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.

Geet Gaata Chal (1975)

What is the purpose of life? What is a happy state of mind? What is freedom? What is love?

Source: Wikipedia

These are some of the very deep philosophical questions that are extremely hard to answer. We have had tons of books written by the most eminent of thinkers and writers that attempt to give some answers to such human predicaments, but it’s hard to point out one that is the most satisfactory. However if we have to go back and look into our own holy texts- Mahabharata and its subset the Bhagvad Gita- we do get some insights. In these texts, none other than Lord Krishna, God on earth, gives a discourse explaining the meaning of life to Arjuna. Every now and then, he takes up examples from his own life to enlighten the lives of the Padavas. Krishna was a wanderer, a man who despite having a family never really chose to settle down at one place. It is most fascinating the way it has been presented in the texts and even the people who don’t believe in God and religion would find these stories very interesting.

Rajshri Productions’ Geet Gaata Chal, directed by Hiren Nag, is a delightful reconstruction of the ideas given in the text which is presented as an analogy drawn between the life of Krishna and a young man of the name Shyam (essayed by Sachin). This analogy is not too discrete and that comes out through the names given to the characters. Shyam was a name used for Krishna (a name that emerged because of his dark complexion). Here Shyam is a boyish young man who is like a free bird- with no settled home- no emotional attachments- and who keeps on wandering through villages and towns without a care in the world. Neither has he a destination in mind, nor does he have some aim in life- he just keeps traveling and discovering different cultures and places. On the way he meets and befriends various people, but never gets emotionally attached to anyone. It is ironical that his pleasing nature, his honesty, his charisma, and his charm makes it very easy for others to fall in love with him- but he hardly ever reciprocates with the same intensity as his admirers do. The closest companion he has is his flute and the songs on his lips that he keeps singing to the world while he travels.

The movie starts with Shyam watching a village nautanki where he becomes the savior after a loophole on the stage results in a momentary halt in the nautanki. With a melodious song he manages to placate everyone- from the audience to the performers. The troubled lead actress of the nautanki (an alcoholic too) gets attracted to the rakish charm of Shyam and invites him to her tent to spend a few moments alone. The simplicity of the boy prevents him from seeing the vice in the situation- a thing that comes out further when he addresses the lady as ‘didi’ (elder sister). It is the first instance in the film when he forms a bond with someone without him himself realizing the strength of it. This ephemeral attachment is enough for the lady to share a lifelong connection with Shyam, while the next day he leaves the village and moves on…

The next stop for Shyam is a village fair where he saves an elderly lady from a bull stampede. The lady takes Shyam to her family ‘Dharmshala’ (guest house), where he meets her husband (a rich Zamindar of a nearby village) and her daughter Radha (Sarika in a rare lead role). Both the Zamindar and his wife get taken in by the simplicity and likeability of Shyam and invite him to their home for a few days’ stay. Shyam is reluctant in the beginning but agrees when the he is told that the village is situated in the lap of nature and offers wonderful opportunities for sightseeing. Radha is irritated by the attention Shyam gets from her parents but is unable to prevent him from joining them. When they reach their Haveli, she tries to play some childish pranks on Shyam, but unfortunately for her all these tricks backfire. Soon Shyam becomes the cynosure of even Radha’s grandmother’s eyes, who gets mightily impressed by his soulful rendition of the Ramayana. Also, another village belle (Radha’s friend) of the name Meera starts being around Shyam a lot. It is this Meera who sparks a hint of jealously in Radha’s heart and makes her realize how truly wonderful Shyam is. In a dramatic incident when Shyam is playing the flute for Meera, Radha snatches it from his hand and breaks it into two. This is a wonderful moment and again beings out the director’s attempt to draw the analogy between Shyam and lord Krishna. The flute was the only constant in Shyam’s life, but when it is taken away from him- Shyam is more perturbed about Radha’s state of mind rather than worrying about losing his flute.

