Koshish (1972)

Koshish…

The one thing common to all Gulzar movies is that they all have very simple titles. Write a story (or a poem for that matter), and you would know that sometimes it is a lot tougher to think up a title for it than the actual writing itself. Kinaara, Parichay, Khushboo, Mausam, Lekin, Angoor, Kitaab, Namkeen, Achanak, Ijaazat, Maachis… all these names tell so much about their respective movies- not always before viewing them- but more so after you experience them. Try asking a few people to give some alternative names to these stories- most likely you would get really varied answers and none would have the pertinence and relevance of the titles Gulzar chose for them. Only a highly observant and artistically articulate man like him can think of things like these. However, try doing the same exercise for the 1972 movie by him starring Sanjeev Kumar and Jaya Bhaduri, and I don’t think you would need to put in much ‘Koshish’ (effort), for there can really be no other name for this sensitive feature by arguably (and most certainly in my eyes) the best story-teller that Hindi cinema has seen…

It is a movie that would have most certainly provided reference points to films like Khamoshi (The Sanjay Leela Bhansali one). A story of a deaf and dumb couple (Haricharan and Aarti) and their attempts to lead a normal respectable life is a delightful watch for more reasons than one.

First. It’s abstinence from melodrama for most parts- For a movie on two handicapped people, Koshish is amazingly restrained in most things it attempts and refrains from the clichéd trappings of such stories. In that sense it is fresh perspective, and a few scenes bring out this perspective wonderfully well. One such scene is when the two, relieved at finding out that their new-born son does not suffer from the same handicap as they do, start whistling alternately to capture the attention of the kid from two sides of the bed on which he rests comfortably. The rapturous whistles (growing in intensity every second) attract the attention of all the people on the street, who are shunned out in good humor by the joyous father Haricharan. The people continue with daily chores after having a good laugh. It is the treatment of this laughter by the normal people around the two, which is really different here. The focus is entirely on the world between Haricharan and Aarti, and the rest of the world doesn’t really matter. 

Two. The detailing- Utmost care is given in depicting the sign language authentically. In fact the schooling shown for the deaf and dumb kids is heartening to see. The way the two interact with each other and with the rest of the world is so realistic, and so well researched, that it is hard to believe that Sanjeev Kumar and Jaya Bhaduri have the gift of sound and speech in real life.

Three. The thought- The idea is not only to show the difficulties that a handicapped couple may face while trying to lead a respectable life, but also how such people can rise even above the normal people if they remain optimistic and are given the right environment and opportunities to succeed. One thing that is repeated more than once in the film (or in fact said more than once in the film by one of the characters) is the deaf and dumb are blessed for they will never hear the bad things that are said in the world, and will never say the bad things that are said in the world. It is a refreshing view that acts as the thrust for the narrative.

Four. Its love story- If one has to put a genre to this movie (forget for a moment that its leads are handicapped), then it is no question a love story. It has everything- from the initial meeting, to frequent interactions, to those stolen moments, to the hesitancy and ultimately the acceptance. Even post marriage how their love stands the test of time and difficult times, is what the movie emphasizes on.

And Last. Its performances- Yes, it is a kind of movie where even average performances from the leads would have appeared wonderful. But leaving aside this fact, both Sanjeev Kumar and Jaya Bhaduri pitch in with WONDERFUL performances- it is actually hard to find the right words to describe the finesse and the polish in their efforts. Right from the start to the finish, Sanjeev Kumar just converts completely into the deaf and dumb Haricharan on screen, and not even for an iota of a second does his real life persona becomes visible from behind character that he plays. The same goes for Jaya Bhaduri, who delivers a knock-out performance that will rank amongst the best if one has to make a list of the top performances by female actors in Indian cinema. The supporting cast provides able support, especially Om Shivpuri who plays a blind man and a friend to the couple. 

But there are certain portions in the film that are not as convincing as the rest. The entire Asrani track is kind of tangential to the central theme, and does not actually add anything to the plot, except a few bits of drama. The track is not even given a proper closure, which is highly uncharacteristic of Gulzar (but then this was just his second film). Also, I felt that the climax raised more questions rather than answering some- and the end was slightly hurried and meek. But even then, in a delightful trick, Gulzar smartly completes a circle by referencing an earlier dialogue in the narrative. One slightly disappointing thing about the movie is that its music (by Madan Mohan) is nothing to write home about, which is so unlike a Gulzar movie. 

