Many a dark truths lurk under the benevolent lights of social facades. Not all of them palatable, not all of them acceptable. It's a fact of social hypocrisy that often we try and hide the unpleasant truths, that we justify our deeds of betrayal and treachery by high-sounding statements of circumstances, that we give commitments and then try to wiggle out of it citing unexisting pressures and transfer our love, our loyalty and our emotion to the next merchant with the moolah, giving our disgusting betrayal laughable, high-sounding names like practicality..... and then because somewhere we know we are worse than the worms on the streets, we act as if these facts don't exist; it's not difficult for we are the ones who rape our conscience daily till it has been killed and then cry foul.... the perfect hypocrite!
We crib for social equality , talk about being indifferent to the circumstances (of course as long as they don't burn as) but at the same time, do not think twice before bypassing the beggar on the road; it turns out we have not even seen him..... Of course, we are decent people, humanitarians with a lot of love in our hearts for the poorer sections of society, only it is deemed to be a love that should should start from the heart and never reach the wallet.... for wallets are not supposed to be for love, they are supposed to be for security..... Isn't that the reason why we change relationships like clothes and then we even have the temerity to laugh at whores who live a much more dignified life then us.
Why would anybody want to show this unpalatable fact to the audience and why would the audience be interested in watching it.... Well, there seems to be a genre of intellectuals, who think high as long as it doesn't impact them - a fraternity where love, concern and commitment are words and only words, but words which when spoken well, give rich dividends..... and there is another class of people who try and hope to put an end to these inequalities....
RK Films on a whole often made films for the Aam Aadmi, even when he was not so much in the public eye..... One of the early movies made by them, which tried to put across this truth to an unbelieving and unrelenting society in an acceptable form is Jagte Raho. In a bold stroke for those times, Jagte Raho tries to do away with stereotyped conventions of social mores and attempts to reveal that material affluence may not actually be a prerequisite for gentlemanly conduct, in fact, the so-called cultured homes often have the most perverse and undignified of members.... In addition, Jagte Raho was one of the first movies made in India to relate the travails of a human being over the duration of a single day or night. Thus, judging from their past records, this film was a long cry from the formula fare with a strong social theme dished out by the production house and immediately made waves in the international circuit.
So what is the film about? Well, Jagte Raho is a story of a peasant who comes over to the city in search of employment, in wrongly suspected to be a thief, because of his clothing, because he does not suit the dressing sense of the Babu- the cultured and decadent denizens of a city that cries for redemption and the trials and tribulations he undergoes in that dark night. On a parallel track, the movie also underlines the decadence and fall of ethics in a country rapidly trying to grapple with social evils and also tries to paint in bold relief the social mindset which looks at appearances as the final arbiter of a man's worth and character. Isn't money the barometer that decides relationships?
Bikti Hain Suhaag Ki Raatein Bhi, Dulhan Ke Chalan Bik Jaate Hain
Yeh Hirs-O-Hawas Ki Mandi Hai, Yahaan Anmol Rattan Bik Jaate Hain
Raj Kapoor as the simple peasant, a man of conscience and character, gives one of his most perfectly chiseled performances. A performance that can be considered to be among the 100 best ever performances in Hindi Cinema .... Gone and invisible is the stereotyped smart pickpocket of Awara, the guilt-ridden swindler of Shree 420 and the tramp of numerous other such formula fares. In its place, we find an actor who proves once and for all his vast repertoire and intelligent knowledge of the medium.
Throughout the film he speaks with his eyes and those eyes speak more than the most bombastic dialogues of many a great veteran. Equally effective is his outburst, when he's hounded by a partisan crowd baying for his blood and the scene wherein he confronts the young child, ably played by Daisy Irani. Both of these confrontations are on different levels but it's to the credit of the actor that he manages to carry off both with such distinct and overwhelming perfection that it imparts an intense uniqueness to both. This is his film and he ensures it remains his in spite of a galaxy of excellent work of all his co-stars.
Daisy Irani as the young child manages to steal the thunder from all others and its to her credit that her only scene in the film remains firmly etched in your mind as one leaves the theatre. No doubt, she was the highest paid child artiste of her times and still evokes memories of innocence and sweetness.