Soon Shyam gets more and more intermingled in the family affairs his hosts, and Radha gets more and more taken in by him. The Zamindar’s closest friend realizes the companionship between Radha and Shyam and decides to get them married. While the entire household prepares for the marriage, Shyam suddenly realizes that he is being trapped in worldly affairs. It dawns to him that like a caged bird he is about to be confined in the restricted space of a household and that he would never be able to fly again. Without saying a word to anyone, Shyam departs- once again adopting his nomadic ways. Radha is distraught, and so is her family. But she refuses to blame Shyam and decides to live out her entire life as Shyam’s wife. In her heart, he is her only sole soul mate- and she decides to wait for him till eternity.

In his journey Shyam encounters the same nautanki that he had once visited and where he had found an elder sister. He runs and embraces her. He tells her all about Radha and his last few days at her home. He tells her about his predicament- to remain a free bird or become entangled in the worldly affairs. His didi tells him that what he had done with Radha was wrong. Shyam is convinced and he runs back to Radha’s village and takes her hand. This is how the film ends but it is not really clear whether Shyam’s return is his acceptance of the worldly ways, or just a temporary acceptance of Radha’s true love for him.

Source: rajshri.com

Like all Rajshri movies, Geet Gaata Chal takes a very positive view of the world. There are no grey characters, no negative energies. The troubles and controversies are all a state of mind and get cleared up as easily as a few minutes rain clears away the dust in the air. It is certainly a world that borders on the utopian, but the Barjatyas have always believed in Ram (and thus Ram Rajya). Many of the dialogues and exchanges, if seen in isolation, would appear corny to a lot of people fed on the diet of world cinema. But when seen in its entirety the movie is a supremely well crafted effort that has a story to tell and ideas to discuss- which is does with sheer simplicity and joy. The songs by Ravindra Jain complement the story remarkably (like they always did). Now that I have seen a bit of his works, I can safely say that his sense of lyrics and music was simply unmatched. He was a true Hindi film music director- as his songs were tailored for his movies- and their stories. Most of his songs wouldn’t have had the same impact in any other film apart from the ones they were made for. The performances of Sachin and Sarika are nice and Sachin looks every bit the character he plays. No wonder he played the lead in the film ‘Gopal Krishna’.

Parting Note: Geet Gaata Chal is a must watch for anyone who loves family entertainers and is fond of rural settings. It is the kind of cinema that is not seen today- thoughtful and yet simple.  

Safar (1970)

Safar is one of the famous Rajesh Khanna movies from his super-stardom phase. A musical drama that has philosophical undertones, it is one of those ‘it was good while it lasted’ kind of movies. The plot of the movie, directed by Asit Sen, is slightly reminiscent of another Rajesh Khanna classic Anand, with him playing the role of a man who remains jovial and level-headed despite being terminally ill. The major difference between Anand and this movie is that while the former focused on the idea of living your life to the fullest, this movie has romance at its forefront.

Avinash (Rajesh Khanna) is a college student who is more interested in bringing blank canvasses to life using his skill with the brush. There is a face that comes repeatedly in most of his paintings, and he soon discovers Neela (Sharmila Tagore) who shares a striking resemblance with that face. Neela is a diligent college student who aspires to become a successful surgeon. After an initial misunderstanding she treats Avinash to good health after he falls ill. They strike a delightful friendship that extends to Neela’s family comprising of her elder brother and his wife. This results in some of the most sparkling moments in the film, with a candid Avinash joyfully pulling the leg of Neela’s wannabe playwright brother. Soon this friendship translates into love, but fate has something else in store with Avinash soon realizing that he suffers from disease that cannot be cured. At the same time a rich businessman Kailash (Feroz Khanna) too falls in love with Neela, who is also the tuition teacher for his younger brother. When Avinash gets to know of this, he asks Neela to sacrifice their love and marry Kailash who promises a more secure future for her.