Parting Note: The movie is certainly a must watch for its freshness, its novelty, its finesse, and most importantly- its thought. Another gem from Gulzar…

Aakrosh (1980)

Angst. Anger, Aggression… Govind Nihalani’s Aakrosh (1980) is a dark and disturbing film set in the heartlands of our country where there is little regard for law and order and the men in power have all the powers of the world in the true sense. Based on true events, Aakrosh tells the story Bhiku (Om Puri in one of the most acclaimed roles of his career) who is accused of killing his own wife (played by Smita Patil), and how he remains silent-suppressing his cry of outrage due to his distrust and disbelief in the system.

This helpless and defenseless peasant, who refuses to tell his side of the story to the lawyer who has been appointed for his defense, is an enigma for the people around him as he literally stays mute all the time. The Lawyer Bhaskar Kulkarni (Naseeruddin Shah in a remarkably restrained and uncharacteristically powerless role) is utterly disappointed by his client’s lack of support (read speech), and in an attempt to salvage some pride in his first case, makes some investigations on his own. In the court, his professional adversary is his real life mentor- Public Prosecutor Dushane (played by Amrish Puri).

Before I go on about my mumblings on the movie I have an interesting observation to make. The basic plot of this movie is replicated in Puneet Issar’s Salman Khan Starrer Garv (2004). Despite having the same thread throughout the movie- one cannot have two more diametrically different movies. While Aakrosh is given a really realistic texture- Garv is full on front-bencher pleasing commercial cinema with a hero at the helm of the affairs. Needless to say, in Aakrosh there is no hero.Also while Garv doesn't let the evil prevail over the good in the end, Aakrosh does not fall in any such trappings and takes a realistic look at story. 

Aakrosh has a narrative that does not flow unrestrained. It is multilayered and has many political and social points to make- which it does by giving due importance and care to each and every scene. The story is told from the eyes of the young advocate Bhaskar. It is his fears, his apprehensions, and his persistent efforts at knowing the truth that bring out the tension in the plot. Bhaskar Kulkarni represents the educated and grounded youth of the country, fresh out of their studies, and having very little idea of the malice in the society. He makes his efforts not in an attempt to save Bhiku, but because he considers it his moral responsibility being the lawyer assigned the case. He never gives up, despite facing resistance from not only his detractors, but also from the people he tries to defend (Bhiku and his family).

Although Amrish Puri’s character is not very important to the central plot, his Dushane is very important to the points that Govind Nihalani intends to make with the movie. Dushane is respectable man in the society who, despite being from the lower caste, has managed to gain acceptance from the people around him, by the very strength of his professional achievements and legal acumen. He is also an impassive observer to the whole dirty politics that is being played out in the village. On his level of involvement in the swamp, the director remains non-committal. However he is shown to be a regular at the get-togethers of all the powerful people of the village (who are also the villains in the plot- to use the conventional lingo). Also, Dushane is the only source of comfort and also a confidante to the young Bhaskar who lives alone in the village infested with criminal elements. All this lends him a very ambiguous position, which Amrish Puri justifies very well with his polished portrayal of the character.  

The director shows no hurry and treats the story with a touch that is reminiscent of his mentor Shyam Benegal’s cinema. It is the harsh reality- take it or leave it. There are no efforts to please on set of people over the other. I guess such movies aren’t banned by the authorities as they know hardly anyone would watch them. There are many powerful scenes that stay with you once you are done watching the movie, but none is more stark than the climax scene when Bhiku finally abandons his silence with a heart-wrenching cry of outrage. His savage act which precedes this cry makes a very pessimistic statement (which is unfortunate), but it manages to put across the point that the director is trying to make effectively.

Parting Note: Aakrosh is a dark, disturbing, and hard to watch (despite it being really well made) mainly because of its serious content. For people who like their cinema all grim and true to life (that too the dark side of life), this is a mandatory viewing. 

JFFS: Dostana 2

So at the end of D-1 Neha gets hitched to Abhimanyu. So what happens to Sam and Kunal? What happens to their Dostana?

