Shaheed-E-Azam - My Thoughts on Shaheed (1965)

Sarfaroshi Ki Tammanna Ab Hamaare Dil Mein Hai

Dekhna Hai Zor Kitna Baazu-E-Qaatil Mein Hai

This is no mere couplet to be sung in smug kavi sammelans and mushy mushairas; this is a war-cry to be rendered in the thickest of the battles and the most surest of the massacres….

It is the challenge of young men and women who could laugh in the face of the toughest opposition and still remain undaunted on their chosen path…. It’s the challenge of young men and women who did not have any weapons to face the world’s strongest colonial power other than a burning desire and a fierce faith but who would not let the opposition rest in peace despite being severely handicapped by resource limitations…. It’s the challenge of young men and women who though few in numbers could still instill fear in the hearts of the Empire about which it was famously said, “The sun never sets”…. It’s the challenge of those whose faith and fervour was enough to move mountains and who could fervently believe that death was a welcome bride

Only they could say so calmly and so softly:

Kheench Layee Hai Sabhi Ko Sar Kataane Ki Lalak

Aashiqon Ka Aaj Jamghat Qucha-E-Qaatil Mein Hai

These words of fierce fervour, these words of intense intensity, these words of a fanatic frenzy, born of naked and fierce love for one’s Junoon are words that can adorn the lips of only a few selected destined ones… Not all can speak this language of love and devotion and still be unfazed except those for whom their love and devotion has transcended all barriers

Today, as I sit here in this great mall, looking at the teeming multitude of beautiful curvaceous damsels and handsome, stylish studs, irreversibly seeped in western culture and disdainful of anything and everything Indian, I can only wonder at what could have been the reason why those men of Junoon; those men with deep nationalist devotion were so different from us.. what made them so very conscious of their own destiny than people like me who are still looking for our destinies and still failing miserably…. I am trying to frankly understand what is it that separates these men and women that roam here in these malls from those men and women of an earlier age and generation who deliberately and consciously shunned their own selves of all pleasures for a grim destiny…

At the age of 23, when people of my age and generation think of nothing while wearing a British or American flag on their foreheads, these young men of uncommon, singular passion were wearing gallows for the sake of their own flags –

At the age of 23, when young guys and girls of my age and generation spend hours hovering outside the embassy of the United States, waiting for that elusive opportunity to forever leave the nation of their birth, these young men of uncommon, singular passion were resisting all opportunities just to fight and die for their motherland –

Maybe as Kaifi Azmi would say:

Zinda Rehne Ke Mausam Bahot Hain Magar,

Jaan Dene Ki Rut Roz Aati Naheen….

Husn Aur Ishq Dono Ko Ruswaa Kare,

Woh Jawaani Jo Khoon Mein Nahaati Naheen…

It’s really sad – nay, shameful – to note that very few films have been made that showcase the martyrdom of these patriots; very few films that depict what these men went through for their love for their country… they who died so that we may live, these martyrs who made life so simple for us – it’s their death that is reflected in our freedom but we hardly care…..

Hence, when one comes across a movie like Shaheed, the first reaction is to silently thank the makers for their faith and confidence in making such a brave movie. Unlike the movies that were made on Bhagat Singh later, each and everyone of them trying to cash in on the sudden popularity of the man popularly known as Shaheed-E-Azam and depicting the era (in some cases rather very well) rather than the person, Shaheed focuses itself totally on the aura and mystique of the man we call Shaheed-E-Azam

It’s a simple story told in black and white and having no jingoistic overtones other than the premise of the story but it manages to capture the man, his character and his devotion so well that the ones that follow although artistically much better in terms of cinematography and other paraphernalia still fail to generate that same power and depth as this simple story told from the heart. Maybe the fact that it was written by one of Bhagat Singh’s associates and fellow revolutionaries, Batukeshwar Dutt makes it so emotionally resonant that the film manages to capture your heart without even attempting to do so….

Manoj Kumar as Shaheed-E-Azam Bhagat Singh delivers what can be said to be the finest, the greatest and the best performance of his entire career. Consistently devoured by critics for being nothing but a carbon copy of the great Dilip Kumar, and written off for his odd and quirky mannerisms, this is the film where the actor in Manoj actually comes to life. Those mannerisms are still there but somehow they are too subdued and too natural to be called mannerisms. Suffice it to say, had Manoj quit acting after this movie, he would still write his names in the annals of Indian film history. There has never been a better Bhagat Singh… although the list of actors who attempted this role is by itself a role call in the who's who of the film world - Prem Adeeb, Shammi Kapoor and even the great Sivaji Ganeshan

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The eyes of a man who lives for his passion and his dream are curious. They are deep and often resonate with a depth that can only be understood if one understands depths. These are the eyes of a soldier of faith, these are the eyes of a soldier of truth… In this film, Manoj speaks so eloquently with his eyes, I would forgive him all his later hamming.

Manoj plays his role with an uncommon restraint. He’s silent most of the times but when he speaks, his voice is calm and steely; as calm as the desert and as steely as the sword. His one line as he rebukes the jailor says it all, “Aap Hukum Se Majboor Hain, Main Dil Se Majboor Hoon” Imagine a man saying that after being on a hunger strike (not the relay type but the real one) for more than 40 Days

There is no doubt, why even Bhagat Singh’s family appropriated him as Bhagat Singh himself!

Prem Chopra as Sukhdev is brilliant. In a rare positive role, Prem Chopra stands tall. The chagrin on his face when he's let to believe that Bhagat has turned approver speaks from the bottom of his heart - his downcast eyes speak of his pain and sufferings at having found that his God had feet of clay - and then see the feelings of happiness on his face when he finds out that he has been fooled - that His Gos is indeed God and has never forsaken him - the innocence is so child-like, it can only be felt, not explained! Maybe this explains why the legendary Mehboob Khan wanted to introduce this actor as a hero in his never-completed last film ‘Kafan’… The man plays his role to the hilt and is convincing in the role of Sukhdev who hero-worshipped Bhagat Singh and was his closest friend and associate in real life.

Anand Kumar as Rajguru has not been given a lot of space to perform but whenever he gets a chance to perform, Anand is convincing. It’s sad that both Rajguru and Sukhdev have not been given proper respect for their contribution to the freedom struggle. One of the main merits of this film hence is that Shaheed, although a movie on Bhagat Singh does not treat his other peers as collateral matter but as revolutionaries in their own right. Shahid is not only about Bhagat but also about Rajguru and Sukhdev.

A very beautiful song that’s been picturized on these three, shows the deep fervour these actors held for the country. So easy is their camaraderie, so effortless their performance that one can only say that these actors were really having a gala time walking to their gallows somewhat just like the three friends whom they represented must have had as they walked on those cold and punishing steps on that cold, dark night way back in 1931

Jis Chole Ko Pahen Shivaji Khele Apni Jaan Pe

Jis Chole Ko Pahen Rani Mit Gayee Apni Aan Pe

Uss Chole Ko Pahenke Nikla.. Hum.. Sarfaroshon Ka Tola

Mera Rang De Basanti Chola … Mayee… Rang De Basanti Chola!

