Dastak (1970)

That knocking on the door…

In the process of discovering and experiencing some lesser talked about or simply forgotten chapters of Hindi cinema, I have being surprised more than once by the sensitivity of our storytellers. There have been so many instances of ordinary real life emotions being brought out extraordinarily on celluloid, that one has to admire the thoughtfulness and the dexterity of the people who ‘wrote’ our Hindi movie heritage. Almost all the movies that we see today are a reflection on some or the other film from our past. Yes, there have been quantum changes in technique, setting, and circumstances, but the core emotions remain quite the same.

And thus when I saw Dastak, conceptualized and brought to life by Rajinder Singh Bedi, one of the stalwarts of Hindi and Urdu literature (and films), I was quite taken aback. Here is one story that is so unique, and so very glowing with brilliance, that it has almost no parallel. The idea, the context, and the sheer execution of this very human and humane drama, is a delight to watch.

A young recently married couple move into a small house in one of those crowded and cramped spaces of Mumbai. In a neighbourhood bustling with activity, the two decide to embark on a lifelong journey together. But all their dreams and all their expectations go for a toss once they discover the murky identity of their new abode, i.e. once they discover that just before them their home was being occupied by a notorious nauch girl and prostitute. Every second day in the middle of the night when the world sleeps, Hamid and Salma are harrowed by incessant knocking on their main door, by some or the other lost soul seeking refuge in the arms of Shamshad Begum, a lady who even in her absence manages to cast a icy cold wall between the much in love couple. How all this affects the psyche of the two, and how they attempt to fight the war their neighbourhood wages against them, is what the film is all about. At the same time a discerning viewer will appreciate the social commentary made in the background, leveraging upon what all happens in the foreground.

Rehana Sultan as Salma

There are so many metaphors used in the film, but none as striking as the caged mynah that becomes the third occupant of the cursed flat in question. Every day Hamid goes to work, leaving his comely wife Salma trapped at home. Her very existence till the evening, when Hamid returns, becomes a monumental challenge. The claustrophobic neighbourhood, with its closely packed blocks of urban settlement, ensures that there are always some prying eyes trying to close in on her whenever she seeks a bout of fresh air through the windows. The notoriety that their flat gives them moreover ensures that whenever she tries take forward her father’s legacy in classical singing, there are always suspicious voices to be heard questioning her integrity and the very fabric of their matrimony. Thus Salma without Hamid is not very different from their pet mynah that at least has the consolation of being free inside the cage, unlike its owner.

The other aspect of the story is Hamid’s struggle to find a new flat for himself and his wife. The city is unforgiving in its demeanour, with its intimidating tall structures and unscrupulous people. His work-life too is not exactly a cruise as every now and then he lands in a situation of moral dilemma where his ideals ensure that he makes no financial headway to erase ghosts of his wretched personal life.

Sanjeev Kumar as Hamid

In one very significant phase of the screenplay the couple decides to just run away from everything, back to their village. But there too, they witness enough misery to be compelled to return to their cursed urban abode. This excursion from reality to another reality teaches the two an important lesson that they acknowledge towards the end of the film, just after a spectacular climax. The last sequence of the story, that also includes a song, is a stamp of genius. One of the best Hindi movie climaxes ever for one of the most unique Hindi film ever!

The performances from the two protagonists, Sanjeev Kumar and Rehana Sultan are mesmerizing to the core. Has there ever been a more natural actor than the former? Rehana Sultan, in one of her first few films, is so good that it looks like she was born to play this role. The songs by Madan Mohan are melodious and heart-wrenching with lyrics that will make you bow your heads (and backs) in respect. What poetry by Majrooh Sultanpuri!

Parting Note: Do watch this film. Do watch this film. Do watch this film. Do watch this film. Do watch this film. (substitute for 5 stars)

P.S.: The chief editor for the film was Hrishikesh Mukherjee! 

Nishant (1975)

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

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

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

Vishwam and Rukmini

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

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

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

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

Party (1984)

Govind Nihalani’s Party, based on a play by noted Marathi playwright Mahesh Elkunchwar, is indulgent cinema at its most brilliant. This irreverent indulgence however can be mostly attributed to the playwright, for it is set in the world of elitist art and theatre and there are long ramblings about the responsibility of art and its connections to politics. And thus, this is one of those rare Hindi movies that give the impression of being entirely written on paper before any of their shots were canned. It is the quintessential theatrical cinema, minus all its negative connotations. It is hard to remember any other such movie where long visceral monologues were the fodder for most of the narrative.