Sam and Kunal start their lives again, away from that apartment and those fun filled moments. But they realize that they can’t get over their true feelings for Neha and they both remind each other of her and the fun times they had together. They decide to help one another in finding new partners but that all efforts go in vain. In fact it is because of the presence of the other in their lives that they can’t fall in love again. So they decide to end their friendship and stay away from each other until they find their respective matches.

So, Sam and Kunal are once again on their own- like they were at the beginning of D-1. On his mother’s insistence Sam goes over and visits her. There, his mother has already found a nice girl for him and wants him to get married to her. Sam doesn’t want in the least, but on his mother’s insistence meets the girl, Ayesha, and finds her really nice (read hot). So he decides to give marriage a chance thinking that in any case he has to move on in life. So Sam and Ayesha get married and proceed to go for a honeymoon on a cruise. Once on the cruise Sam gets a shocker and finds that Kunal is there with his girlfriend…

All this while, when Sam was in London, Kunal manages to fall in love with Sonam- a hotshot model who he had once photographed for a magazine. Kunal and Sonam don’t rush into a marriage and decide to know each other better by going on a holiday together. They get an opportunity in the form of a cruise on which a small film is being shot in which Sonam has landed up a role. Kunal too becomes a photographer with the film crew and they both join the cruise- with the intention of mixing work with pleasure.

Kunal too is as astonished to find Sam on the same cruise. However, they once again bond- over drinks- and introduce their respective partners to one another. But there is a shock in waiting for them. Neha’s ex boss (Boman Irani) too is on the cruise. He still thinks that Sam and Kunal are a gay couple. He is baffled to learn that both of them are with girls. He confronts Sam and chides him that he had suppressed his natural instincts because of his mother and had ended up marrying a girl. He thinks Kunal is just passing his time by going out with Sonam as Sam has broken his heart by marrying Ayesha. He sympathizes with Kunal. Now both Sam and Kunal have to prevent Neha’s ex boss (‘NEB’) from fulfilling his mission of telling Ayesha everything.

Meanwhile the cruise reaches a small island. Sam and Kunal go out together for some sightseeing, taking NEB with them, so as to keep him away from Ayesha and Sonam. But just when the ship is leaving NEB falls in a trench. In saving him, all the three of them are left stranded on the island and the ship goes away. Frustrated, they explore the island. They find it to be a very small one with just a few locals and a very few English speaking ones. Just as they think that the things couldn’t go any worse, a group of local goons attack them and take all their money and possessions. They spend the night in the jungles and when the sun rises they get up determined to get out of the mess. They reach a small hotel. They are shocked to find that the hotel’s owner recognizes them. He had been at the party where Sam and Kunal had kissed each other in front of Neha and Abhimanyu. He has a very little English but they manage to tell him that they had been robbed and had missed the ship. The owner then tells them that there was a vacancy where they could earn some money at one go. They decide to trust him- for they had no other choice. To Sam and Kunal’s horror and NEB’s delight, they take them to a strip club with a large number of people (both guys and gals) waiting for them to start the show. They go through hell and just as they are leaving the strip club, Sam spots someone he knew very well. It’s Sunaina. His first love. The girl with whom he had made love for the first time. He is shocked to find her in a completely inebriated state along with a group of other hippies. He runs over to her but she recognizes him in an instant. His heart takes a huge lurch. He takes her away from her group and away from Kunal and NEB. They both spend the night chatting away and recalling their past memories. Sam realizes that Sunaina had been always his first love and even Neha’s memories faded in her presence.

Meanwhile the next day Ayesha and Sonam return to the island in a steamer. They find Kunal and NEB and rush over to them. Ayesha asks Kunal about Sam. Kunal realizes that there could be big trouble if Ayesha found Sunaina with Sam. He rushes over to Sam and finds him locked in an embrace with Sunaina. He confronts him and tells him that his wife was on the island. Sam has to return to the cruise but before leaving he promises Sunaina that he would be back for her. On the cruise Sam realizes that Ayesha had fallen madly in love with him and he couldn’t ask her to separate. And then it strikes to him. He had to do it again. He and Kunal once again pretend to be gays and create raucous on the cruise. NEB is thrilled that both of them had overcome their unnatural instincts and were back together. Kunal tells Sonam that they are play-acting but Ayesha is shocked and completely heartbroken. She tries to make Sam realize her love for him and tries to seduce him to ‘better things’ but all her efforts prove futile and ultimately she has to leave the cruise completely shattered.