Among the others, Motilal as the drunken husband proves that form is temporary but class permanent. When I was young, I was told many a times by older connoisseurs of Indian cinema about this savvy perfectionist but his intelligence and talent is to be seen to be believed. His brilliant portrayal of the drunken husband who has no compulsions in forcing his wife to drink is unmatched in both quality and style.
Pradeep Kumar as a lover boy, Iftikhar as the local youth leader of the colony, Nana Palsikar as the quack and Nemo as the blackmarketeer who is a saintly figure in social circles play their roles with excellence; each and every one of them just proving a facet of life that we would not like to see... Nargis also impresses with her short cameo towards the end of the movie. A trivia.... this was the last time Raj Kapoor and Nargis came together for a movie and the scene which brings them together is one of the best to be shot and still evokes the memories of a true love, destroyed by the woman's selfishness.
Shambhu Mitra, the director of the movie was one of the best directors in Bengali cinema and that he was no less than his other Bengali counterparts can be very well gauged from his deft direction in this movie, which was considered as drab by many a big name when Raj decided to make the movie.
Salil Chowdhary comes up with another gem of a composition, although the musical score may pale when compared to his other compositions in more popular movies like Anand and Madhumati. Still the songs have a feel and life of their own... Mukesh is ethereal as he croons 'Ziindagi Khwab Hai' ... Lata in one of the beautiful Bhajan of her life brings to life the pinings of a a true Radha as she enters the threos of 'Jaago Mohan Pyaare Jaago'
A movie for those who wish to understand cinema for cinematic reasons and especially recommended for those who believe Indian Cinema never ever made good movies.
And before I end, some beautiful lines from a beautiful song from the movie:
Ainveen Duniya Deve duhaayi, Jhutta Panvaadee Shor
Apne Dil Ne Pucch De Vekho, Kaun Nahin Hai Chor....
Haque Doojen Daa Maar-Maar De Ban Gaye Log Ameer
Main Ainu Kahenda Chori, Duniya Kahende Taqdeer
Vekhe Pandit Gyaani-Dyaani, Daya-Dharam De Bandey
Ram Naam Japde, Khaande Gau-Shaale De Chandey
Sacchey Phansi Chadte Vekhe, Jhhota Mauj Udaaye,
Lok Kahende E Rab Di Maaya, Main Kandu Anyaaye
We crib for social equality , talk about being indifferent to the circumstances (of course as long as they don't burn as) but at the same time, do not think twice before bypassing the beggar on the road; it turns out we have not even seen him..... Of course, we are decent people, humanitarians with a lot of love in our hearts for the poorer sections of society, only it is deemed to be a love that should should start from the heart and never reach the wallet.... for wallets are not supposed to be for love, they are supposed to be for security..... Isn't that the reason why we change relationships like clothes and then we even have the temerity to laugh at whores who live a much more dignified life then us.
Why would anybody want to show this unpalatable fact to the audience and why would the audience be interested in watching it.... Well, there seems to be a genre of intellectuals, who think high as long as it doesn't impact them - a fraternity where love, concern and commitment are words and only words, but words which when spoken well, give rich dividends..... and there is another class of people who try and hope to put an end to these inequalities....
RK Films on a whole often made films for the Aam Aadmi, even when he was not so much in the public eye..... One of the early movies made by them, which tried to put across this truth to an unbelieving and unrelenting society in an acceptable form is Jagte Raho. In a bold stroke for those times, Jagte Raho tries to do away with stereotyped conventions of social mores and attempts to reveal that material affluence may not actually be a prerequisite for gentlemanly conduct, in fact, the so-called cultured homes often have the most perverse and undignified of members.... In addition, Jagte Raho was one of the first movies made in India to relate the travails of a human being over the duration of a single day or night. Thus, judging from their past records, this film was a long cry from the formula fare with a strong social theme dished out by the production house and immediately made waves in the international circuit.