The movie is set entirely in one long party where the most elite and distinguished theatre personalities and journalists gather to celebrate the success of one of their own. This constrained time-frame and space builds up tremendous tension in the exchanges of many of the characters. But before the party is set in motion, the main characters get introduced one by one through a series of poignant scenes. A veteran insecure writer who is becoming stricken by the shallowness of his work, and his alcoholic and lonely girlfriend of ten years who craves for his attention; a bespectacled, fiercely independent, female journalist who is an open supporter of Maoists; an upcoming and hugely talented playwright who is grappling with the lack of purpose in his writing; a middle aged socialite who is throwing the party to celebrate her writer friend’s recent award, and her daughter who is a single mother waiting for the return of her lover, a talented young writer himself, who has gone to support and fight with the adivasis in the jungles of Andhra; a middle aged theatre star actor who has lost his own identity in the maze of iconic characters that he has lived and breathed. The troubles and emotions of all these characters collide and implode while they party and the wine flows…

Apart from these main characters under the spotlight, there are many other interesting peripheral characters that act as the director’s tool to make a comment on the moral depravity that is quite rampant in such high-society circles. The shallowness and superficiality that infests such people who are nothing but troubled souls from inside, quite unable to fight their own demons, is brought out remarkably through a series of exchanges that are quite intriguing to witness. And witness is what a stolid, sober, and quiet family friend of the rich hostess of the party does- Amrish Puri, once again after Aakrosh, in a role that is not quite connected to the main happenings in the narrative, but still is a vital and significant vehicle to channelize the director’s vision. He is the assured presence which is so unlike the rest of the people in the party, and yet in some ways as artificial as everyone else, for he chooses to take a back seat and let the show go on, despite his many reservations with a lot that happens during the course of the night. In some ways his character symbolizes a lot of people in our society who are dissatisfied and unhappy with the social happenings, but remain on the surface shielding themselves from the gaze of the dirty maze.

The political backdrop of the proceedings adds an intriguing dimension to all discussions between the lead characters. The growing social unrest in some corners of the country, and how some people some people pretend to be affected by it all is brought out wonderfully well through some dramatic exchanges. This backdrop also gives an opportunity to the makers to debate and discuss an issue that evidently is of great importance to them- the intertwining of art and politics and can both be really kept separate from one another. The last half an hour or so is devoted exclusively to this debate, and the rest of the things are relegated to the background. This change of texture is not exactly sudden, but is still quite stark. To many it may come across as too quirky, but it is nothing but an honest expression of an artist’s most personal thoughts and conflicts...

Some of the leading theatre personalities of that time make up the ensemble cast; however the two champions of parallel cinema of that time- Naseeruddin Shah and Om Puri are given very small but significant cameos to play. All the actors do a seemingly fabulous job, but it has to be said that hardly anyone of them has been made to transcend his or her comfort zone. The written material is so strong and emphatic, and the treatment is so very much like a theatre play, that these veterans of the stage would have hardly found it very challenging.

Parting Note: Party is one of Govind Nihalani’s finest works, if not the finest. However it is hard to infer how much of its finesse can be attributed to him, and how much of it is the brilliance of the playwright who has written the play. It is certainly a much watch for all those who like watching unconventional cinema.

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.  

Buddha Mil Gaya (1971)

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

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

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

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

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

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

Garam Hawa, 1947 Earth: Mirrors kept on the two sides of pain

In Garam Hawa, the train starts from Delhi and goes to Lahore. In 1947 Earth, the train starts from Lahore and goes to Delhi...

Macro. Micro. Two views of the same world. And within each view, multiple perspectives. And within each perspectives, multiple possibilities with multiple outcomes. The world we live in is utterly complex, and yet the basic human emotions and needs are as simple as they come. The need for acceptance, the need for association, but above all the need to live and breathe in a safe environment that gives them the freedom to live their life the way they want to. Human rights and legislative rights given to citizens of any country wish to fulfill the same aforesaid needs and ensure that each and every human being is in full control of his own story. Story? Yes story. For somebody’s reality is someone else’s fiction. So essentially we live in a world full of interlinked stories that cross path more often than once. And while we are too busy taking care of our own lives, there are people who are doing their indirectly meddling in our affairs. The lawmakers, the leaders, the politicians, the influencers, the media. It has been the same since the start of time. As human beings evolved from being solo food gatherers to creatures who hunted in groups, there were always certain few who emerged more powerful and more influential than others. Gradually they started moving slightly away from the rest of the pack, until they became truly absolute. Since then, the decisions are made by some and accepted by the others. On face value. Yes, there have been revolts. Every now and then the masses have ignited and tried to take the reins of their destiny in their own hands. Some of these revolts have been stifled. A tiny few have succeeded. But even the ones that succeeded have done nothing but create a new set of leaders with new order, new regime, new procedures, but more or less the same results.