Sam, Kunal and Sonam return to the island to find Sunaina. But there is another twist awaiting them. They find that Sunaina is Abhimanyu’s sister and Neha and Abhimanyu were on the island visiting her. Kunal spots Neha and this time it’s him who finds his heart take a lurch. He looks at her and then looks at Sonam and then realizes that he could never forget Neha and could never do justice to some other girlfriend. But he is not able to tell Sonam all this. So once again they do what they are best at and pretend to be gays, telling Sonam that in the process of play-acting on the cruise, they had actually fallen in love with each other. Sonam too, leaves the island in a huff.

Meanwhile cracks have started to appear in Abhimanyu and Neha’s marriage. Neha has been a fantastic mother but professional differences and different opinions on most things at work have started to trouble their life at home. Abhimanyu had realized that Neha could be very infuriating in matters of work and he had begun to regret their marriage. But the only thing that had kept them together was his son and Neha’s love for him. They had come to the island to try to patch up their differences. But when Neha spots Kunal and Sam she finds no time for Abhimanyu. The three of them recall their Dostana and have fun together; only difference being that Sunaina joins them. Kunal starts to woo Neha when he realizes that things were not right between her and Abhimanyu. Neha too has always had a part of her, which had loved Kunal and that part takes over her entire existence because of his charm and she too is smitten by him. Abhimanyu too realizes Kunal and Neha’s feelings for each other and he and Neha decide to take a divorce. The only thing that stops Neha is her bond with Abhimanyu’s son. But Abhimanyu thinks of a solution. Abhimanyu tells her that he has decided to move to India to establish their businesses there and their son could stay with them if she would like it. Neha is thrilled. Abhimanyu tells his son to love Neha as a mother and that he would be always there for him and would come to meet him often.

So a new Dostana begins with two grand marriages. Sunaina and Sam. Kunal and Neha.

Lekin... (1990)

“Yaara Sili Sili Virah Ki Raat Ka Jalna”

‘Lekin’ is a movie best remembered for this timeless song by Lata Mangeshkar. Directed by Gulzar and produced by the nightingale of Bollywood herself (along with her Brother Hridyanath Mangeshkar, who also takes up the responsibility of composing music for the film), Lekin is the most 'hatke' theme attempted by Gulzar in his long and illustrious directorial career. It is a story that is mythical, rustic, and open to interpretations- like so many of the folktales that can be heard in villages abode to old monuments that act as bridges between our past and the present. Starring Vinod Khanna and Dimple Kapadia in principal roles, Lekin is a story seeped in the culture of the most mystical part of our nation- Rajasthan.

Samir (Vinod Khanna) is sent to a non-descript village in Rajasthan to evaluate and classify the possessions of an old palace that was once owned by the king of that region, and the doors to which have not been opened since the past few decades. On the way he has a strange encounter with a gypsy woman (Dimple Kapadia). Not thinking too much about it, he reaches his destination where he discovers that his old friend Siddique (Amjad Khan) is now a collector. The very next day he starts his job in the old palace, but things take a strange turn when he meets the gypsy woman once again. Soon, a lot of things start happening thick and fast around Samir, of which he cannot make any sense at all. How Samir gets embroiled in the age old forgotten tale of the sandy ruins, and how his life gets hijacked by an apparition from the past, is what the movie is all about.

The movie is different not only in terms of its story, but also in terms of the way Gulzar has treated it. He very beautifully captures the mood of the ‘lands of kings’, and adds a stamp of authenticity in each and every frame of the narrative. He creates a world that sucks you into it, and involves just like a very well written and intriguing bit of poetry. There is suspense, but it is not hurried. Everything is languid, and each and every bit of the puzzle unfolds patiently. It appears that Gulzar wants the viewers to feel the restiveness, the confusion, and the curiosity that is haunting Samir. Also, in terms of its theme, Gulzar chooses a story that could well have been converted into a tacky Ramsey affair, in the hands of a lesser and a more commercially inclined man. But Gulzar not only tells a story, he also raises a lot of questions about the paranormal, and the supernatural. Of course, the viewers are left to form their own interpretations through the course of the story, and also at the end of it all. It may all seem implausible, as it does to the protagonist initially, but then suddenly it may start making sense. Or rather, you would stop caring about its plausibility, and would just start to go with the flow of the proceedings (that is what happened with me). The only glitch is that this flow gets a little too slow in the middle of the movie- and that has led to it becoming a lengthy feature at around 160 min.