Only a man who does not fear death but believes that death is welcome to a life of subjugation – only he, whose conscience is so clear can be so gay at the time of his death

Kamini Kaushal is brilliant in her role as Kishan Singh, Bhagat Singh’s mother. The maturity of a mother whose son is destined to die on the gallows along with the conflicting emotion that a mother feels for her son is not easy to depict, especially in a film that addresses the son and not the mother. Hence, it’s remarkable to see that Kamini still manages to leave a powerful impression. It’s true that the hand that rocks the cradle rules the world and what better example of this truth than the mother who instilled such a deep love in the son for her country… If Bhagat Singh is a great man, greater is the mother who made him the great man that he is… I cannot but recite a couplet for this great mother

Hai Kaun Khushnaseeb Maa, Jiske Ghar Ka Ye Chiraagh Hai
Woh Khusnaseeb Hai Kahan, Jiske Sar Ka Ye Taaj Hai
Amar Woh Desh Kyon Na Ho, Ki Tu Jahaan Shaheed Ho?

Nirupa Roy is fabulous in her performance as Durga Bhabhi. Look at her performance and one will understand the silent sacrifices made by the women of the country for the freedom that we cherish and which is still a pipedream for many of them. Although the character could have been more deeply etched, the director has on purpose made all other characters in the film incidental to the plot so that the film can focus on the protagonist and in deference to this technique, Nirupa plays her role with characteristic élan

Man Mohan, a small-time side villain of those days also makes a positive impression with his performance as the legendary general of the Hindustan Socialist Republican Army, Chandrashekhar Azad – one of the greatest revolutionaries in the history of Indian Freedom Struggle. One is often deluded to think that revolutionaries must be rough and crude but the softness of an otherwise ruthless freedom-fighter is well-documented in this brilliant movie making this easily his best performance in movies

A look at his eye as he marshals his forces effectively early in the film shows his power over his troops and the way in which he indulges them shows his affectionate nature. Observe him look causally but sternly at them as the legendary Mohammed Rafi sings in the background:

Ae Watan, Ae Watan, Humko Teri Qasam;

Teri Raahon Mein Jaan Tak Luta Jaayenge

Phool Kya Cheez Hai, Tere Qadmon Mein Hun,

Bhet Apne Saron Ki Chaddha Jaayenge

Performances that linger are made in such moments

One more actor who makes an impression is the formidable, great Pran. As Keher Singh, a dacoit who has spent his life in thievery and killing; Pran dazzles all with his brilliance and exuberance. Whether it’s in the scenes where he is ribbing Bhagat Singh, ridiculing his policies or in the scenes depicting his steady transformation after listening to him, Pran is just Pran! The man, The Actor, The Legend!

Some of his dialogues are so strong that they set the tempo of the film – “Zindagi Mein Kisi Nek Aadmi Se Haath Nahin Milaaya, Milaayega Haath?” when he is being sent to the gallows and meets Bhagat Singh for the last time impresses one with it’s simplicity but most importantly subtly point out to the greatness of Bhagat Singh’s character that even a hardened dacoit falls in love with his character.

Going further, Anwar Hussein and Madan Puri are superb in their rendition of men whose hearts are in the right place but who serve the wrong masters. The scene where Madan Puri informs Anwar that Bhagat will be hanged a day prior to the actual date of hanging and Anwar’s reaction is a brilliant piece of acting from both the stalwarts

Another powerful aspects of the movie are it’s music and songs that effectively and emotionally hold up the film

It’s not rare to see these songs still being played out on National Days like Independence Day and Republic Day. A great deal of credit for this brilliant composition should go to Prem Dhawan. Prem Dhawan was one of the best lyricists of the time and it was with great persuasion that he agreed to take the baton but what songs! ….. each and every song is a gem in itself…

Whether it’s Mukesh and Mahendra Kapoor singing “Mera Rang De Basanti Chola” to the beat of revolutionaries approaching death, whether it’s Mohammed Rafi administering the vow of fealty to gathered warriors and revolutionaries in “Aye Watan; Aye Watan” or it’s again the great Rafi along with the irrepresible Manna De bravely drumming up morale with his resounding “Sarfaroshi Ki Tammanna” to starving prisoners; each and every song is a delight to hear

In fact, so deep is the meanings ascribed to this one song written by the legendary revolutionary poet, Ram Prasad Bismil that I often find myself in a deep thought whenever I hear this couplet from the song:

Waqt Aane De Bata Denge Tujhe Ae Aasmaan

Aaj Se Hum Kya Bataayen, Kya Hamaare Dil Mein Hai

S Ram Sharma is a forgotten man. Not much is known about this director except that this was the only film he directed. And for this one film, he shall be remembered. It is widely rumoured that the film was actually directed by Manoj himself but whatever maybe the truth, one thing is clear – this is a film that’s enough to put his name up there at the top. The way he has told this story, simply and without much fuss, without adding any emotional currents, letting the emotions grow by themselves is proof of a man and his craft. Thanks for giving us such a beautiful gift, Sir!

Shaheed-E-Azam Bhagat Singh will be remembered forever –

Watan Ki Laaj Thi Jise Pyari Apni Jaan Se
Woh Nau-Jawaan Ja Raha Hai Dekho Kitni Shaan Se
Iss Ik Jawaan Ki Khaak Par Har Ek Jawaan Shaheed Ho!

Somehow I can still feel him repeat this couplet from somewhere up there:

Raah Qurbaaniyon Ki Naa Veeraan Ho;

Tum Sajaate Hi Rehna Naye Qaafiley;

Jeet Ka Jashn Iss Haar Ke Baad Hai;

Zindagi Maut Se Mil Rahi Hai Gale

Baandh Lo Apne Sar Pe Qafan Saathiyon

Ab Tumhaare Hawaale Watan Saathiyon

Are we listening?

Bombay Dying - My Thoughts on Black Friday (2006)

The day was March 11, 1993.

Two very close friends, out to represent their college at a quiz contest had a major tiff.

The boy - an arrogant, egoistic, self-opinionated insufferable brat accused his simple, homely partner of deliberately hurting his sentiments,of making fun of his eccentricities in front of her more sociable friends and of remaining a silent spectator at the barbs that often came his way from her boyfriend and her other friends; the girl protested calmly but firmly… and before they knew it, this innocuous conflagration between friends widened and reached a boiling point till finally at last, frustrated with what he perceived to be a humiliating position, the boy walked out in a huff.

The girl desperately tried to sort all misunderstandings between them despite being subjected to silent stares and stony silence from the other end all evening. For about 3 hours, she pleaded with him, tried to reason out with him and after long persuasion, finally they agreed to meet the next day at Plaza for a quick chat, a good movie and possible rapprochement - the next day i.e. March 12, 1993….

But … The next day was March 12, 1993… the day Bombay went up in flames and the spectre of terror and naked fear unfurled on Bombay horizons.


Yes..... A lot of water has passed down Mumbai's famed sealine since that fateful day when Bombay finally went down fighting hard to the forces of black retribution; a large time has elapsed between that day when the forces of humanity found themselves irrevocably under siege by the forces of hatred and violence but the wounds still remain - green as ever, fresh as ever….

Bombay had been terminally ill since December 6, 1992 but it had shown some signs of recovery. That was not to be; the merchants of Death were determined that the most cosmopolitan city, this side of Suez would be laid to rest and succeed they did - at the hands of some of it's own children

Dil Ke Phaphaule Jal Utthey Seene Ke Daagh Se
Iss Ghar Ko Aag Lag Gayee Ghar Ke Chiragh Se

It's befitting that Bombay was soon rechristened Mumbai for Bombay as we know died on March 12, 1993.