Take a look at Mahabharata. Two sets of cousins- the most powerful ones in Jambudvipa (As India was called then), fought for a piece of land. But they were not the only ones who fought and won and lost. With them fought eleven other great kings of India. And with them fought their seventeen different armies. And within each army fought a thousand soldiers. All for what? For deciding who will assume the sole ownership of Hastinapur. Or, to give it a higher purpose as many do- for dharma. Whose dharma? Now when we look back and read the great epic we get lost in the story of revenge and the motivations, learnings, and actions of the Pandavas aided by the God himself- Krishna. But who talks about the innumerable faces that fought the battle? Didn’t all of them have a story of their own? Yes, they did.

Fast forward to 1947. Was it any different from Mahabharata? Yes of course there are many distinctions that can be made; but in essence it was a war declared at the top and fought by the masses. In the process causing nothing but loss. For most, the loss was beyond the tangible. It was beyond the loss of property and life of loved ones. It was nothing less than a complete loss of identity. The human in every human being was replaced by a label- the label of religion. And this label was indicated by the names they carried. So countless people had no option but to change their names. To change their entire identity. To give a new meaning to their meaningless existence. And to serve what purpose? To honor the decision made for them at the top by the leaders. But did they have the option? No. Could they have had the option? No they couldn’t have…

Law and order cannot be enforced without having a stable leadership taking charge of the society. And in the failure of the leadership in 1947, this fact emerged most glaringly. Human beings are no different from the animals of the jungle. In the Jungle there is no leadership- the larger fish eats the smaller one. It is survival of the fittest. Post the 1947 decision to divide India, the most anguished ones became the fittest. Law and order went for a toss. The world became a jungle. There were killings all around. The bestiality in some of the acts was basic, yet almost creative. A man was killed by just ripping him apart. Ripping him apart? The phrase got its literal celebration. The women were raped and molested in the most brutal ways possible. Humanity was reveling in its newfound freedom. The freedom to express, the freedom to revenge. Who ignited the flames? God knows (If there is God, that is).

Deepa Mehta’s 1947 Earth and Kaifi Azmi’s Garam Hawa are two Hindi films that are based on incidents preceding and succeeding the horrific partition of India. Both the movies take a completely different view of the situation. In some ways, both the movies are like mirror images of one another. And both the movies have a narrative that can be viewed in two perspectives. Macro and micro. There was the larger picture that was common to all. But there were millions of people whose life got affected in a million different ways. While Garam Hawa tells the story of a rich capitalist Muslim trying not to leave India for Pakistan post the partition, 1947 Earth looks at the picture from the other side- how Sikhs and Hindus had to leave Pakistan for India post the partition abandoning their homes, their hopes, and their lives. While Garam Hawa starts from six months after August 1947, 1947 Earth begins six months before that date. While Garam Hawa talks about a family, 1947 Earth talks about a family to be. While Garam Hawa is a story of resignation to fate, 1947 Earth is the story of taking charge of fate- even if it is in the most horrific manner possible. And while Garam Hawa ends on an optimistic note, 1947 Earth ends in the cruelest way possible.

Both are extremely disturbing to see, and yet are a must watch for every Indian my age. They should not be seen as movies. They are like honest recounting of the tales that are our very own. We can never experience what our forefathers did. And we should thank God for that (If there is God, that is). But we deserve to know on what foundation our country stands today. The greatest of structures need the most solid foundations to become great. But for us the challenge lies in making a great nation on a foundation that is full of cracks and that got corroded by blood. The Blood of our own forefathers. The blood that was the result of pain. Pain that was (or rather is) is both figurative and literal. Pain that has been looked at by these two honest artistic efforts like mirrors kept on both sides. 