This entire premise is very similar to Shah Rukh Khan’s 2004 super-hit ‘Kal Ho Naa Ho’. In fact it is hard to ignore the possibility that Karan Johar/ Nikhil Advani would have been inspired by Safar while writing their movie. And this is not it; the second half of the movie is structured in a way that is very reminiscent of another Shah Rukh Khan starrer from about the same period ‘Hum Tumhare Hain Sanam’, in which he had Salman Khan for company. After Neela gives in to Avinash’s plead and marries Kailash, there begins a family drama with Kailash suspecting his wife of infidelity with Avinash. He finds it very hard to accept their friendship (much like how SRK finds it tough to accept his wife’s companionship with Salman in HTHS).

In fact with such turn of events, the movie changes color dramatically and becomes more melodramatic with the earlier focus being relegated to the background. In fact the culmination of the movie is the most confused part of the movie. It ends on a philosophical note with Neela’s sacrifice coming to prominence. In fact this is one movie where the central focus shifts between three characters- from Avinash in the first half, to Kailash in the post intermission portion, and to Neela in the culmination. When I come to think of it, I find it difficult to remember any other such movie. To the credit of all the three actors playing these characters, they don’t let this aberration become too obvious through the strength of their performances.

Now for the point that I was waiting to make- the songs of this movie are simply delightful. Each and every song is a classic and is truly memorable. In fact, this movie can deserve the tag of a classic just on the strength of its musical score by Kalyanji-Anandji.

Parting with my favorite song from the movie-

Madhumati (1958)

So when one of the biggest superstars of our country is reliving a cult character from the much loved Amitabh Bachchan classic Don in cinemas this week, me recalling one of the most popular Dilip Kumar classic from the 1950s- instead of the usual lesser known stuff.

• A rainy night with the hero finding it tough to navigate his car through the sloppy slippery roads. CHECK
• The car breaking down and no help in sight. CHECK 
• A ‘purani’ desolate ‘haveli’ where the hero decides to take shelter for the night. CHECK 
• An old and rickety caretaker with a ‘lalten’ in his hand. CHECK 
• A huge photograph of the haveli’s one time owner. CHECK 
• The hero finding many things familiar about the haveli and the setting which evidently he is visiting for the first time. CHECK 
• The hero remembering his past life. CHECK 
• The hero falling in love with a village belle. CHECK 
• The hero singing songs with the village belle. CHECK 
• The hero not getting along well with his boss and the owner of the estate he manages. CHECK 
• The owner being a lecherous fellow starts lusting for the hero’s love interest. CHECK 
• The disapproving father of the girl. CHECK 
• The disapproving father of the girl giving his approval after the hero’s show of honesty and integrity. CHECK 
• The village celebration song with the hero’s girl joining in. CHECK 
• The hero’s lecherous boss setting a trap for the hero to go away from the scene. CHECK 
• The hero’s imbecile girl falling in the villain’s trap. CHECK 
• The villain going after the girl like a mad animal. The girl escaping his claws and jumping of the terrace. CHECK 
• The hero unable to forget his love. CHECK 
• The hero laying a trap for the villain to confess to his crime (being helped by his girl’s look alike). The look-alike girl entering and scaring the daylights out of the villain. The villain shouting for penitence. The police coming forward and grabbing him by his neck. The look-alike standing there smiling after getting ‘her’ revenge.  The hero suddenly realizing that there is something weird going on. The actual look-alike bursting late on the scene. The spirit of the hero’s dead love luring him to salvation. OM SHANTI OM

All of the above points may sound familiar. In fact take any Hindi mystery/reincarnation movie; chances are that one or more of the above points will be a part of that enterprise too. Bimal Roy’s 1958 Dilip Kumar starrer MADHUMATI is a movie that had all of these points together for the first time in a Hindi movie.