The agony still surfaces and the memories still hurt. It has been a good time since that dreaded day, that black incident but still, the faces of those who were blown apart and of those who lay on the streets, drenched in blood, writhing in pain, blank eyes staring at you, looking for a support that could not be given, asking questions that could not be answered, searching for a family that had been devastated and crying for a future that had suddenly vanished cannot be forgotten. Even today, many eyes wake up with a horrifying vision, many silent nights are broken by a shrill cry of agony; many bodies wakes up shivering with sweat all over..... sadly March 12, 1993 refuses to leave the collective conscience of a devastated dream!

It's said in the Ramayana that Lord Ram’s vanvaas lasted only 14 years; we only can wait and wonder how long will our’s last!

When will Bombay return back to it's pristine beauty? Will there ever be any harmony? Will the wounds close down someday?

Nothing has been the same since that day or in fact since the day Babri Masjid was pulled down.. there have been so many jolted reminders of the fury that was unleashed on that day – it was the day when terrorism in the form of coldblooded revenge first unfurled it’s ugly head in India and as I write this post today, I see it everywhere – in Jaipur, in Bangalore, in Ahmedabad, everywhere…. Bombay, then was correctly the first casualty of the battlelines that were drawn between peace and hatred and one day I think will be the last battlefield where the battle for peace and humanity shall be fought.

Black Friday is an honest attempt, without taking sides or condemning any one particular religion, to capture on celluloid the days when love and friendship broke down on religious differences, when the religion of the man was more important than his character, when everyman looked at every other man with naked suspicion, when for the first time, being a Muslim was being equivalent to being a terrorist; when for the first time, being Hindu was equivalent to being a rioter… when all Bombayites, whether Hindus or Muslims lived under the shadow of riots and the fear of death…. When the principle of ‘an eye for an eye’ was first put to effect in the megapolis and the reputation of Bombay as a melting pot of all religions, communities, castes and creeds came under severe fire from it’s own denizens. Black Friday is a faithful account of the day Bombay died and no one was sane enough to mourn it's death...

As Sahir once wrote:

Meri Duniya Loot Rahi Thi Aur Main Khamosh Tha

Tukde Tukde Dil Ke Choonta Kisko Itna Hosh Tha

Black Friday is different in that it not only looks at the disease that pervaded Bombay but also points out to what were the causes of the disease. It does not stop at examining the symptoms but also fearlessly counts the germs that caused the infirmity... so we do not have only the Bombay Bomb blasts but also a reference to the the destruction of the Babri Masjid, the majority riots of Dec 1992 and Jan 1993 and finally the retaliatory minority bomb blasts of March 93, all woven in the same fabric.

Kay Kay Menon in the role of DCP Rakesh Maria is clinically efficient. He brings to the role a quiet sobriety and a dignity that enables you to relate with the travails of the police force, ill equipped with dealing with terrorists. When you actually look at the performance of this multi-faceted actor, there are times when you can feel his discomfort at being forced to adopt inhuman tactics to ensure that the interrogation yields results but also appreciate his firm resolve to get it resolved.

I was impressed by his performance in the scene he squirms in his seat, uncomfortable with the interrogation techniques used by his subordinates but also quite practically clear that the investigation can only function on these lines and none other. I was flabbergasted at his choice of dialogue and deep-throated angst in the scene where he gives a piece of his mind to Badshah Khan, one of the prime involved in the Bomb Blasts. The force of his dialogue is mind-blowing "Chootiya Banaaya Tereko Unn Logon Ne" I do not think any other actor could have brought the cool maturity to the role as delineated by Kay Kay.

Pawan Malhotra is mind-blowing in his depiction of Tiger Memon. He does the role with such a conviction and deep understanding that whenever he speaks of destruction, your bone is chilled to the core. There is a scene in the movie that shows his ruthlessness - Badshah Khan comes to him with a go-between. Pawan is sitting on a diwan and using a toothpick to clean his teeth. Casually, almost nonchalantly, he looks at Badshah and asks him, "Dangon Mein Kitney Hinduoon Ko Maara?"

My God! That's really something different!

Another scene that never fails to impress me - Tiger Memon standing up against the skyline of a proud Bombay, promising bloody retribution to the city that brought him up and gave him his livelihood.... I am IMPRESSED!

Here is an actor who can storm the citadels of performance but who has failed to get worth in this star-crazed world of ours. Sadly, this appears to be the trend in Indian Cinema where star sons and daughters become superstars and real talent languishes in the gutters.

Aditya Srivastava is another brilliant actor in his prime. The role of Badshah Khan required a subtlety and a vulnerability to argument as well as a deep, almost fanatical regard to religion while still retaining the face of innocence that’s almost a given among hardened members of a cult. Any over-acting or false note of performance would have jarred the characterization and destroyed the essence of the film. Aditya ensures that the film maintains it’s tempo by chiseling out a well-paced performance.

Watch him for the scenes when he is on the run and suddenly manages to see a girl on a crowded bus - the eyes show a sort of hunger that can only be seen in the eyes of a predator who can only size up the prey but not be able to eat it. Equally brilliant is the scene where he tries to put forth his point to the DCP, in an attempt of false bravado, knowing fully well that his cause is a defeated one and he has been betrayed by those who used him without compunction.

Kishore Kadam as Dangle plays the common policeman of Bombay - one you could meet on the streetsto perfection. The ruthlessness and utter disregard for the accused as well as the manic energy and intensity that he displays while interrogating them is so well disguised by a soft exterior that one only shudders at the thought of being alone in the same cell as him.

He is well assisted by Dibyendu Bhattacharya as Yeda Yakub and Gajraj Rao as Dawood Phanse. Vijay Maurya is so convincing as Dawood Ibrahim that one gets goose bumps watching him perform. Zakir Hussein as Nand Kumar Chowghale is another actor that impresses you; although his role is not that well etched. Arbaaz Ali Khan as Jaaved Chiknaa acts well, but is nowhere in the league of his illustrious father, the indomitable Ajit. Bobby as Khurana is commendable.

A round of applause for S Hussein Zaidi for his pain-staking and meticulous research of the taboo subject and kudos to Anurag Kashyap for having the guts and confidence to put it on celluloid in the docu-drama format. I would not hasten to add that ‘Black Friday’ captures the essence of the book completely and is an excellent riposte to those who think Indians cannot make a riveting journalistic drama based on facts.

The director shows a complete command over the medium… he has taken care to portray Bombay as it was in 1993. Even the scenes show a complete departure from normal cinematic lore and a total identification with the real world. So we have obese constables panting and unable to keep pace with a slippery fugitive - at times pleading with him to stop running; a DCP uncomfortable with the interrogation tactics employed by his subordinates trying to look away from the hammer that’s smashing a hand but maintaining a tacit approval of the techniques applied, a fugitive underworld Don opening up a gift package to find broken bangles accusing him and shaming him at his inability to save women under his protection, a burkha-clad woman being abducted gang-raped by some miscreants at a bridge, an old man shying away from the police with dead terror in his eyes, a man lying shell-shocked among the bomb blasts while another man steals a gold chain from a dead body, stunned bloodstained men with bloodshot eyes walking on actual pools of blood and Tiger Memon staring at Bombay’s skyline and crying vengeance. All these scenes have an impact on the viewer and the impact stays.

In 2006, the trial of the Bombay blasts finally came to an end and the ones responsible for the blasts were judged as per the law of the land but the causes of the blast has still not been given the attention it deserves nor have those who indulged in the riots been punished for their role in the riots… thus the cycle of hatred and suspicion continues. Bombay has since become Mumbai and has borne silently and stoically the impact of many more such retaliatory terror attacks but the fabric of the city has long been tarnished and the faith in Man long eroded.