Kanoon (1960)

Capital Punishment has a marked prominence in the annals of all recorded history. There has been no civilization where this form of punishment has not been practiced. Be it the Greeks, or the Romans, or the Chinese- all had strict stipulations on human execution as a part of their code of law. Even major religions like Islam, Christianity, and Hinduism have permitted capital punishment for certain offenses. But despite all this, there has always been a serious debate on whether human execution is justified. It has always been argued whether justice is always just; most certainly there have been many recorded instances where apparently innocent have been executed. BR Chopra’s 1960 movie Kanoon essentially debates and discusses this very pertinent issue of whether a human has got the right to take the life of another human, even if it is a means of enforcing punishment. Starring Ashok Kumar, Rajendra Kumar, and Nanda in principal roles along with some splendid lesser known actors essaying crucial roles, Kanoon is a resounding statement on the fallacies of human court of justice and on the inadequacies of the written law.

The movie starts off with a cold blooded murder like many of the other thrillers of the time. However this regularity is just a smokescreen for this apparently routine murder hides an uncomfortable truth behind it and exposes the ineffectual nature of our law. The case is adjudged by Justice Badri Prasad (Ashok Kumar) who is set thinking by the completely unexpected things that it throws up. This sets the ball rolling for a gripping tale that interweaves a poignant family drama into a courtroom battle. Another cold blooded murder takes place; that of a wealthy and manipulative city moneylender. The setting of the murder witnesses an unusual turn of events. Advocate Kailash Khanna (Rajendra Kumar) visits the moneylender to obtain some crucial papers that could put his girlfriend Meena’s (Nanda) family into great financial trouble. His girlfriend is the daughter of none other than Justice Badri Prasad, making the renowned judge his to be father-in-law. While at the moneylender’s place, Kailash spots Badri Prasad from a window, making his way towards the house. To avoid meeting his father-in-law and spilling the beans on his brother-in-law’s carelessness, he goes and hides in the other room. What happens next truly shakes the daylights out of him. Badri Prasad takes out a knife, rams it into the moneylender’s chest, and leaves the place smoothly. Completely shaken and not knowing what to do next, Kailash too runs away from the scene of the murder. Once the place is deserted save for the corpse of the moneylender lying on the floor, an aged thief enters the house with the intention of pilferage. However in the dark of the night he steps onto the corpse, leaves his fingerprints on the knife, and while escaping from the window gets caught by two policemen patrolling the area. Expectedly the poor thief gets embroiled in the case and gets implicated for the murder, with all the evidences pointing towards him. Not wanting to give his father-in-law away, Kailash decides to fight the case for the falsely accused thief and embarks on a battle to save him, while making all the efforts to spur the conscience of his father-in-law. What follows next is a riveting courtroom drama and a completely unexpected climax that throws up a host of questions, while answering a few too along the way.

Kanoon is completely a director’s film. It is an explosive subject and each and every scene shows the kind of efforts that would have gone in writing it. The dialogues are emphatic, the silences even more so. Most of the movies have one or two memorable scenes, but this one boasts of a series of such spectacular scenes that create a tremendous impact- right from the first scene, to the culmination of the drama. If one has to choose the most dramatic scenes, surprisingly a lot of them also come outside the court of law- behind the scenes of all the true drama. My vote would go to the interactions between the father and son in law post the murder, when Badri Prasad finds Kailash peeping into his private diary. Also the dialogue between the accused thief and his defendant Kailash is remarkably handled. There is also a superbly done slight side track when Meena starts suspecting Kailash of the murder, having absolutely just reasons for doing so. This delicate interplay of emotions between the protagonists is a delight to watch. The highpoint, though, as expected is the jaw-dropping climax, complete with the tense buildup and replete with an efficient disrobing of facts post the suspense is revealed.

The actors do more than a fine job, and show great dexterity despite the help they receive from the remarkable written material. I haven’t seen much of Rajendra Kumar, but still can safely assume that this would be one of his best performances (most of the others I believe are in the sappy romantic space where he excelled and thus got knighted as the Jubilee Kumar). Ashok Kumar is truly amazing in his highly sinuous role. His effortless ease is hard to miss. Meena is slightly more than a typical Hindi movie heroine and gets good scope to leave a mark. There are no songs in the narrative, though it does boast of a finely choreographed ballet dance performance that blends seamlessly with the story.

Parting Note: Kanoon is simply a MUST WATCH for the people who love their court-room dramas, and also for those who like watching thrillers (though this is not a thriller in the conventional sense). What elevates it from being just an excellent film is its thought, and its purpose which it conveys in the most effective manner possible- through the route of a highly entertaining story. 