Despite the familiarity born out of watching many rehashes of this movie over the years (some good some tacky), Madhumati is an extremely fresh watch owing to it’s well crafted scenes and some sparkling performances by Dilip Kumar, Pran, and Vyjayanthimala (the last especially for her ebullience in the songs and dance sequences). Moreover each and every song by Salil Chaudhary is a classic, and it was a pleasant surprise to see so many memorable songs back to back in a movie. Though it must be said that having eight songs in a two hour movie is like an overdose, and considerably hampers the otherwise fast paced narrative. Without the songs the story could have been said in an hour flat. But then, it wouldn’t have been this charming.

Parting Note: Madhumati is a highly enjoyable affair and people who love old Bollywood musicals should certainly watch this one. For them it would be an absolute treat.

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. 

Ijaazat (1987)

It is very rare that a writer/director creates a character that is so fascinating that it lingers on in one’s mind even hours after watching the movie. Gulzar does just that and more in the most romantic movie of his career- the Naseeruddin Shah, Rekha, and Anuradha Patel starrer ‘Ijaazat’. The memorable character he constructs, with much love and affection, is called Maya (Essayed by Anuradha Patel). It is most likely that Gulzar based this character on someone he knew personally, because he handles it with such delicacy and intimacy that it looks like Maya is a piece of his heart. The music, the poetry, the mood- all appear to pay homage Maya. But despite all this, Ijaazat is not Maya’s film.

The story starts off in a waiting room of a railway station, where Mahinder (Naseeruddin Shah) comes with the intention of spending the night before he catches the morning train that would take him onward to his destination. There he chances into Sudha (Rekha) who too has to wait the whole night to catch the morning train. Soon it is revealed that Sudha and Mahinder were once married to one another and they had run into one another for the first time since their separation. Through their conversations and reminisces, the story of their lives is unraveled before the viewers.

Mahinder had been madly in love with a girl named Maya, before he had gotten married to Sudha. He had been keen to solemnize his relationship with Maya, but the free spirited Maya had refused to do so. She did not believe in the institution of marriage, having been witness to a dysfunctional alliance between her parents. Mahinder had been engaged to Sudha, who was a close family friend, prior to his meeting Maya. Later, certain circumstances force Mahinder to marry Sudha, but before taking this step, he tells Sudha everything about Maya their relationship pretty explicitly.

What follows next is Sudha moving into Mahinder’s life and replacing Maya’s presence in his home and his heart. But despite all the efforts made by her and by Mahinder, Maya’s presence is something that remains strongly alive between them. In fact she is like a third person in their home and surfaces constantly in their conversations and musings. In a beautifully haunting sequence when Sudha sends all Maya’s stuff remaining at their home back to her place, Maya sends back a letter in return, requesting her to return the other things that she had left behind with Mahinder. Her letter is in form of poetry, which is typical to how Maya is shown to be in the film.

“Mera kuch Saaman… tumhare paas pada hai”

Later, just when things start getting better between Sudha and Mahinder, Maya tries to commit suicide but fails in the attempt. Mahinder hides this fact from Sudha and keeps visiting Maya in the hospital where she gets admitted. This leads to certain misunderstandings, causing Sudha to leave their home and separate herself from Mahinder’s life. What happens next comes as a revelation- to Sudha most certainly- and also to the viewers.

The movie has an underlying sad tone throughout, which is also quite evident in the lyrics of its songs- all of which are female solos. The theme is of unrequited love- which was quite a departure from the kind of films that were made at that time. Gulzar has mounted the story in a very simple manner, laying utmost stress on the interplay between the characters and the dialogues. And for a story that has so few characters, the screenplay is pretty engaging and manages to involve the viewers. A lot of credit goes to the lead actors who pitch in with natural performances. Naseeruddin Shah, as always, is brilliant in an author backed role. Rekha gets the part of a sort of an outsider, and manages to express the right amount of vulnerability and insecurity that her character demands. But the star of the show, as perhaps it was always meant to be, is Anuradha Patel- or rather Maya- because she was the character- she was exactly what Gulzar wanted her to be.

Parting note- I am glad that I watched this film, because it tells a story told straight from the heart of the maker. It tells a story of true love, the kind that is hard to find in today’s films and today’s world around us. 

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.