The impact of this widening gulf has been so deep that Naseeruddin Shah and Irrfan Khan, two leading actors with exceptional acting prowess refused to reprise the roles of Tiger Memon and Badshah Khan - fearing that it may lead to complications in their own lives!

Nothing has been gained but all has been lost and the menace of hatred has slowly engulfed the country as the diktat of an eye of an eye has made all of us blind and incapable of understanding that we ourselves are to be blamed for our sorry state of affairs.

For those who do not understand the implications of this event in the history of terrorism, let me remind that this singular incident that was not given it's due attention took place long before 9/11 rocked New York, 10/12 rocked Bali, 3/11 rocked Madrid and 7/7 rocked London!

By the way, we never met again … Plaza had been bombed….Black Friday had taken its toll.

Legends of the Fall - My Thoughts on Sahib, Bibi Aur Ghulam (1962)

One thing that I learned early on in my life is that the world is not static. Times change and with the changing seasons of Time, everything changes. Humans change, Civilizations change, Societies with their sacrosanct Customs and Traditions change, Thoughts change, the notions of what's Good and Bad change – What is man, even Gods and Religions Change. Nothing remains constant here. Absolutely Nothing .... What doesn’t change though is the incessant march of Time. Time marches on – irrespective of everything.

Empires rise from dust, rule the roost and then again fall back to dust. Nothing remains – nothing except the ruins of those glorious heydays and even they fall one day, blown to smithereens by the ruthless forces of time, unsung and unloved, victims at last to the vicissitudes of time leaving only distant memories of what was ….

As the great poet Ahmed Faraz said:

Abke Bicchde To Shaayad Kabhi Khwaabon Mein Milen
Jis Tarah Sukhe Huye Phool Kabhi Kitaabon Mein Milen

And so it was with the powerful Thakurs and the Zamindars in the final years of the 19^th century and the early 20^th Century.

Created and indulged ad infinitum by their British overlords with a view to perpetuate their power and strength in an alien and often hostile country and to ensure consistent healthy cash inflows in their coffers in accordance with the Permanent Settlement Policy initiated by Lord Cornwallis in 1793, these puppets of British power once reigned supreme over the poor teeming millions. And as is often common with the class that is on the ascendant, in the intoxication of power and potency, they perpetuated atrocities and heaped humiliations on the ones that fell to their mercy. No Crime was beyond their pale; no tyranny beyond their power and miseries of the poor and the defenseless continued unabated. But nothing remains constant and as time changed it's colours yet once again even they had to fade away.

Sahib Bibi Aur Ghulam is a movie that captures vividly in stark deep colours the terminal fall of a Zamindar family into terminal chaos. It is a heart-wrenching chronicle of the beginning of the end of the feudal dream in Indian conditions but more than that, it’s also a strong and caustic look at the conditions that brought up this downfall.

The greatness of the movie, (difficult though it may seem to present two strands of life simultaneously), lies in the fact that the movie not only captures the decline of the feudal powers of Bengal but also presents a searing account of the plight of womenfolk in those prestigious houses of culture and civilization.

These were Houses, where womenfolk were worshipped as avatars of Goddess Durga but treated as worse than daasis – where every act was performed invoking the name of the Mother Goddess but the women did not have the freedom of choice over their own feelings – so well has this been brought out by the movie that can only shudder to imagine this duplicity and our heart goes out in unison to what must have transpired behind those beautiful walls decorated with Dhaka Muslin.

On yet another level, the movie also portrays the beautiful relationship that develops between a woman of the royal household (the Bibi) and a poor rustic (the Ghulam) in shades that are so simple... just like broad swathes of brilliant, playful colours on the dark, brooding canvas of life but too complex to be understood completely. To call it platonic is to state the obvious but the relationship of the Ghulam with his Bibi cannot be explained away by these metaphors.... there is a starkness to the relationship that defies simpler understanding and as such cannot be explained totally in terms of what is but has to imagined of what it can be.....

The title is intriguing ... Why is this film called Sahib, Bibi Aur Ghulam - a reference to the 3 most powerful cards in the pack of cards excepting the Ace? Maybe because the three principal characters in this tragical drama behave like the 3 cards in their normal interactions....

He is the Sahib - because he is the Master of all he surveys - though he may be disadvantaged in the absence of supporters, he is still the Master - unbending and unready to accept any change to his privileged status - like a man trapped in his own ivory tower, a relic of an age that's passing away.

She is the Bibi - shorn of all real power but an ornament of the Sahib - she derives her power from the majestic allure of her consort without being by herself an equal and as a result of this unequal share in power is forever relegated to the mercy of the provider .... Remember, the name is Bibi not Memsahib .... thus according a reflected glory but no real power worth the name

And He is the Ghulam - one who can see not beyond the radiance that emanates.... one who can feel the misery but is drawn moth-like to the flame of a dying flicker.... Overpowered by the awe and the radiance and finding an emasculated empowerment at the hands of those who themselves are playing their last losing hand at the game of fate but refusing to accept that the world has past them by, the Ghulam continues to be the last vestige of their Pride and Prestige.

Indeed the movie lives to the promise of the title - an impressive task! a great accomplishment!

As Bhootnath (the Ghulam), a rustic who migrates to Calcutta - the Capital of British India in search of a better life but is completely bewildered by the life in the great city, Guru Dutt delivers a performance extraordinaire. Considering the fact that Guru Dutt had to enact a rustic in the late 19^th century and then build up on it for a time period encompassing two to three decades, showcasing the loss of innocence with the onset of innocence, his performance is a chiseled masterpiece.

From the initial stages of innocence when Bhootnath enters Calcutta to the later stages of maturity as he surveys the ruins of the once mighty Zamindars, the role demanded a large amount of perseverance and dedication and to his credit. Guru not only manages to stand true to the story but also to stand tall and dignified in the ruins of a destroyed past. His deep affection for Chhoti Bahu is not only well displayed but so is his frustration on his own inability to help her out of her predicaments. Look at the scene, where despite himself and against better judgement, he proceeds to snatch liquor from the hands of Chhoti Bahu because he cannot see her self-destructing and then the frustration at having to face an extraordinary reaction and be unable to do anything is a three course act in education for a person who wants to learn acting.

It’s very rare to find an actor who can seep into a role to such an extent that one feels not so much for as a character but for the entire class that the actor personifies. Guru Dutt had that rare quality. Look at those eyes surveying the falls and then chancing upon the dead remains of the assassinated Chhoti Bahu, the pain can be felt and it scorches the soul... have we seen such a strong body language ever? The pain numbs us and for an momentary instant we can feel that heart-breaking moment when time just stands still and tears flow not from the eyes but from the heart!

Rehman as Chhote Zamindar (the Sahib) is aptly and perfectly cast as the aristocratic scion of a royal family and stands tall in his perfect portrayal of a man who is arrogant, egoistic, pompous and - worthless. Watching his role unfold, you feel a quite sense of revulsion for the Zamindars, everything that was deplorable can be seen in his character.... I still feel a sense of revulsion when he asks Chhoti Bahu “Sharab Pi Sakti Ho Meri Khhatir?”

What kind of a husband would draw his wife to such pain and frustration! It disgusts you and you feel it to the core of your heart....

But the great actor that he was, he still manages to engage our empathy in the final scene wherein he is lying on the bed as a paraplegic, highly repentant but also aware of the futility of the repentance.

Like a Dr. Frankenstein who after creating his monster is forced to look at his creation with pain and chagrin, so is this man forced to see his adoring and faithful wife self-destruct for his whims and fancies. Through him, one can see the long ride of his clan towards the impending doom and the irreversible destruction of his dynasty.