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! 

Bandini (1963)

Now, this is celebrated as one of the classics from the black and white era. Of course, it is not spoken in the same breath as Pyaasa/Mother India/Devdas/Mughl-e-Azam, but those conversant with the cinema from that era do recall this Bimal Roy film as one of the finest to have been made in India. I had not heard about this one at all, and I believe it would be the same case with most others of my age. And now that I have seen it for myself, there is a case for me to include this on my blog about lesser known cinema (By calling it lesser known, I don’t mean to disrespect the movie in any manner. This disclaimer is the result of some feedback I had received when I had written about ‘Do Bhiga Zameen’ as a part of this series of posts)

Bandini is one of those rare female-centric Hindi movies that have a strong story to tell. When we look at some of the movies of today that have central female characters like Fashion or Laaga Chunari Mein Daag, they have had extremely predictable contexts (This is not a comment on the quality of these movies). But Bandini has a story that cannot be expressed in two sentences. It is thoroughly engaging not just because of the way the narrative plays out, but also because it evokes a lot of interest through the suspense route it takes to bring out the facts in front of the viewers.

Kalyani (Nutan in an award winning role) is a convict who is serving her sentence in a women’s jail, after admitting to having killed someone. Dr. Devender (Dharmendra in one of the earliest roles of his career), is a young and debonair man who has recently been appointed the post of the prison-doctor. Devender meets Kalyani, and they strike a companionship while tending to a sick co-inmate of Kalyani for whom she acts as a nurse. Rumors start to go about all over the jail about their love affair, and Devender admits to being in love Kalyani. He offers to marry her but she refuses to accept his generous gesture, citing the terrible past she has had and the terrible sin she had committed. Unable to digest the disappointment, Devender resigns from his job and leaves the prison complex. Meanwhile Kalyani goes on to reveal everything about her past to the kind prison-master (who is also Devender’s close relative). What all had happened in her life, and what had forced her to commit the grave crime, is what the movie is all about from that point in time.

The movie is set in pre-independence era when young revolutionary men were making huge sacrifices for the cause of their motherland. Kalyani had become romantically involved with one such man Bikash Ghosh (played by Ashok Kumar) and how their love story had panned out is what the story looks at. Apart from this story of course, what is extremely interesting to note is the way the revolutionaries were handled by the British Raj at that point in time. Bimal Roy brings to the proceedings a sense of authenticity which is extremely rare and refreshing. The jingoism is kept out completely; the focus never deviates from the central theme i.e. the journey of the central character Kalyani.

What is really remarkable is that Bimal Roy chose to create very real characters. One trapping of Hindi cinema has been that the bad people are always terribly bad, and the good guys are angels on earth. There is something between black and white, and it is a good reflection on the grey matter of the maker of the movie, that he did not choose to ignore grey. So while the young doctor falls so hopelessly in love that he ignores all his roles and responsibilities; on the other hand Kalyani does not hesitate to kill someone out of her anguish and anger. Even Bikash Ghosh betrays the trust of his love, though he has a very good reason to do so. All this gets summed up in a brilliantly shot climax sequence. It would be a disservice to write about it in detail, but one this is sure that it is one of the most thought provoking and emotional end to a movie. Also, there is a song that plays in the background while Kalyani is forced to make the biggest decision of her life- the lyrics of the same are amazing in the manner in which they bring out the dilemma of the central characters.

I admit I haven’t seen much of Nutan’s early work (My best memory of her is her portrayal of Anil Kapoor’s mother in Meri Jung), but Bandini gives a fair idea of her amazing acting prowess. She truly is brilliant in an author backed role. Ashok Kumar is his usual efficient self (But it is strange to see that even in a 1963 film he did not look much different to how he looked in his 1970s films). Dharmendra has a supporting role, in which he looks great and performs ably. The music of the film is very nice and the songs complement the story beautifully. The story is adapted from a novel by a noted Bengali author Jarasandha (who incidently was a former jail superintendent and wrote fictional accounts of his experiences- Source Wikipedia)

Parting Note- Bandini is a remarkable movie that is different from anything else that has been seen in Hindi cinema. It is one of Bimal Roy’s most noted works and most certainly deserves the tag of a ‘classic’.  

