. But having said that, the movie pleasantly surprised me on many counts, and in fact turned out to be quite a good watch. Also, as the narrative unfolded and moved towards the climax, similarities between its story and that of big ticket Karan Johar magnum opus Kabhi Khushi Kabhi Gham became quite apparent, which were rather interesting to discern. The coincidence that Rakesh Roshan plays the role that would be parallel to what his son Hrithik Roshan performs in the modern day magnum opus, was what triggered the connection in my mind.

A young doctor marries his childhood companion without his father’s consent. The father, a rich and respected landlord with a legacy he is very proud of, is terribly disappointed by his son’s decision to marry a girl from a different religious background. The confrontation leads to the son abandoning his father’s house and giving up on all his inherited wealth. He, along with his wife, then proceeds to fulfil his life’s objective of providing medical services to the underprivileged villages, which lack healthcare infrastructure. A chance encounter with a wannabe do-gooder enables him to open a village dispensary, which he starts to run with his wife supporting him wholeheartedly. Then in a curious turn of fate, his allegiance to the oath of selfless service is put to test. He passes the test but suffers a great personal loss when he is unable to be at his wife’s side as she is delivering their first child. The story from there briskly changes character and soon takes a time leap. With the drama set, the next part is quite entertaining to watch.

Despite the serious theme, a feel-good factor is maintained throughout, thanks to the well defined characters essayed by Ashok Kumar, Utpal Dutt, and Asit Sen. In the second part of the movie the romance angle between Rakesh Roshan and Moushumi Chatterjee also lightens the proceedings. Towards the end, the culmination too is convincing and ties up the drama satisfactorily.

It would not be completely off the mark to say that the basic skeletal of Anand Ashram and K3G is alike. What is most different is the objective and treatment. While Anand Ashram has the theme of selfless service to humanity as its backbone, K3G has no such pretentions and was quite unequivocal in its fidelity to the candyfloss. As a result the characters in the older film are less caricaturish and have more shades to their personalities. And that is strength of Anand Ashram as a more ‘moving’ motion picture. The lead hero, Uttam Kumar, is not very convincing in the initial portions of the story where he plays the rebel lover lip-syncing to songs and romancing a stunning beauty like Sharmila Tagore. But in the later part of the movie he appears in a bearded look and is generally more assured. But Ashok Kumar as the ‘kabhi garam kabhi naram’ granddad (and dad) gives the most heart-warming performance from the lot.

Almost all the songs are nice and don’t really act as speed-breakers. ‘Sara pyaar tumhara’ and ‘Rahee naye naye’ and the most melodious and must have been quite popular in their time.

Parting Note: Anand Ashram has a good original story to tell in a breezy run-time. Also, the message it propagates is universal and quite relevant even in the current times.

Taxi Taxie (1977)

In 1976, Martin Scorsese came up with Taxi Driver, a movie that went on to be viewed as one of the best films ever. Starring Robert De Niro, the movie garnered tremendous critical acclaim and emerged as a cult classic. Over the years many directors have been inspired by its style and the way it went about constructing a psychological study of a man leading a life shrouded by disturbing elements, or rather deconstructing the psychological state of disturbed man finding it difficult to come to terms with his environs.

Closer home, a man called Irshaad made a movie titled Taxi Taxie, casting Amol Palekar in the lead as a taxi driver operating in the metropolis of Mumbai. This movie that came out in 1977 seems to be clearly inspired by the English classic that released a year before. However it must be said that it is the best sort of inspiration. The director/writer has been influenced by the idea of his famous contemporary from the west, and has created a completely different movie, completely different narrative of his own, which is quite unique and interesting.

Amol Palekar, quite fondly given the moniker ‘Hero’ by his fellow Mumbai Taxiwallahs, is an honest and diligent worker who spends most of his time on the streets of Mumbai, helping various people move around the city. However, he himself finds it difficult to navigate through certain cobwebs in his mind, which keep pushing him back to his past. His choice of being a taxi driver, despite being well qualified academically, comes as an enigma to his old college friend who he runs into one day. He justifies it by voicing the joys of being constantly with various passengers, who he treats like fellow companions in the journey of life. The profession, thus, is his way of parrying off any chances of falling prey to loneliness. There is also a more romantic reason of him wanting to search for an old flame who he hopes would run into him, if luck is on his side. Thus, all the time his eyes keep searching for that familiar face while he drives through the good and bad wonders of the city.