Watch his eyes as he observes Choti Bahu in her drunken stupor and observe it wincing with disgust and frustration as he recalls how responsible he is for her destruction. A scene that could only have been accomplished by an extra-ordinary actor – a silent reminder of Rehman’s calibre and finesse

Although both the actors mentioned above are brilliant, the movie scores mainly because of a tour-de-performance by one of the greatest actresses of Hindi Cinema, the tragedy queen – Meena Kumari who as Chhoti Bahu (the Bibi), the flawed but spirited bahu of a feudal household delivers one of the greatest performances by an actress ever.

The role of Chhoti Bahu is not a caricature of the times, but one that requires a deep understanding of the period and the customs and traditions of the time, it has to understand the feelings of a woman brought up on the moralities of that bygone era, the pining of a woman thirsting for her husband’s attention, the frustration of sexual desires kept unfulfilled and the deep sense of anguish and gloom that drives a woman into acts against her ingrained nature. In one such scene as she screams to her consciousness, “ Hindu Ghar ki bahu hokar, kya sharab pee hai kissine?” one is bound to feel and cry in unison with her on her deep sense of loss, despair, anguish and frustration.

Some scenes that just refuse to go away and are seared in ones consciousness forever are scene where she confronts her husband and then as the ruthless words strike home, one can just remain nothing but amazed at the transformation - look at the way the determination on her face giving way to her helplessness when being forced to drink alcohol, the scene of frustration when she’s unable to hold on to her husband despite all her efforts and the final scene where she still maintains her dignity although she knows all is lost.

And who can forget, the introduction of Chhoti Bahu – never has an actress been introduced so effectively ever and Meena looks so ravishingly beautiful – that’s just before you stop looking at Meena and start looking at Chhoti Bahu! Only she could be so majestic while imploring her husband with these lines, “Main Aur Bahuon Ki Tarah Nahin Hoon, Jee!” Sheer Magic!

Waheeda Rehman as Jabba, the spitfire daughter of a city businessman proves her mettle in a role that is a compliment on her performance. This is one of the few challenging roles that came Waheeda’s way and the actress not only grabs it with both her hands but also uses it to demonstrate her grasp on the finer nuances of acting.

If you look closely, the character of Jabba is not incidental to the plot but it’s the presence of her character that adds a touch of deep melancholy to the lead role of Meena Kumari since both in conception and execution, Jabba is all that Meena would have been had Fate so dictated whereas Chhoti Bahu is all that Waheeda would be in circumstances such as the ones encountered by Chhoti Bahu. Look at the way she teases Bhootnath off and again and then contrast it with her demeanour once she knows the truth – indeed it’s fate that dictates at time what we could be and what we have become.

Look at her eyes as she sings “Meri Baat Rahi Mere Mann Mein” and you can feel her own impotence at times in a society that refuses it’s women the right to speak and choose.

The supporting cast also stands true to its mettle. Nasir Hussein is brilliant in his portrayal of the elegant and dignified Subhinay Babu. Dhumal brings life to his portrayal of a servant without seeming cheesy while Sapru conveys the regal elegance of a Zamindar effortlessly. Hridaynath Chattopadhyay impresses as Ghadi Babu - a mad man who is used as a metaphor for changing times

Hemant Kumar wields the baton impressively, creating in the process some of the best Geeta Dutt & Asha Bhosle ditties. Whether it’s the haunting “Koi Door Se Aawaz De”, the mischievous “Bhavra Bada Nadan”, the passionate “Naa Jao Saiyan”, the sad “Meri Baat Rahi” or the hopeful “Piya Aiso Jiya Mein” the maestro ensures that each and every song remains deeply etched in your hearts. It goes without saying that Shakeel Badayuni has penned in some of the best songs of his glittering career in this movie.

One has to only listen to “Piya Aiso Jiya Mein” to understand the innate sexual feelings of a woman preparing to meet her husband – and then on the other side of the spectrum we have “Koi Door Se Aawaz De, Chale Aao” – what can signify sexual and emotional frustration better than this?

Raat Raat Bhar Intezaar Hai, Dil Dard Se Be-Qaraar Hai
Sajan Itna To Na Tadpaao, Chale Aao
Aas Todke Mukh Modke, Kya Paoge Saath Chhodke
Birhan Ko Ab Yun Na Tarsaao, Chale Aao

Add to this mosaic, the painful but strong “Naa Jao Saiyaan”…. Can the requests of a wife be more sweeter or more heart-breaking?

This is Geeta Dutt’s album – never has this great songstress been more beautifully used. Her voice effectively captures both the longings, the feelings and the frustration of Chhoti Bahu – sometimes it appears as if Geeta Dutt was born only to give voice to Chhoti Bahu and Meena Kumari was born only to play Chhoti Bahu – although the truth remains that both have given many more such strong performances.

Abrar Alvi in his maiden directorial debut creates a fascinating spectacle of grandeur and debauchery, exaltation and meanness. He effortlessly portrays the complex relationship of Meena and Guru Dutt and etches out the deep respect and love the two hold for each other while still managing to keep both Rehman and Waheeda Rehman firmly in the scene.

Although, at times the film displays the famous style of Guru Dutt, it would be unfair to say that Guru Dutt ghost-directed the movie. Some of the scenes in the movie such as the pigeon competition, the murder sequence and the bomb blast are not the sorts of scenes Guru Dutt would be comfortable doing. However, the picturizations of songs and the close-ins are definitely reminiscent of the master. Special mention should be made of V K Murthy, whose cinematography is one of the highlights of the movie.

And lastly we need to appreciate Abrar for one more thing – his deft adaptation of the classic. Adaptation of a literary work is no easy task. It’s like taking the vision and the dream of one man and trying to transplant it into another milieu – here the mind of another writer.

The Waterloo of many an accomplished writers and directors is met when trying to adapt a literary work of repute on celluloid for as any avid reader of literature will concur, these do not easily give themselves to adaptation. This is more so with the classics. And if the classic is based on a period of Indian history that’s known for the unmitigated tyranny of a privileged class over the teeming millions, it becomes even more difficult. And if the intent of the classic is to capture vividly their decline, it’s almost a difficult task.

Such was Bimal Mitra’s brilliant exposition of the turbulent times that an adaptation of the novel would be hara-kiri even for seasoned campaigners but it’s to the credit of the cast & crew that this adaptation was an out and out classic – a worthy adaptation of a worthy work. In fact, Sahib Bibi Aur Ghulam is one of the few adaptations that can be considered to have actually outshone the classic – the rare case where an adaptation has actually managed to outshine the original.

This movie is a wake-up call for those who think Indian literature is shallow and does not have enough stories for those who would dare to adapt them.

I would just end it by saying....

Koi Door Se Aawaz De... Chale Aao

We need more movies like this .... please!

Cages and Prisons - My Thoughts on Bandini (1963)

The most powerful of all gifts given to mankind is freedom – but what is this freedom?

Is it the right to act, to think, to make a decision – the right to make dreams come true or conversely the right to destroy one’s own self. Actually it’s both… so what then is freedom? To put it in simple terms, freedom is nothing but the right to Choose – the right to choose one’s own path, the right to make or mar one’s own destiny, the right to create or destroy but in all forms the Right to Choose.

But do we choose? Do we avail of that right? Are we really free? Does the absence of physical shackles on our body mean that we are free? The answer is a resounding ‘No’

As Sahir once commented:

Bediyaan Aaj Bhi Pehne Hai Azeezaan-E-Watan;
Farq Itna Hai Ki Zanjeer Mein Aawaaz Nahin Hai!