There are a lot of important characters in the story played by well known names of that time including Alok Nath and Vijayendra Ghatge. Hema Malini chips in with a very important cameo appearance. And like in most Gulzar movies, the music plays an additional character, one which often commands more respect than the mere mortals on screen. That said, even the mortals aren’t far behind in this feature, for both Vinod Khanna and Dimple Kapadia do a fabulous job. Dimple Kapadia looks ethereal, and talks more through her eyes than through her words. Amjad Khan (highly obese at the fag-end of his career) is efficient as the hero’s best friend and confidante- and so is the actress who plays his wife.

Parting Note: For those who don’t mind a slow pacing to their movies, and can digest a theme involving supernatural elements, Lekin is a very good watch.

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.

JFFS: Bhool Bhulaiya 2

This is the first post in a new series I am starting on the blog- 'Just for Fun Sequels' (JFFSs). Every other day, sequels for many successful films are announced- though ultimately only a handful do get actually made. Here I would post some possible continuations for some of our popular films that actually deserve a sequel. This is an attempt by me to keep my creative juices active- and add a different color to the blog- the color of imagination and endless possibilities... 

Radha (Amisha Patel) gives her consent and she and Dr. Aditya (Akshay Kumar) get married in an elaborate ceremony in Varanasi, after which Aditya returns to the US, taking Radha along. They start living a charmed life together, until their marital bliss gets interrupted by an assignment that comes in Aditya’s hands.

Strange happenings are reported from the ancient town of Angkor (Cambodia) where a team of five US archaeologists had gone to study the ancient scriptures and learn more about the Khmer dynasty. At the outskirts of the town, they had made an extraordinary discovery. They had found a hidden passage to one of the outer chambers of the great temple Angkor Wat. The chamber consisted of a huge replica of the painting of Suryavarman II, the king who commissioned the construction of the temple, the original for which was a popular tourist attraction in the south gallery of the temple. The painting showed the king seated on an elaborate wooden dais whose legs and railings were carved to resemble naga snakes, and with him holding a small dead snake in his right hand. Beneath the painting were written a few words in Sanskrit that meant “The secret to success lies in the weakness of the enemy”.

The archeologists had decided to remove the painting from the chamber, believing it to be the key to many hidden facts about the ancient kingdom. They had taken the painting to their base camp on the outskirts of the city. The very night, there was a huge storm and a heavy downpour. It had seemed that the skies were angry, and were expressing their displeasure by thunder and lightning. Their base camp too had got struck by a bout of lightening that resulted in the death of one of their team members. Not only this, the next five days resulted in the death of two others in freak accidents. The remaining two Jim and Sunil had got a feeling that their removal of the painting had somehow triggered this mishap on them. Fearing for their lives, they had decided to restore the painting. The very next day, they took the painting to the chamber that they had discovered and restored the painting. But while getting out, Sunil had got struck on the head by something and had fallen unconscious. When Sunil regained consciousness, he discovered that Jim had gone, and so had the painting. Mightily shaken by the whole proceedings, he had wasted no time in reaching the city and taking a flight back to US.

After reaching US, Sunil gets a bit disillusioned and starts getting really bad dreams. He contacts Sidhharth (Shiney Ahuja), a good friend of his, who refers him to Aditya. Aditya hears him out but refuses to go forward with the case- sighting the fact of him being a psychiatrist and not a mystery solver. But on Sidhharth’s insistence, and Radha’s encouragement, Aditya decides to visit the Archaeological Institute of USA- Sunil’s employers. There he finds out the nitty-gritties of the mission gone wrong in Cambodia. But Sunil hides everything about them finding the painting and just tells him about the deaths of his colleagues in mysterious circumstances. Aditya decides to do some background research and spends a few days in library reading up the history of Cambodia and Angkor Wat in particular.

