An Album that speaks Pain - Mughal-E-Azam

It's said that the Nightingale has the most painful melody of all the birds in the world. Although it goes without saying that the voice of the cuckoo is the most sweetest and the song of the mynah, the most exhilarating, in terms of both melody and the deep pain that it resonates, nothing can beat the song of the Nightingale.

What is it that makes the Nightingale so different? Why is the voice of the Nightingale so unforgettable? What is there in that voice that makes us all go deep as if in a trance?

In one word, it's - Pain!!!

P-A-I-N.... Pain, the most elementary of all emotions, the most plentiful of all passions but yet the most dreaded and unappreciated of all feelings.

It's Pain that brings out the best and the worst in Man - it's Pain that is the final proof of Love and then again it's Pain that purifies and signifies the Truth of Love....

The song of the Nightingale is the Song of Pain - and do you remember what Lord Byron had to say about Pain?

Our most beautiful songs are those that remind us of our pains 

Or as the great Shailendra once said

Hai Sabse Madhur Woh Geet Jisse Hum,
Ghum Ke Suron Mein Gaate Hain....

And yet it has many different shades - no one pain is equivalent to another though they may have the same entymology - the difference is striking. As an example, look at the songs of Mughal-E-Azam; each and every song is a revelation of a facet of pain

Listen to any of the Lata Mangeshkar numbers and you will find that each and every one of them is about pain - it's as if the lyrics of this film were written not by Shakeel Badayuni, the music of this movie was composed not by Naushad and the songs of this movie were not sung by Lata Mangeshkar, Mohammed Rafi or Shamshad Begum - it's as if the entire score of this film was created, maintained and crafted to perfection by pain itself

Whether it's 'Mohabbat Ki Jhooti Kahaani Pe Roye' that speaks of the disillusionment with love, whether it's 'Bekas Pe Karam Kijiye' that implores an unsympathetic and disinterested God for support, whether it's 'Humen Kaash Tumse Mohabbat Na Hoti' that speaks of a frustrated regret of unrequited love or finally, whether it's 'Khuda Nigahebaan Ho Tumhaara' that speaks of the final journey, this is an album of pain.

This pain is manifest in many other forms too, as the pain of a rebellious love as in "Zindabad Zindabad" or as in the society and world defying love strains of "Pyar Kiya To Darna Kya" or even in the song celebrating the love affair of the greatest lover on Earth ever - of Radha as she speaks of her amour with a frankness that's unblemished and pure as the most dazzling of all love in "Mohe Panghat Pe Nandlal Chhedd Gayo Re".

Even the Quawaali in the film depicts the pain loving facet of love - who can forget the greatest love duet ever - "Teri Mehfil Mein" or the other great Quawwali that speaks of the inevitibility of separation at the time of love "Jab Raat Hai Aisi Matwaali"

Who can forget the Pain of this Album? I cannot but remember that this is the most beautiful album on Pain and the way it portrays Pain - no album on the whole can come near it in it's perfection - it's true that there have been some gems and some beautiful compositions in some other movies but nothing can compare to Mughal-E-Azam when it comes to pain....

To be more precise, I would say,

Ye Dil Ki Lagi Kum Kya Hogi, Ye Ishq Bhala Kam Kya Hoga?
Jab Raat Hai Aisi Matwaali, Phir Subaah Kaa Aalam Kya Hoga?

Although this is indeed Naushad's gift to Lata Mangeshkar (there is a story of Lata asking Naushad that he had created an entire album to showcase Mohammed Rafi - Baiju Bawra - then why would he not create one for her. Naushad responded with two eternal scores Mother India and Mughal-E-Azam), there is no doubting that no one other than Lata could have done justice to this great movie

This is not to take anything away from Shamshad Begum or Mohammed Rafi - both of them are unsurpassed in their rendition of their songs and match the great Lata with an abandon and ferocity that only a genious can proclaim

One can only appreciate the slight hint of satire and mockery of love in Shamshad Begum's voice when she sings in her deep baritone voice -

Mohabbat Karne Waalon Ka Hai Bas Itna Hi Afsaana
Tadapna Chhupke-Chhupke, Aah Bharna, Ghutke Mar Jaana
Kisi Din Muskurakar Ye Tamasha Hum Bhi Dekhenge

This is one of the reasons Shamshad Begum and Geeta Dutt were the only ones that could withstand the Lata phenomenon. While great songstresses like Rajkumari, Suraiya and the great voices of the 40s like Amirbai Karnataki fell victims to her powerful and sweet cuckoo-like voice, it was only the above two that stood and could still count for something. Maybe this is the reason why this is one of the best female duets ever in the history of Hindi Cinema

Just look at Lata's response to this skeptic challenge

Humne Maana Mohabbat Zindagi Barbaad Karti Hai

Ye Kya Kam Hai Ke Mar Jaane Pe Duniya Yaad Karti Hai

Kisike Ishq Mein Khudko Mitakar Hum Bhi Dekhenge

Ghadi Bharko Tere Nazdeek Aakar Hum Bhi Dekhenge

So prophetic a word - maybe this is the silent admission of what she would again declare much later to the angry Emperor in the 'dance of the spring'

Aaj Kahenge Dil Ka Fasaana

Jaan Bhi Le Le Chaahe Zamaana

Maut Wohi Jo Duniya Dekhe,

Ghut Ghutkar Yun Marna Kya!