Every human being is a prisoner – either to his circumstances or his ambitions, to his values in life or to what he deems should be the ideals of his life. Some are prisoners to social constraints; others are prisoners to their personal feelings…. Some are prisoners to money and some are prisoners to beauty. A few are prisoners to their guilt and some are prisoners to their destiny – their fate. But all are prisoners and it must be only the rare person who can put up his hand and say – I am Not a Prisoner!

Of all these prisoners, the most unfortunate is the man who is a prisoner of conscience since for him no period of atonement, no amount of penance is enough to absolve him of the sins he has committed. The man pines away in misery, begging for some sort of peace, some sort of relief but conscience – this moral watchdog created by man’s own values refuses to ever let him go. A prisoner in a jail anywhere in the world can expect to be released from his bondage after a passage of time, depending on the severity of his crime. But not so the man who is a prisoner of his own conscience, for one can run and run but still not be far from the reach of his conscience.

Can anything be worse than such a life of condemnation and eternal imprisonment?

Yes… There is one more kind of imprisonment - the imprisonment of the self - the life of a human being who has condemned himself to imprisonment is often worse than the imprisonment of a conscience for the Man often is a victim of his survival. There may be many reasons for this – he may be the highly religious fanatic who can see no wrong in his espousal of his religion to fanatic ends like the Taliban; he may be a man dedicated to social norms so rigidly that he’s unable to hear the cries of the miserable lot chaffing under the juggernaut of social mores and responsibilities like the orthodox and conservative who can see no good in a liberal world; he may be a man devoted to love to an extent that he fails to see the destructions wrought by that love on the world (like Devdas) – he can be anyone. The only difference between this prisoner and the prisoner of conscience is that he may silently suffer oblivious to his or her own imprisonment while in the former case, the person is aware of the cause but not the extent of the punishment. For such a person, ignorance is bliss for knowledge would destroy his or her life for ever.

Bandini, by Bimal Roy is the story of common people caught in the cesspool of these imprisonments. Bandini as such means a prisoner and what can best signify the life and feelings of a person in imprisonment than this movie, which can easily lay claim to being the best movie on such a dark and complex subject. Never has a movie been attempted that showcases the various frailties of man – the various dependencies of a supposedly independent man, the various imprisonments of a supposedly independent and free man – Bandini does it all and does it all with distinction.

The film boasts of some of the best performances ever in the history of Hindi Cinema – this is indeed one of the best and most powerful movies ever made in India that look at the story from the female point of view and indeed throws caution to the statements made by many that India never made female-centric movies.

As a person who has by her own acts of omission and commissions, her own values and her own notions of right and wrong brought imprisonment onto her life, Nutan delivers a tour de performance. Kalyani is one of the best and most complex characterizations ever in the history of Hindi Cinema, but Nutan delivers a flawless performance, one easily ranked as one of the top 5 performances by an actress. Each and every scene in the movie is a tribute to the thespian skills of the actor and one has to just observe her to see the conflicting emotions, all build up, express itself and then dissolve on her face in a matter of seconds.

A woman is supposed to be soft and simple but then the same woman is also capable of strong emotions – maybe that’s the reason we worship womanhood both as Goddess Kali and Goddess Sita – but it’s so difficult to actually portray both the forms that remain ensconced within every woman – Nutan not only does it but in her characteristic style does it without any screaming hysterics, any playing to the galleries, any dramatic overtures – everything is portrayed deftly with only a twitch of the eye, a look here and a turn there – can there be an actress who could be Kalyani?

No…. Never! When you see the movie unravel, it appears as if Nutan was born to play Kalyani and who else could have brought the anger, the fury, the hatred and the frustration along with the eternal damnation to self and the silent resignation to fate to screen so vividly?

Her best scene remains undoubtedly the one wherein she murders her lover’s wife – the shrewish patient she is supposed to take care of. The inherent fury, the quiet rage, the hypnotic hold of ruthlessness, the glance of cold terror all combine to instill a feeling of the murder long before the act is committed and then the silent fear, the abject despair and the remorse again makes for the perfect sketch of one who kills in the heat of the moment. You fear her intentions when she walks to kill, your heart asks her to stop but you do not shout; this is the feeling her cold eyes evoke in you and later after the act is done, you again look around and find that your hands are wet with tears of an act that should not have been committed. Never before and never after has a murder been taken to such creative heights. Equally brilliant is her silence when taunted by the other prisoners and the breakdown on interrogation. A mind-blowing performance indeed

On the other hand of the spectrum is Ashok Kumar as Bikash Babu, a man imprisoned by his ideals. As a freedom fighter who fights for the freedom of his country who inevitably ends up becoming a life-long imprisonment, a cage for Kalyani, Ashok once again delivers an impeccable performance. As a man tormented by his past and his guilt at having destroyed someone’s life, although unintentionally, Ashok stands tall among the minions. Each and every frame in the movie speaks volumes for his performance but the best scene is definitely the one wherein he tries to seek pardon from the woman he has wronged towards the end of the movie.

One has to just observe the frustration on his face as he tries to make amends, the pain in his eyes is to be seen to be believed; although he is the one who betrayed; the one who brought all those hard times on Kalyani, when he speaks and speaks of his helplessness, his frustration and his pain; your heart cannot stop but pain at what he too has suffered at the hands of both his ideals and his conscience. So much so that although throughout the movie, you want Kalyani to be with Deven (Dharmendra), when finally she decides to go along with Bikash, you although not happy cannot but agree with her decision.

Dharmendra as the doctor Deven portrays a mild liberal modernist doctor with earnestness. The brilliance of his role lies in the fact that in the film he is among the few, whose life is not bound by any prisons. Devan is a free man and one who believes that his mission is life transcends prisons and imprisonments. Dharmendra plays his role with characteristic subdued charm and you can feel his earnestness shine throughout the film. This was one of his earliest performances and it’s definitely a mark of his talent that no great a director than Bimal Roy elected him to play this role. Although the role of the doctor is not author-backed and is often only support-oriented, Dharmendra manages to stay true to his characterization

Among the supporting cast, Tarun Bose as the wise jailor who understands a thing or two about life and his prisons and Iftikhar as his lecherous deputy are exceptionally well versed with their roles.

Raja Paranjpe as Kalyani’s father performs the role of a lifetime. His silence is the most eloquent in the movie, second only to Nutan in terms of power and reach. A father whose daughter has been ridiculed; a school-teacher whose teachings have been relegated to the dust; a man who in his old age has to face the ridicule and humiliations of an ingrate deeply conservative and orthodox village and moreover see his daughter carry a ‘blot’ on her face is one that cannot be easily performed except with a range as wide as the Himalayas and as deep as the Indian Ocean. Raja performs exceptionally well and I would go on to add, his performance is one that’s most natural among so many scenes shown throughout Indian Film history. I can still remember his agony so well brought out by Mukesh’s super rendition of “O Jaanewale; Ho Sake To Lautke Aana”…

De De Ke Ye Aawaz, Koi Har Ghadee Bulaaye
Phir Jaaye Jo Uss Paar Kabhi Laut Ke Naa Aaye
Hai Bhed Ye Kaisa, Koi Kucch To Bataana?

The pain is self-explanatory. What do I say… except … Magic is made in such moments

S D Burman is in his full elements as he weaves magic with each and every composition in this beautiful movie.