So what is the film about? Well, Jagte Raho is a story of a peasant who comes over to the city in search of employment, in wrongly suspected to be a thief, because of his clothing, because he does not suit the dressing sense of the Babu- the cultured and decadent denizens of a city that cries for redemption and the trials and tribulations he undergoes in that dark night. On a parallel track, the movie also underlines the decadence and fall of ethics in a country rapidly trying to grapple with social evils and also tries to paint in bold relief the social mindset which looks at appearances as the final arbiter of a man's worth and character. Isn't money the barometer that decides relationships?
Bikti Hain Suhaag Ki Raatein Bhi, Dulhan Ke Chalan Bik Jaate Hain
Yeh Hirs-O-Hawas Ki Mandi Hai, Yahaan Anmol Rattan Bik Jaate Hain
Raj Kapoor as the simple peasant, a man of conscience and character, gives one of his most perfectly chiseled performances. A performance that can be considered to be among the 100 best ever performances in Hindi Cinema .... Gone and invisible is the stereotyped smart pickpocket of Awara, the guilt-ridden swindler of Shree 420 and the tramp of numerous other such formula fares. In its place, we find an actor who proves once and for all his vast repertoire and intelligent knowledge of the medium.
Throughout the film he speaks with his eyes and those eyes speak more than the most bombastic dialogues of many a great veteran. Equally effective is his outburst, when he's hounded by a partisan crowd baying for his blood and the scene wherein he confronts the young child, ably played by Daisy Irani. Both of these confrontations are on different levels but it's to the credit of the actor that he manages to carry off both with such distinct and overwhelming perfection that it imparts an intense uniqueness to both. This is his film and he ensures it remains his in spite of a galaxy of excellent work of all his co-stars.
Daisy Irani as the young child manages to steal the thunder from all others and its to her credit that her only scene in the film remains firmly etched in your mind as one leaves the theatre. No doubt, she was the highest paid child artiste of her times and still evokes memories of innocence and sweetness.
Among the others, Motilal as the drunken husband proves that form is temporary but class permanent. When I was young, I was told many a times by older connoisseurs of Indian cinema about this savvy perfectionist but his intelligence and talent is to be seen to be believed. His brilliant portrayal of the drunken husband who has no compulsions in forcing his wife to drink is unmatched in both quality and style.
Pradeep Kumar as a lover boy, Iftikhar as the local youth leader of the colony, Nana Palsikar as the quack and Nemo as the blackmarketeer who is a saintly figure in social circles play their roles with excellence; each and every one of them just proving a facet of life that we would not like to see... Nargis also impresses with her short cameo towards the end of the movie. A trivia.... this was the last time Raj Kapoor and Nargis came together for a movie and the scene which brings them together is one of the best to be shot and still evokes the memories of a true love, destroyed by the woman's selfishness.
Shambhu Mitra, the director of the movie was one of the best directors in Bengali cinema and that he was no less than his other Bengali counterparts can be very well gauged from his deft direction in this movie, which was considered as drab by many a big name when Raj decided to make the movie.
Salil Chowdhary comes up with another gem of a composition, although the musical score may pale when compared to his other compositions in more popular movies like Anand and Madhumati. Still the songs have a feel and life of their own... Mukesh is ethereal as he croons 'Ziindagi Khwab Hai' ... Lata in one of the beautiful Bhajan of her life brings to life the pinings of a a true Radha as she enters the threos of 'Jaago Mohan Pyaare Jaago'
A movie for those who wish to understand cinema for cinematic reasons and especially recommended for those who believe Indian Cinema never ever made good movies.
And before I end, some beautiful lines from a beautiful song from the movie:
Ainveen Duniya Deve duhaayi, Jhutta Panvaadee Shor
Apne Dil Ne Pucch De Vekho, Kaun Nahin Hai Chor....
Haque Doojen Daa Maar-Maar De Ban Gaye Log Ameer
Main Ainu Kahenda Chori, Duniya Kahende Taqdeer
Vekhe Pandit Gyaani-Dyaani, Daya-Dharam De Bandey
Ram Naam Japde, Khaande Gau-Shaale De Chandey
Sacchey Phansi Chadte Vekhe, Jhhota Mauj Udaaye,
Lok Kahende E Rab Di Maaya, Main Kandu Anyaaye