Soon Aditya and Radha travel to Cambodia, where they are accompanied by Sunil and two others from Archaeological Institute. Also, in Angkor, they are joined by a sexy female Historian Lisa, a localite, who is too hot and too smart for Radha to like. She gives a tour of Angkor Wat to Aditya, telling him about some really cool historical facts and myths, and also tells him a fable that is well known in the land of Cambodia, but which a few believe- or decide to believe…

Suryavarman II was a young and rebellious prince who was the great nephew of the then king Dharanindravarman. This was around 1110 AD. Suryavarman II wanted to be the king to the throne at which he had not legal king. But his great uncle was a really ineffectual leader, and quite aged too. Planning a usurping of the throne, Suryavarman got distracted when he fell in love with a traveler from the Chola Dynasty (Southern India) – Priyamani. Priyamani was the daughter of a learned noble in Kulothunga Chola’s court (the then Chola king). She had come to Cambodia on a state visit along with her brother Ajayratra, and with the intention of learning about the Khmer culture, and visiting the sacred Shiva temples in and around Angkor Wat. Dharanindravarman was a huge devotee of Shiva, and built royal temples for his beloved God. Suryavarman met Priyamani at one of these temples and they soon were involved in a passionate love affair, hidden from Ajayratra and Dharanindravarman. Priyamani got pregnant and Suryavarman decided to marry her. But when Ajayratra got to know of this, fuming in anger over the loss of face, he decided to kill his sister and the child in her womb. Before Ajayratra could execute his plans, Suryavarman escaped with his love and their unborn child for two years in the jungles. When he returned after two years, he told his uncle that he had been a fool and asked for his forgiveness. He also told him that both Priyamani and his son were dead. In reality Suryavarman had got in a treaty with an enemy of the state and to seal the pact had married his daughter- leaving Priyamani and their son- on their own in the forests. With the help of the enemy he battled his uncle after weakening his armies from inside like a termite, and killed him- taking over the Khmer throne.

Suryavarman then decided to build Angkor Wat, and in a departure from the norm, decided to make it Vishnu rather than Shiva the focus of the religious life. For this reason Angkow Wat faces the west- the cardinal direction in which Vishnu was associated. In fact, he hated Shiva, and anything to do with the God- perhaps in the memory of Priyamani and her devotion for the Snake God.

Now Priyamani and her Son vowed revenge, and entered the temple of Angkor Wat as Brahmins. The son Veeravardhan became well versed with the treasures of the temple complex and started small pilferages after gaining the trust of the most senior Brahmins of the temple complex. Legend has it that he accumulated a huge treasure and hid it in a secret chamber. The legend also has it that the chamber is guarded by a painting of Suryavarman- the replica of a famous representation of his in the temple complex. Soon after however Suryavarman got to know of Priyamani and his son being in the temple- and got them executed publicly. While Veeravardhan died like a warrior- Priyamani died with a secret desire in her heart- and hence her ghost returned to haunt the temple. Over the years she led to the destruction of the Khmer empire which went on a downward spiral- and finished completely hundred years later. What the legend also talks about is that Veeravardhan had left his son in the womb of the daughter of a temple priest- And that son and his subsequent generations guarded the treasure accumulated by Veeravardhan zealously- aided by the ghost of Priyamani- the guardian of her posterity. The legend says that even today, the treasure is being guarded by these people who owed their existence to a passionate love affair between Veeravardhan and a young lady.

Aditya hears this story and so does Sunil. He tells Aditya about their discovery- and that they had actually found the treasure chamber. Aditya wastes no time and enters the chamber along with a few armed personnel and Lisa- who refuses to be left behind. They reach the painting of Suryavarman and Aditya asks everyone not to touch it. He decides to explore the whole chamber before making a move.
Thus Aditya and Lisa start visiting the chamber every day, working painstakingly to find clues that could help them uncover the mystery. Every day they reach the painting, but don’t even touch it. And nothing really happens to them in the next two days. But on the third day, Aditya finds a few clues, a few footprints that he could not explain. The very next moment a few people come out of black shadows and attack them. Aditya manages to escape and keep them away. But Lisa gets lost in the dark of the temple…

Aditya, Radha, and Sunil visit the police station but the local police refuses to help them, and advices them to leave the country. They talk about Priyamani’s ghost and refuse to go inside the temple, fearing the Veeravardhan clan. Aditya understands that some murky plan is going on in the temple city, and the Police are involved in the same. He decides to take the things in his hands and makes some investigations in the nearby city. Hidden in the dark of the night, he spies on the areas around the entrance to the chamber. Using a magnetic compass and his significantly more effective sense of direction he makes a map of the entire region in his head. After three days of intensive mapping and spying, he finds another entrance- a secret tunnel- that by his calculations would lead to the same temple chamber.