As a part of his routine, Hero chances into a hapless (and kind) prostitute more than once, and forges a friendly relationship with her. He also meets a struggling playback singer who somehow reminds him of his flame who he wants to reconnect with quite badly. There is also a kind Christian landlady with whom he shares a lovely bond. It is through these relationships that Hero’s thoughts and conflicts are brought to the fore wonderfully well.

The movie is quite atmospheric and the city of Mumbai plays a crucial role in binding the narrative. Quite like the recent Aamir Khan starrer Talaash, a movie that also shares some other similarities with this thirty five year old forgotten flick. People who have been to Mumbai will find it quite interesting to see all their favourite places from ‘town area’ being given due prominence in the film (without ever pushing the main context to the background). Some deftly handled small touches can be appreciated after every few minutes, which makes the film appear very technically sound in spite of the apparent low budget.

The best thing about the movie is that despite its very heavy subject and philosophical tone, it never comes across as too much to take in. Some light-hearted moments are nicely done, and some appear contrived today, but by and large it is an extremely fresh screenplay which at least I have not seen replicated in (or replicated from) any other Hindi movie. Apart from Amol Palekar and a stunningly beautiful and assured Reena Roy, none of the actors show much finesse. However the below average acting acumen of two of the three leading ladies is not at all jarring, as Amol is in each and every frame to balance proceedings. 

The music is tuneful and soothing, and surprisingly not overdone. But it is one of those Hindi movies which do not need the crutches of super-hit songs to stand tall. The meat in the concept and the surprisingly well written dialogues take care of almost everything. Another point worth appreciating about the feature is that it never meanders, even when its lead meanders in his realms of thoughts. In the hands of a lesser director, the plot could have turned into a crime/mystery drama, (I have seen some Hindi movies taking that route after showing a lot of promise in the initial reels) but fortunately here the man in-charge sticks to the point.

Parting Note: Taxi Taxie is a very good Hindi film lost in oblivion. Definitely an excellent watch even today.

Thikana (1987)

There was a time when Mahesh Bhatt used to make films. Good, bad, ugly- whatever- but they were never business projects, just stories that he used to put to life on celluloid. And more often than not they were stories that emanated from the heart that aimed to strike a cord with the hearts of the patrons. Strike a cord with hearts. Nothing above. Nothing below!

Thikana is one such story that is quintessential Mahesh Bhatt of the 1980s. Emotionally verbose, melodramatically intricate, perfectly imperfect, and remarkably sinuous. And yet at the core the film’s simplicity is akin to a child bawling in pain in front of his mother. Save the last thirty minutes when it deep-dives into the pits of mediocrity, the film could have been a well remembered one.

The genre of the movie can be defined as pulp fiction at best- the kind which is available in abundance in the bookstalls of the railway stations across the country. The sub-genres can be described as concentric circles- with mystery forming the outermost circle, and drama forming the central core. The story is woven around the travails of an idealist lawyer, Ravi, who is also unabashed drunkard. Anil Kapoor plays this wasted young man who is pitied, detested, and admired in equal measure. This is established by scene early on in the movie when an inebriated Ravi returns home one night to the caustic remarks of his widowed mother and the comforting presence of his elder sister Shashi (essayed by Smita Patil). What follows next is a full blown melodrama where a semblance of sobriety is incorporated through some wonderful dialogue. The very next morning, however, normalcy is restored, acting as a subtle metaphor to the new day and the fresh start it indicates.

Some other powerful scenes follow, one in which when Ravi’s self-respect is questioned he decides to do away with the ideals he had inherited from his father. In the court of law, he is asked to prove that a young girl is of legally marriageable age, when she clearly looks like being years away from that. How Ravi’s hands waver while signing the testimony and how he admits to have been led astray by his own insecurities, is a study in how a single powerful scene can etch out a characterization that in most movies a series of scenes cannot. Some remarkable scenes between Shashi’s fiancé Ranbir Singh (a police officer- enacted by a superb Suresh Oberoi) and Ravi follow. In fact it is the relationship between these two men and their confrontations constitute the most emphatic part of the movie. A cameo by Anupam Kher is worth mentioning, but just like the movie- it is overstretched and redundant beyond a point.