Vijeta (1982)

While no one can put a stop to ageing (the world is still waiting for the chemical formula), coming of age  is an arduous job. It is a journey like no other, which is more psychological than literal. Unfortunately history tells us that the best men, more often than not, get made only after facing a lot of hardships and going through personal losses. Maybe it’s a small tax that they have to pay on their path of self-discovery and conquest. 

Govind Nihalani’s Vijeta is a movie that emphasizes on the above fact and explores human relationships through challenging times. It is basically a story of guy’s journey from boy to man, and how he conquers his doubts and apprehensions to emerge victorious in life. The movie has been produced by Shashi Kapoor, and stars his son Kunal Kapoor as the protagonist.

Vinod (Shashi Kapoor) and Neelima (Rekha) form an estranged couple, who despite their differences live together for the sake of their only son Angad (Kunal Kapoor as a young surd). Vinod is in the entertainment business, while Neelima is a housewife who is highly involved with her pursuits in classical music (This deep involvement suggests a void in her life that she is trying to take care of). One day Angad, their son, returns home after leaving his boarding school. Utterly confused about what to do in life, and highly troubled by the shaky relationship his parents share, Angad feels that his life is completely worthless and confesses contemplating suicide in front of his mother (with whom he shares a friendly relationship, contrary to the acerbic one that he shares with his father). Neelima’s young brother (and Angad’s uncle), a Naval officer, takes Angad to stay with him for a few days. During his stay with his Uncle, Angad finds life in the armed forces highly disciplined, challenging, and adventurous, and decides to enter the National Defense Academy to train for becoming an Air Force Pilot.

Soon, after countering the initial resistance to the idea posed by his father, he enters the Academy and settles into a new regime that throws more challenges at him that he anticipates initially. Thus his journey ensues, and how along the way he forms new bonds- finds few friends for life and finds love, and how his success in life helps resolve the issues between his parents, is what the movie is all about.

The one thing that striking about this movie is its authenticity. Be it the manner in which human relationships are depicted, or the way the life at the Defense Academy is showcased- everything is done realistically and nothing is over the top. Even the love story between Angad and Ana (played by a young Supriya Pathak) is unconventional in the way it has been handled on screen- minus any melodrama and the usual kitsch associated with Hindi cinema. There are many sequences that deserve mention-right from the initial ones involving Shashi Kapoor and Rekha, to the pre climax when Angad is at the front fighting the 1971 war. Certain scenes are so powerful that they can be easily included in the best shot scenes ever in Indian cinema. One such lengthy sequence is at the Air Force training academy when the handling of an in flight glitch is depicted wonderfully. When one contrasts it to one such scene in the latest movie ‘Mausam’, one can only feel highly impressed by the way Govind Nihalani shot the scene almost 30 years ago without using the kind of digital technology that is at the disposal of the directors today (incidentally, just struck me, Supriya Pathak is another connection between the two movies).

This movie is embellished with truly remarkable performances, led by Shashi Kapoor and Amrish Puri. The latter is, in my opinion, the greatest character artist ever in our movies, and the respect for the former has grown leaps and bounds in my eyes after watching this and Junoon (both unconventional movies produced and backed by him). The people who play Angad’s friends are all very efficient, and so is Rekha, in a complex role that required much emoting but no histrionics (again unconventional by usual standards). Om Puri, who plays Angad’s Uncle, is effective in an extended cameo. Supriya Pathak is damn sweet in her portrayal of Angad’s love interest, and I wonder why she didn’t do better as a mainstream actor. The only one who disappoints a little is ironically the main lead- Kunal Kapoor, for whom this movie was a kind of launch vehicle. Maybe in an effort to remain restrained, he is surprisingly insipid and dull in many scenes, and does not enforce himself on the movie at all. He shows flashes of talent in a few sequences, but overall, it is not hard to understand why he was not a success as a mainstream actor after watching this movie where he was handed a role of the lifetime by his father.

Parting Note: This movie is a must watch for many reasons. One- it is a technically brilliant film that has a strong theme and an engaging storyline. Two- it is an unconventional take on human relationships, the kind is realistic and at the same time has tremendous entertainment value. Three- it shows life in the Air Force, and the growth of an individual as he progresses through the various stages of his career in the defense forces. And lastly, it is an ode to the human spirit, undying and relentless in its pursuit of acceptance, peace, satisfaction, and victory…

P.S. A poster of the movie, that did not care to even slightly depict its central theme. Commercials trappings hard to eschew completely in the big bad world of Bollywood.