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.

Anamika (1973)

After watching this Sanjeev Kumar and Jaya Bhaduri starrer from the early 70s, I was really surprised why this movie is not talked about more often. It is a light-hearted suspense drama, with some crackling romantic moments between the lead pair and some wonderful songs. Now this may sound like one of those movies that attempt a mishmash of all genres in the garb of producing an entertaining product, but this one has a core strong story too that holds everything together.  And if I may add, it is one of the most entertaining movies I have seen from the 1970s.

Devendra (Sanjeev Kumar in a role far off from what he was more renowned for) plays a famous writer, who incidentally is a misogynist, and an unabashed one at that. He lives with his uncle (AK Hangal), his niece, and a secretary Hanuman (Asrani in a typical comic role). One night, while they all are returning from a press conference, they spot a woman (Jaya Bhaduri) being thrown off from a car on a deserted road near their home. They rush forward to help, and discover that the woman had gone unconscious. On the insistence of his Uncle, Devendra takes her to their place. The next morning, when the woman gains consciousness, she starts behaving oddly and to everyone’s utter surprise, claims to be Devendra’s wife. The family doctor is called for and he tells them that the woman has sustained some internal injuries and needs to be taken care of for fast recovery. Against his will, and again on his Uncle’s insistence, Devendra agrees to let her stay at their home, on the condition that he would not play-act to be her husband. But things begin to change when he starts falling in love with the simplicity, charm, and devotedness of this woman (who they start referring to as Anamika). What happens next and how Devendra gets embroiled in a potentially dangerous turn of events that threaten to play with life and his composure, is what the movie is all about.

The movie has many elements that are associated with most commercial movies of that time. It has a clichéd comic track featuring Asrani, but the guy makes it work by his sheer capacity to embrace buffoonery. It has a seduction number (which is far from seduction and is actually a very cute romantic song), a Helen dance number (a signatory RD Burman offering), an evil villain lusting after the lead heroine, and a quintessential AK Hangal performance. The movie even gives Sanjeev Kumar the opportunity to do some action and beat up some goons (the only time the man looks awkward on screen). But despite all this, it is a highly entertaining enterprise that is lent solidarity by the sincerity and calm presence of its lead actors. They are aided in their endeavor by some fine dialogues and some crisp writing, not to mention the tight pace maintained by the director (Raghunath Jalani) over the sequence of events. The one thing he could have changed (or rather done away completely with), are the last five minutes of the film. But despite that ‘Anamika’ has a runtime of just over 120 minutes.

This movie is an example of how two fine actors can take a good story to a different level altogether. The brilliance of Sanjeev Kumar gets reflected in many scenes, which he handles with the dexterity and command that very few actors of time could have managed without appearing theatrical. The sequences when he falls in love with Anamika are a sheer delight to watch. Jaya Bhaduri gets a meaty role and does full justice to it. Again very few actresses from that time could have done what she has done in this movie convincingly (in fact no one in my opinion). The movie is embellished with some beautiful music by RD Burman, which is given full justice by making the songs a seamless part of the narrative and not mere add-ons (except the Helen number, and understandably so). The songs “Bahon mein Chale aao’ and ‘Meri Bheegi Bheegi si’ deserve special mention.

Parting Note: The movie is a highly enjoyable watch, and I guess can be categorized as ‘intelligent-popcorn cinema’ (if people don’t find it an ‘Oxymoron’ish phrasing).  

Chashme Buddoor (1981)

On friendship day, recalling an on-screen friendship that is closest to how friends are in real life....

Three students renting a flat in a big city- all of them single, lazy, carefree, and most of the times out of cash. Sounds familiar? It is the story that plays out in our cities, especially Delhi and Mumbai, at more places than one. Sai Paranjape’s ‘Chashme Buddoor’ is a delightful take on bachelorhood and friendship. The three guys Siddharth, Omi, and Jai are played by Farooq Sheikh, Rakesh Bedi, and Ravi Baswani repectively. While Omi and Jai are quite exuberant and overtly desperate to have girlfriends, Siddharth is a shy person more interested in books than girls (He is made to wear thick spectacles to drive this point home I guess).

A delightful intrusion in their daily routine comes in the form of a charming young girl (Deepti Naval) that they spot from the window of their flat. Omi and Jai decide to take turns at attempting to woo her. The urgency and the excitement that this mere sighting of a pretty girl in the neighborhood brings to these two is quite relatable to what actually happens even in this time and age. They offer Siddharth an attempt at wooing her, but he declines. Then one by one Omi and Jai visit the girl’s home in the neighborhood. While Jai gets thrown out by the girl’s hefty brother, Omi walks out of her place after being mistaken for a plumber. Subsequently both of them, instead of admitting their failures in front of Siddharth, hatch up false stories of how they managed to woo the girl successfully and how she went on a date with both of them. Then on the pretext of sacrificing the girl for each other, they end the matter and vow to never think about the girl again.

Unknown to both of them, the same girl visits their home on a sales assignment for the ‘Chamko’ brand of detergent powder. Siddharth, being the only one at home, interacts with her and watches the whole sales demonstration, completely dazed by her charm and affability. In a not entirely chance encounter, they meet again. Slowly Siddharth and Neha, or Miss Chamko as he calls her, fall for each other and start meeting quite frequently. Siddharth also manages to get a job and later on, to his utmost surprise, he discovers that his boss is none other than Neha’s father. Things couldn’t be more perfect of Siddharth, but then Omi and Jai get to know about his affair with Neha. Slightly jealous of the fact that their friend had managed to woo a girl they couldn’t- they false a false picture about Neha in the mind of Siddharth.

The story is really uncomplicated and light hearted. The director creates an engaging set of characters and gives complete focus to their interplay and interactions instead of introducing unnecessary twists and turns and sub-plots. The actors do a good job and pitch in with truly natural performances. All of them are highly commendable, even the interesting role played by Saeed Jaffery of that of a neighborhood ‘panwallah’ who continuously keeps reminding them of their rising debt on cigarettes, but despite that takes keen interest in their affairs and wishes the best for them.

The one thing I didn’t like about this movie was its climax, which was probably designed as a tongue in cheek take on the way most Bollywood movies were at that time. Another instance the director tried using this tool was when Siddharth and Neha ridicule how film couples singing songs in gardens etc. when a plethora of people can watch them, but subsequently break into a song themselves. This sequence however is quite cute and brings a smile to your face. As a parting note- that can be said for the whole movie too…

PS- As per reports David Dhawan is remaking this film pretty soon- In my opinion he will murder the film by introducing unnecessary gags and songs- and will kill the soul of the film- i.e. its simplicity.