The most striking part of this movie however is that each and every character has grey shades. And thus the dialogue is so forthright that it gets uncomfortable for an average Hindi movie watcher after a while. But what’s not unusual here is the generous use of songs, and none of them worth a mention. And neither the unnecessary and completely headache inducing last part of the movie, which kind of overshadows the merits of the first three-fourth of the movie to a certain extent. It looks like a lot of it shot keeping the commercial prospects of the film in mind. But in retrospect it might have just backfired.

Performances from Anil Kapoor and Suresh Oberoi are the highlights. Smita Patil is her usual poor weepy self and Amrita Singh (who plays Ravi’s love interest) is in her usual flashy yet lost avatar.

Parting Note: The film is engrossing for most parts and has some remarkably well-written moments of drama. However the last half an hour prevents this movie from being a fondly recalled one.

Trivia: This film was released after Smita Patil's demise and thus its release was dedicated to her.

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. 

Paheli (1977)

India lives and breathes in its villages. Unfortunately most of us city bred people don’t even appreciate this fact (till the day we take a train and realize that cities are like small traffic lights on a long expansive road). Our movies of today don’t really appreciate this fact either. I personally have always loved the rural settings in movies and books and such movies act have a great cathartic effect on me. The languid and all encompassing life of villages with limited means and limited ambitions has always had a great pull on me. The days in such settings somehow seem rather unhurried and more meaningful to me. I have always wondered whether other people also feel the same way about rural life (or do I have a strong past life connect). I have no answer and frankly I don’t care. When I saw this little gem of a movie from Rajshri- Paheli, I got so much sucked into its world that I found it very hard to get back to my world. It was really difficult to get it out of my head.

Paheli is a sweet story of a city boy visiting his grandmother in his ancestral village and a village girl who becomes his companion there. The movie has no big known names and was the launch vehicle for all its young actors including Arun Govil. Montu (Satyajeet) has just completed his school and decides to visit his grandmother in their village in his summer vacations along with some friends. There, he meets Gauri, an exuberant and full of life village girl who initially teases him a lot for his city ways and then strikes a great companionship with him. Montu’s friends find it difficult to adjust to the village life despite the love and affection thrown at them from all quarters and leave for the city after two days. Montu stays behind and falls in love with the village and its people. He and Gauri spend some great and joyous time together- exploring the vistas and everything else the village had to offer. They run around, they fight, they argue, and they learn from each other. Theirs is the sweetest age of first love, and the movie revels in their joys of discovering it without actually realizing it.

Finally the time comes for Montu to leave the village and return to the city where he has to enroll in a college. He makes a promise to both his grandmother and Gauri that he would return to the village in his next summer vacations one year later. That one year passes rather quickly and he hurries back to the village, only to realize that many things have changed in the one year that has gone by, including Gauri who has started behaving rather weirdly in his company. Montu cannot make any sense of this frustrating paheli (puzzle/riddle) that he had to contend with. He wants Gauri to be the same way as she was one year back, but cannot realize a simple truth that was staring at them from all quarters- The simple truth that she and he were grown up people now. But everything gets sorted out at the end of course.

The movie is a delightful take on adolescent love. It smells of and exudes our Indian values and culture- the values that getting somewhat diluted in the current times. It is like an experience and transported me to a different world altogether- a world that is peaceful and compassionate. But most of all it introduced me to Gauri- a character that I absolutely loved. Nameeta Chandra, the girl who plays Gauri, does a great job of it and is truly the life and soul of the movie. After watching this movie, I did quite a search on her and realized that she almost disappeared after doing this movie (she did a devotional movie Ganga Dham with Arun Govil and a bit appearance in a Masala potboiler in the late 1980s- that’s it). It is unfortunate as I found her enthralling and would have loved to see more of her. I guess I will have to make do with watching bits and pieces of Paheli every now and then. It is truly an unknown gem by Rajshri, and it’s quite strange that there are not many reactions on the movie online. Though many people have commented really fondly about this movie and Nameeta on its YouTube songs links. So I guess I have not really gone mad! 