Whether its’ the maestro himself lending his rich and sonorous voice to the unforgettable “Mere Saajan Hain Uss Paar” or Mukesh giving vent to his feelings of deep loss in “O Jaanewaale” or Asha Bhosle putting out her heart in “Ab Ke Baras Bhej Bhaiya Ko Babul” or Lata talking about the hopes and wishes of a lover in “Mora Gora Rang Le Le”, or the cheering up of a wife’s face on seeing her husband after a long time in “Jogi, Jab Bhi Tu Aaya Dwaare”; the music is exceptionally fantabulous. One of S D Burman’s best compositions ever.

Who can forget the look of pain on Ashok’s face as he looks at Nutan while S D Burman plays in the background:

Mann Ki Kitaab Se Tum Mera Naam Hi Mita Dena
Gun To Naa Tha Koi Bhi; Avgun Mere Bhula Dena

What a song, what a pain!

And most importantly the line where Kalyani makes her decision to be imprisoned with Bikash rather than to be free with Deven:

Mat Khel Jal Jaayegi, Kehti Hai Aag Mere Mann Ki
Main Bandini Piya Ki; Main Sangini Hoon Saajan Ki

Can these lines ever be repeated!

Shailendra and Gulzar (in his debut-making film as lyricist) have written lines that transcend the normal barriers of creativity. Each and every lyric is a perfect blend of human emotions and dreams and aspirations. I wish I could hear similar evocative music today!

What else can I write about Bimal Roy than has not been written previously? Writing about him or dissecting his work is like trying to put a candle to the sun… something highly foolish on the part of amateurs like me. Bimal Sir was, is and will always remain an institution of Direction and only fools can dare not to respect him for the way in he directed his movies

If in other films, Bimal was a master director putting forth his wares for inspection, in this movie Bimal transcends all barriers of mastery and proves himself to be not only a genius but in reality the very embodiment of direction.

Bengal is a very beautiful place but it became more beautiful under the able tutelage of the great director… the love of the director for his Bengal can be seen in each and every frame… and so also the indictment of social and conservative practices in an orthodox Bengali family.

Each and every scene is perfect…. Nothing short of it but perfect…. Watch our for the way, the Master executes the murder without a single hint of the murder but terrifying us all the same…. The climax scene, which has been the most debated in the entire film. …. (everybody wanted Nutan to go along with Dharmendra and not Ashok Kumar but Bimal was adamant – he famously declared – I make movies not Bhel Puri) The chants of “Sab Theek Hai” while lives are falling apart, exactly at that very instant when something worse is happening …. Everything speaks volumes for a genius of a Man who died far too young.

As Lord Baron would say for him : “Whom the Gods love, die young”

I would say for Kalyani and Bikash and Deven ….”Whom the Gods love, are unaware of their imprisonment”.

Clowns Do Cry - My Thoughts on Mera Naam Joker (1971)

I once asked my Dad – these clowns always laugh but do they also cry? My father looked at me and said: “Watch this movie; you will know” The movie he pointed out to me was Mera Naam Joker – a classic. I asked him what was it all about… He would not answer – he only said, a circus!

The mention of a Circus brought back a lot of memories – most of them happy except one.

I had first visited the Circus when I was 6 years old. That was a time when Circuses drew a lot of crowds – Apollo Circus, Gemini Circus, Royal Circus were household names and people used to plan for a day at the circus.

For a young child, it was like magic – the fearful lions with their stern ringmaster, the beautiful ballerinas, the benevolent elephants, the adorable bears, the trained birds – everything was fascinating but what impressed me most and took away my attention were a pair of clowns… they were so clumsy, they kept on falling, they kept on trudging along, getting kicks from one and all and making a complete fool of themselves and all the time, the crowd kept roaring with laughter at the miserable and stupid clowns. It all looked so funny and all eyes were riveted on these strange little painted faces in their stupid ill-fitting costumes.

But, there was something different about them that attracted me… maybe it was the ability to make others laugh; the ability to brush aside every pain, every ridicule and yet again be back on their feet for another fling of the dice; the childish innocence… I thought a lot about it and then slowly realization dawned on me that it was none of these…. It was something more than these… something very different.

It was actually the eyes… Eyes that were deep and still and could watch me closely…. And what a young boy of 6 saw in them could not be seen ever again…. That fleeting glance of the clown towards the audience showed much more than what a young boy has bargained to see…. Eyes that could cut me down to the bone, sear me with their burning flame and still were as calm as the waves of the silent summer sea hiding the turbulence beneath the surface.

It appeared to me as if they were staring back at me with a feeling of hurt and indignation, as if they were asking me – who was I to laugh at them? What right did I have to laugh at their misfortunes? It was as if they were smiling at my childish foolishness …. I never forgot that gaze, that stare that spoke volumes although the face remained silent and expressionless…. That face smeared with colours, with a smile painted on it’s lips and deep eyes that hid a lot of tears…

No…. I just could never forgot that!

As per the definition of my self-appointed gurus, Comedy maybe defined as the art of making people laugh by consciously hurting the self. Since hurting the self for the sake of others has never been a profitable or admirable venture or for that matter even a respectable one, very few people have ever ventured in this field that should have been on humanitarian grounds actually the most sought after vocation. Quite an irony but then life itself is a case study in irony!

It’s indeed a matter of great irony that the person responsible for bringing smiles on many a tearful face is derided and depreciatingly called “Clown or “Joker” all over the world. That one who suffers to make the other happy, is made a spectacle fit for a few laughs and a lot of ridicule. My review today is a silent salute to the joker, the only person capable of being called human.

Mera Naam Joker is one of the best films ever made on the life of the Man behind the Mask. On a personal level, it may appear as if the story skirts the issue of a clown’s life and goes off on a tangent dissecting his personal love life but if you see it closely, you will find in every frame the hurt and frustration every clown hides behind his façade of smiles. Although a film of lengthy proportions, the film scores in its searing and faithful rendition of the trials and renditions of the life of a Joker.

Raj Kapoor as Raju, the clown turns in one of his best performances in a career spanning 40 years. As the man whose love is unconditional, faithful and innocent but who faces nothing in his love affairs but loss and separation, this man is performance personified. No other actor in the history of Indian Cinema has ever exemplified innocence and simplicity in Indian Cinema in a way more refined than the great showman.

The deep eyes that express emotions by the second will always be missed in Hindi Cinema. Look at those eyes in the scene when they are looking at the loss of love for the umpteenth time and you will fall in love with them. Look at that voice when he’s trying to explain his point to his dead mom on the stage and you will skip a beat. Look at that face when it’s painted with the garrulous colours of happiness but is crying out for it’s dead mom, while the world thinks it’s a comic situation and laughs at him and you will find your cheeks moist.

Those are the hallmark of a great actor who could have been greater had he not shown his inclination to behind the screens; we have lost much of an actor due to that decision but as a result gained a lot as a director.

Each and every scene in this movie bears the stamp of his genius but the scene that actually makes you sit up and notice, is the scene where he is forced to give a live comic performance while his mother lies dead in the background. That is some acting by an actor, who was dismissed by his critics, as completely Chaplinesque throughout his career, despite coming up trumps, times and again and again. Look at those eyes; can one look more innocent?

Rishi Kapoor as the younger Raju is a revelation. Although Rishi went on to perform in many different films and in much varied roles, the promise he showed with this early film was sadly never realized except fleetingly in a few movies. I still remember the stern rebuke with which he addresses the teacher he loves “Main Bachcha Nahin Hoon” What a dialogue and how effectively and well-delivered. Much is the loss of Hindi Cinema that an actor of his calibre was wasted thanks to the formula fare of the late 70s and 80s.