He spies on that entrance- and soon enough he spots people emerging from the tunnel, with heavy boxes on their heads. He follows the trail, and finds them loading the boxes in trucks- that move towards the sea cliff- where the boxes are sent down to a waiting ship- that take them away God knows where-

Aditya fathoms that it is a smuggling ring that is been operated from within the temple premises- and the whole thing is being hidden around the temple fable of Veeravardhan- to keep the general public and the Police away. Aditya decides to go to Phnom Penh and take the help of the main city police force. They reach Angkor the very next day early in the morning and raid the chambers and catch the smugglers. They also find Jim who had been kept captive by the smugglers. But they find no trace of Lisa…

Aditya refuses to leave the city before finding Lisa. He explores the temple, and ultimately ends up again in front of the painting of Suryavarman. He reads the saying beneath the painting
“The secret to success lies in the weakness of the enemy”.
He looks at the dead snake in the hands of Suryavarman. The sign that he did not believe in the power of Shiva- the power which was everything for Priyamani. He decides to remove the painting and enters the den the smugglers were using. In a corner he spots a small Shiva temple. He goes over to it. The only Shiva temple in Angkor Wat. This was it- this was the weakness of the enemy- The weakness of Suryavarman to recognize the might of Shiva…

He explores the temple- and spots an inscription. It is a puzzle- one which if solved could lead to the greatest treasure of the world. Suddenly he hears the voice of Lisa…

“Come on Aditya, if someone deserves to know this secret- it is you- you got rid of the people who were defiling the sacred chambers of our forefathers- those wretched people who ended my clan- those who killed the last descendents of my son Veeravardhan…”
“Priyamani”
A secret entrance opens automatically as soon as the name is said by Aditya….
“Go inside Aditya, the greatest treasure of the world is yours”
“No. It belongs to this great land. It belongs to you. Your dynasty. I will let it remain here. Surely this will help your people when they are really in the need for it”
“You are a good man Aditya.”
“What I would like to do is to help you. Help you escape this mortal world. Help you escape its trappings. Help you move on…”
“Alas, that’s not possible Aditya. I brought terrible shame to my family back in India. I defiled the pride of my clan. Until and unless they don’t forgive me, I cannot be free”
“But they all are dead. Can’t anything be done?”

Aditya and Radha travel to a quaint little city in South India- Thanjavur- the city that was the capital of the Chola Dynasty at the time when Priyamani lived. They visit the ruins of a small Shiva temple and meet the priest there- an old man- whose ancestors went on till the times of the Chola dynasty. He asks him if he knew about Priyamani- who travelled far and wide to Khmer- some 900 years ago.
The priest is shocked to hear these words from Aditya. He tells him that he and his family were descendents of Ajayratra (Priyamani’s brother) – their secret had been passed on from generations to generations. Aditya tells him about the spirit of Priyamani been stuck in this mortal world- and seeking forgiveness from their family. He asks him to travel to Angkor- and makes all the arrangements for him-

As for him and Radha they return to USA- not before going to Varanasi and meeting Radha’s family and Siddharth- Every moment Aditya reflects on the vast maze (Bhool Bhulaiya) of Ancient tales and fables our ancient heritage is…

Thanks for your patience. It was a long first post. Hope you found it worth the effort. And kindly pardon the typos/grammatical errors that probably infest this post. It was written in rather a hurry. 

Saath Saath (1982)

The sad demise of Jagjit Singh today marks he end of an era. The following is a write-up on a movie embellished by his 'Ghazals'- a movie that embodies his soul- melodious, thoughtful, and beautiful... 