Signing off with few of the wonderful songs of the movie (by Ravindra Jain)

Khandar (1984)

Slight periods of darkness interspersed with glorious hours of sunshine. But at the end, the darkness had to prevail…

Mrinal Sen’s 1984 feature film Khandar (ruins) is a deeply moving account of human predicament, that despite it lugubrious approach ends up as a poignant and redoubtable study of how our past and our roots always have a formidable role to play in shaping our future. The emphasis is on stillness of time and incidentally (or rather intentionally) the main character is a still photographer. It’s his art that acts like a window to the director’s mind and his vision. The story though basic alludes to a deep thought that is far visceral than what it looks on surface.

A young man Dipu (Pankaj Kapoor) takes his two friends, Subhash (Naseeruddin Shah) and Anil (Annu Kapoor), along to his ancestral ruins in the heartlands of the country where once his family were the plenteous ‘zamindars’. The decrepit ruins are a photographer’s delight and thus Subhash cannot keep his alacrity in check and decides to take a panoramic view of the surrounding from the roof of their ‘haveli’ despite it being pitch dark on the first day of their arrival itself (he uses an electric torch for the same). The circular gaze of his torch falls upon the intricate wall structures on the building opposite to him until it captures a face in a window- the face of a woman…

Later he comes to know that the woman is Dipu’s cousin Jamini (Shabana Azmi) who lives all alone in the spawning derelict ruins along with her invalid mother who can’t even move an arm without someone’s intervention. Dipu tells him and Anil about her being the only members of their family who had refused to leave the ‘haveli’ even as the others around them had left for the big cities in search for a better and a more secure livelihood (triggered by a malaria epidemic that had struck the region a few years back). He also tells them that both Jamini and her ailing mother were waiting for a guy who had promised to come and take Jamini along with him as his wife. This very hope was what was keeping the old lady alive. Intrigued by it all Subhash decides to visit the mother and daughter while Dipu paid them a cursory visit. But in an unexpected turn of events, the mother (who no longer has the sense of vision) imagines Subhash to be the very guy who had promised to take her daughter away from the ruins and help her escape her vacuous and wasteful life.

What follows next is that Subhash finds himself drawn towards the extremely nubile and pragmatic Jamini, but cannot bring himself to admit it. At the same time a slight hope starts building up inside Jamini that Subhash would indeed ask her hand for marriage. At more instance than one, both of them meet and there is a tacit confluence of these thoughts. However nothing is expressed verbally. Jamini’s comportment changes drastically while talking to Subhash. The intonation in her voice and the lurch in her sentences convey a great internal struggle that is only compounded by her mother’s inexorable questions and remarks. On the other hand Subhash starts hiding his face behind his camera to eschew giving away what was going on in his mind. His fingers keep on clicking away and he starts capturing each and every aspect of the quaint ‘khandar’, while avoiding taking that one picture that would be the closest to his heart.

After three days the time comes for them to leave the ruins, Subhash cannot hold himself back and jumps out of the bull-cart just prior to their departure and runs towards Jamini’s quarters. Till the very last moment he cannot resolve his predicament, and ultimately leaves upon taking just one last photograph, that of Jamini looking at him in a hopeful manner through the door of her house of confinement. This last photograph would keep haunting Subhash for the rest of his life…

The movie is akin to a beautiful and languid prose that is suffused with thought. Through the sinuous performances by the case, especially by Shabana Azmi who is beyond wonderful in her portrayal of the lady thwarted by her own roots, the movie sublimates into something which is very rare in Hindi cinema.

Parting Note: The movie is simply a must watch. It’s unfortunate that the only print available for it online is not too great and the scenes shot in the darkness of the night are difficult to comprehend. But it is no hindrance as at a certain level it was meant to be that way- only those who know the dark can appreciate the munificence of the glorious sunshine!