The loss of one’s first love is not so easy to portray for it has the soft contours of a heart seared for the first time but it has been so deftly portrayed that your heart literally goes out to him in the scene when he learns of the futility of his crush on his teacher. Also, memorable is the scene where he waves his teacher goodbye. More than the song and the way he sings it (you can feel him trying to tell himself that it’s all over), the undercurrent of the making of a clown is evident in this scene as the man has not only lost his love but also his seat in the school and henceforth he will remain an entity used by society for their pleasure but shunned socially. Watch the scene when he is the Best man to the marriage of his sweetheart and specially when he gets the clown back from the teacher as she prepares to leave. It’s heart-wrenching and heart-breaking!

Rishi Kapoor – we really miss that child you played! Could we please have an encore?

Simi Garewal as young Raju’s love interest, his teacher Mary is so sweet that you almost can fall in love with her. When I saw this movie for the first time, I imagined myself in Raju’s place and thought why not – even I would have fallen in love with a woman so sweet. I like her performance particularly in the scene where she comes to know about Raju’s infatuation with her and the scene where she defends Raju against the school management and her dialogue is excellent – “He will not be happy” alluding to what Jesus Christ must feel on the victimization of Raju for being a poor guy.

Manoj Kumar as her fiancé, David is outstanding. In fact, in a cameo role, as the philosophical and worldly-wise David, Manoj gives one of the best performances of his career. The scene where he discusses philosophy with Raju is one of his best moments in his entire film career and his dialogue so deep but so well-delivered : “Jaante Ho Duniya Ka Sabse Bada Joker Kaun Hai? Woh Uparwaala”…. Manoj, only you could have said that so softly and so simply. Why did you not do that more often?

Ksiena Rabiankina, the Russian ballerina who plays his adult love interest, Mariana performs her role with an unmatched intensity. Hers was a difficult role wherein the actress faced the challenge of endearing the connoisseur with her emotions, since language was a difficult barrier to surmount and it’s to the credit of the actress that she manages to rise to the occasion. The scene where she decides to break off with Raju can be considered to be one of the highlights of the movie. I am sure it will not be easy for any other actress to bring her own self to that level of performance in an alien language wherein she has to refuse the overtures of a man she loves since she knows it won’t work out. Look for her scene with Achala Sachdeva and you will understand why this actress is among my favourites although the only film that I ever saw her perform was Mera Naam Joker only. Just to add and appreciate one more member from the troupe whose performance I loved - Eduard Sjereda as a member and clown of the Russian troupe is also impressive.

Achala Sachdeva as Raju’s mother, who never wanted Raju to become a joker is extraordinary. The ignorance of an illiterate woman who burns the midnight oil for the benefit of her son but finally finds everything crashing all around her could have been more melodramatic but Achala performs! The sudden death scene as portrayed by her is fabulous and better than many such other performances over the years. It requires a lot of talent to show sudden death but Achala does it and does it well

Dharmendra is surprisingly very calm as the circus-owner. I never thought Dharmendra could turn in so mature and restrained a performance but like always, the most handsome star of Indian Cinema proved me wrong. I vividly remember his exchange with Dara Singh wherein he says “Aaj Raju Ko Mat Roko; Aaj Ussey Duniya Ko Saabit Karna Hai Ki Duniya Ka Sabse Bada Joker Wahi Hai” Dara Singh as the ringmaster, although in a supporting role also puts in a commendable performance.

Padmini as the self-centric and opportunistic Mina who forsakes Raju after getting fame and money gives the best performance of her life. It’s remarkable that in an era when there was a clear divide between the ‘nice’ girls and the ‘not-so-nice’ girls, Padmini still took up the gauntlet of performing a role that had more shades of black than white and delivered. The actress rocks big time. Right from the beginning, when she is disguised as a boy – Minoo Master to the time when she professes her love to the first time she shows her selfish nature to the way she changes for her own benefit, Padmini stands tall. Every time I see this movie, I end up getting repulsed by her character but then I also understand that there was nothing wrong in what she did… After all, a Joker is just for pleasure; not for life!

Rajendra Kumar as the money-minded businessman also impresses in a cameo role. It was a very different kind of role for the reigning Jubilee King and not one that would be appreciated by the crowd but Rajendra Kumar does a great job of it. I was never a great fan of his acting – often his mannerisms and over the top acting would make me go wild but for once his performance was lyrical and restrained.

There is one more actor I need to appreciate - no, it's not a human being - it's a dog! You may laugh for all your time but I really liked that dog, Moti. He was fantastic

Music by Shankar-Jaikishen is mind-blowing. I would rate Mera Naam Joker as one of the best scores of Shankar Jaikishen and definitely among the top 10 scores of all times.

Whether it’s the inimitable Mohammed Rafi with his one liner song “Heer” (the maestro leaves his mark with even one word) or Lata Mangeshkar with her “Mohe Ang Lag Jaa, Balma” (incidentally one of her most seductive songs ever) or the Asha-Mukesh Duet “Daag Na Lag Jaaye” (one of the best Asha-Mukesh duets) or the Mukesh song “Kehta Hai Joker” or Sharda singing the children song “Teetar Ke Do Aage Teetar”, every song has it’s own flavour; it’s special taste that cannot be taken away.

Add to this Manna De in his elements singing, “Ae Bhai Zara Dekhke Chalo” and you have an album worth dying for. Manna De was one of the most gifted singers but one of the most underrated one too. But time and again, Shankar Jaikishen gave him songs that not only challenged his virtuosity but also delighted many of his sincere fans like me for the depth and range of the song. This song is definitely one of his best rendered ever and he was awarded the Filmfare Award for his excellent rendition of this song.

But the icing of the cake are the two Mukesh classics, “Jaane Kahan Gaye Woh Din” and “Jeena Yahan Marna Yahan”, both of them two of the best songs ever sung in tinsel world. Mukesh was considered to be the voice of Raj Kapoor…. Nowhere is this more felt than the score of this film… Mukesh it was said had the ability to transmute pain into the fabric of a song so deeply that one could not feel but feel the pain. Listen to these songs when you are lonely and you will find why it was said so

Raj Kapoor was always a great director. No film showcases it more than this film, which conveys meanings on two levels in each and every frame. Each and every scene is a treat in itself and every performance is a delight. So complete is the involvement of Raj with the movie that it becomes difficult to separate the actor from the director and the director from the producer. It’s said that Mera Naam Joker was a allegory – a story from Raj’s own life and the clown was a synonym for the actor that Raj had been all his life. Even if it was so, it’s never easy to show one in his true colours. It’s to the great talent of Raj that he could do it.

And who can forget that symbolic doll in the shape of a Clown that the Clown keeps handing to each of his love interests hoping someone will accept it but which keeps coming back to him every time he falls in love. I have only tears and pain to appreciate the director for his great use of props - I wish I could have worked with you even as an extra! I really wish - only one who has truely loved and lost in love can understand the depth of that symbolism.

This review would be incomplete without mentioning one of the greatest writers of Hindi movies – Khwaja Ahmed Abbas. Khwaja Ahmed Abbas. As the writer of this movie, the greatest writer of the 50s and 60s shows his commendable prowess at story writing with this epic saga of love and loss.

Never has any clown been shown in a more poignant light and never again will any director be able to show the same level of sensitivity as shown by Raj Kapoor is this movie. A labour of love, all the way

Ever seen a clown crying… … … it’s indeed heartbreaking but all the same, yes, Clowns do Cry.