Togetherness, affection, love… so many of our movies talk about these things, but hardly any of them  try to look into the actual meanings and connotations of these rather abstract emotions, and fewer still try to take a realistic look at these things. Saath Saath, a Farookh Shiekh and Deepti Naval starrer from the early 80s, is a movie that attempts to give an answer to an oft repeated question- ‘What is Love?’ (A question that has left many a philosophers and thinkers grappling, and whose answers, more often than not, are pretty vague ones that stem more from frustration rather than actual understanding or sudden flashes of cognition). This movie is the debut for writer/director Raman Kumar- another of those people who went downhill after showing a lot of promise in their first feature. One striking feature of this movie is that all songs are sung by the husband-wife pair of Jagjit Singh and Chitra Singh, but more on that later.

Saath Saath starts off in a manner, which despite being predictable is fairly engaging. Geeta (Deepti Naval in a girl next door avatar), the only daughter of a rich industrialist, moves into a new college and meets Avinash (Farookh Shiekh in a fiery role of a young socialist), and falls in love with him. Avinash reciprocates, and soon their love blossoms, much to the happiness of their group of friends (all recognizable faces-ranging from Satish Shah to Neena Gupta). It is usually hard to put an exact reason to why someone falls for someone else. But in this case Geeta certainly takes to the revolutionary streak in Avinash, and his zeal for honesty and passion for making a difference in society. He is one who minces no words against the money-minded industrialists who, he believes, revel in their corrupt means and build their empires by exploiting helpless people who agree to become slaves to their exploitative ways just because of lack of other options. Avinash freelances for newspapers, but more often than not, finds his articles rejected on the pretext of them being too realistic and too aggressive against capitalists.

Geeta, despite being a daughter of an industrialist herself, fully empathizes with Avinash’s ideas and thoughts and decides to spend her life with him, despite her parent’s passive resistance. Soon they marry and move into Avinash’s small home; making it a home of their dreams by their understanding and love. Things start to change when Geeta gets pregnant, and because of their rising monetary requirements, Avinash joins the publishing house of his friend (Satish Shah), as an employee. Soon, blinded by his love for Geeta, and his desire to give her and their kid all the comforts in the world, Avinash leaves his path of honesty and starts to compromise on his ideals in the company of his profit minded friend and boss. How Geeta reacts to this, and how she starts to alienate herself from Avinash’s life is what the movie is about in its latter half.

Like most of the realistic movies of that time, Saath Saath too has a simple plot, but is taken to the next level by its thought and its conviction. Its purpose seems to be to highlight the meaning of true love, and at the same time draw out the distinction between life pre and post marriage, when even the best of men can sometimes move away from their staunch ideals due to rising responsibilities and higher stakes in life. Although the narrative gets a bit shaky in parts (especially during attempts to bring in some humor), and the culmination looks a bit simplistic and hurried (as if the writer was forced to end it this way), the movie is a delightful watch for most parts. Certain scenes are truly splendid- the post marriage scene between Avinash and Geeta when they both take up hectic jobs, and the scenes that bring out the change in Avinash’s personality in the latter portions, are worth a mention. But what really adds wonderfully to this movie is its music. This movie, despite being a fairly different and engaging one, is still remembered more for its songs by Jagjit Singh and Chitra Singh. Kuldip Singh is the man behind the compositions, and the words are by Javed Akhtar. The two evergreen songs that form the backbone of this movie are ‘Tumko Dekha toh Yeh Khayal aaya’, and ‘Yeh Tera Ghar Yeh Mera Ghar’. The rest of the songs too are good, but not as popular.

The performances in such movies always appear better than what they are, but despite that it can be said that both Deepti Naval and Farookh Shiekh did an excellent job as the lead pair (though Farookh Shiekh looked a bit theatrical at places- especially during the ‘Tumko Dekha’ song and his scenes of outburst). The supporting cast (Rakesh Bedi, Satish Shah, Neena Gupta, Iftekhar etc.) doesn’t have much to do, and the focus never wavers from Deepti and Farookh.

Parting Note: All in all, Saath Saath is a good breezy watch (at just about 120 min), elevated to a great extent by its music and performances by its lead pair. Signing off with...

P.S: The editing is credited to David Dhawan, who incidently never attempted this kind of cinema after turning director.