Jab Pyar Kiya To Darna Kya!

Or look at the final authority of a condemned love - only Mohammed Rafi could declare it with so much adour

Wafa Ke Raah Mein Aashiq Ki Idd Hoti Hai
Khushi Manaao, Mohabbat Shaheed Hoti Hai

What a song, what a singer! No doubt, Rafi is the 'Voice of God'.... and Naushad salutes the genious by allowing him the chance to lead a 100 man orchestra and Rafi returns the favour by not only leading it to success but also by keeping his majestic 'taan' on the 100....

Listen at him as he admonishes those who dare to destroy the might of love; hear him as he brings their doom to their own hearts, hear him as he appeals to their conscience -

Taaj Hukumat Jiska Mazhab; Phir Uska Imaan Kahaan

Jiske Dil Mein Pyaar Na Ho, Woh Pathhar Hai, Insaan Kahaan!

Each and every song is a gem - if pain had to show itself in all it's varied colours, there is no doubt it would choose to be clothed in the tunes of Naushad's Mughal-E-Azam

Listen to Lata sing these lines in her most anguished tones

Na Socha Tha, Hoton Ko Seena Padega,
Mohabbat Chhipakar Bhi Jeena Padega,
Jeeye To Magar Zindagani Pe Roye

Or look at the way, she implores God for his support

Hai Waqt-E-Madad, Aaiyeye Bigdi Ko Banaane
Goshida Nahin Aapse Kucch Dil Ke Fasaane
Zakhmon Se Bharaa Hai Kisi Majboor Ka Seena

Who can not but be pained by such a request? After hearing Anarkali cry for help in these anguished tones, I remember asking God how he could be so merciless? How could he let Anarkali suffer so much - where was his Godliness when Anarkali needed him the most

The greatness of Anarkali is also signalled by this great voice as she wonders aloud - 

Chhup Na Sakega Ishq Hamaara

Chaaron Taraf Hai Unka Nazaara

Parda Nahin Jab Koi Khuda Se; Bandon Se Parda Karna Kya

Jab Pyaar Kiya To Darna Kya!

But what I remember the most from the film - other than the anthem of love is the song wherein Anarkali says a last loving farewell to her love -

Khuda Nigehbaan Ho Tumhaara
Dhadakte Dil Ka Payaam Le Lo
Tumhaari Duniya Se Jaa Rahen Hain
Uthho Hamaara Salaam Le Lo

Hai Waqt-E-Rukhsat,Gale Lagaa Lo
Khataa Humaari Tum Baksh Daalo
Bichhadane Waale Ka Dil Naa Todo
Zaraa Mohabbat Se Kaam Le Lo

Uthhe Janaazaa Jo Kal Hamara
Qasam Hai Tumko, Na Dena Kaandha
Naa Ho Mohabbat Hamaari Ruswaa
Ye Aansuon Ka Payaam Le Lo

Someday I will speak of this one beautiful song in isolation but today let me just remember this song in all it's pristine glory.

As Anarkali told Shehzaada Salim on being awarded thorns in the Quawaali competition

"Zah-E-Naseeb, Kaanton Ko Murjhaane Ka Khhauff Nahin Hota"

Coming back to the Nightingale, have you ever heard her song? Tell me - I know it breaks your heart but sometimes it's good to have a broken heart

The Return of The Inquilab - My Thoughts on Rang De Basanti (2006)

On the 15^th of August, a few days before yesterday, we all celebrated our beloved Independence Day – all of us, Hindus and Muslims, Harijans and Brahmins, Kaafirs and Momins, all of us – We bought those sweet, gaudy-looking plastic flags for Rs. 5 a flag, put it on our shirts and our sarees, our cars and our rooftops, listened to evergreen songs by the masters of melody and verse, distributed sweetmeats, wished each other with great gusto and abandon; made throaty cries of “Jai Hind” and “Vande Mataram” and strutted about on the streets as the greatest patriots ever

And then came the 16^th, most of those beautiful flags were found flowing in the sewers and gutters, lying in heaps over the dustbins and fluttering around, courtesy the Bombay wind on the streets of Bombay – the patriots of yesterday had more important work to look at today – who would look at those flags which belong only for two days – 15 August and 26 January when you have a stomach that growls daily and a deadline that ticks hourly or even in minutes or seconds?

On a similar note, I remember the atmosphere in the theaters – the National Anthem begins – the theatrewallah has to request people to stand up ‘please’ for the national anthem; people do grudgingly and then you can see the different styles in which they take up position – some with their hands on their hips, some with their hands in their jeans pockets, some holding so-very-costly-and-important purses, so many stylish and curvaceous girls who suddenly cannot stand straight – and move their hands incessantly as if they were arms of some imaginary clock somewhere – bored by this forced respect….

I remember being asked by my colleagues and friends why I was so strict about singing the anthem everytime it played – I remember being scoffed and laughed at – been called Mr. Bharat in jest but I am fine with it … these taunts are anytime much better than when these same people would pointedly and with no qualms ask me after every riot and every blast –  why I am still here in India – why the hell I do not leave for Pakistan?

Strange, isn’t it? But then, so is life!

We – the generation of the BPO revolution have outsourced our patriotism too and we of the generation of MTV and V TV know well how to keep our prejudices alongside our patriotism too – well, we are not known for tolerance without reason, are we?

So what if a square meal a day for majority of Indians is a pipe dream, we will all remain silent. So what if education is a luxury for a majority of Indians, we will all remain silent. So what if honour killings are becoming a norm, we will all remain silent. So what if reservations are becoming a bane of our society, we will all still remain silent. So what if communal and other forces are destroying the fabric of our society, we will all still remain silent. So what if corruption has become institutionalized, we will all definitely remain silent.

The youth of the nation has fallen into a slumber, one that matches and overwhelms Kumbhkarna and his famed sleep and no amount of plea or pain can wake up the sleeping Indian.

But, there comes every now and then a film that not only succeeds in pushing you out of your slumber but also makes you ashamed of your own inertia, of your own silence. A movie that not only questions your stand but also forces you to take a stand – a movie that forces you to leave the shore and embrace the storm. A movie that refuses to give or take any quarters but openly asks those questions that makes us uncomfortable, that we want not to be asked openly and advocates a stand even if we may not agree with it.

‘Rang De Basanti’ belongs to that breed of the almost-extinct breed of films that experiment with the format of commercialism without being preachy and in the process manage to create a product that can be considered a true-blue classic. It belongs to that rare breed of movies that have a soul and talk with their souls, of their souls and to our souls  – that refuse to indulge in jingoism but dare to have an opinion.

This is a different movie, one that’s perplexing too, because it forces you to look beyond your cocoon and makes you a part of the proceedings, however reluctant you maybe. Through it’s innovative use of metaphors, the movie delves deep into the psyche of today’s youth who are as confused about their state today as they were 20 years ago or 40 years ago or 60 years ago but with the basic difference that today all the idioms of the past; communism, socialism, independence that were rallying points for another generation have all been submerged in the all-complex web of materialism and capitalism.    

To a generation that demands and expects instant gratification and I am one of those that do, the use of forgotten cult figures from another age and era and the attempt to draw parallels with their conditions in today’s completely changed world, although astonishing, is commendable and on hindsight does serve it’s purpose; though the intelligentsia may find it difficult to accept the use of violence as a means to justify the end. However, if you look at the storm unraveling, there is no doubt in the minds of any that there appears no other option but violence as the film moves towards its climax like a river out of control as it reaches the sea.

Aamir Khan – a lot has been said about this versatile actor and not without reason for Aamir undoubtedly today is one of the better actors around. In Rang De Basanti, Aamir plays DJ – a cheerful smart-alecky. The greatness and difficulty in portraying this character lies in the fact that DJ is very common in today’s world – he can be found in every campus, every university, every theatre, every joint where youngsters frequent and yet he’s not your common friend only whom you would meet and forget easily, for somewhere deep within, unlike the other vagabonds who wander aimlessly, he’s one who has seen his aim wither away and his pain is there – just behind those eyes that refuse to cry..

Look at him – is he not a part of every guy who’s trying to escape from the harsh truth that he has failed in life? Is he not someone you have met at some point of time – someone who it was felt would conquer the world but ended up being captured by his own life

Zamaane Ne Maare Jawaan Kaise Kaise

Zameen Kha Gayee Aasmaan Kaise Kaise

As the multilayered DJ, Aamir carves out one more feather in his legendary repertoire. With his infectious charm and cocky attitude, the actor steals the film from under everyone’s nose– just look at him speak to Sue about his personal demons and fears while supposedly drunk and you can marvel at an actor who just keeps adding layers after layers to his role making his character one of the most real ones etched in recent times. The actor makes for a formidable scorching portrayal and carries the film from one level to another without a hint of discomfort. 

Siddharth as Karan is brilliant in his portrayal of a man in search of an identity. His eyes are deep, his silences resonant and his mannerism a mirror image of his internal turmoil. The guy has tremendous screen presence and his every gesture is pregnant with symbolism.

What more can one say about a person whose mannerisms speak attitude but who is soft to the point of being extra-modest? Look at those eyes that speak of a silent admiration for Sonia and the face that refuses to show it; the eyes that are in search of an identity and the eyes that are shying away from responsibility – that’s Karan for you! Someone like you, someone like me – afraid of the new world but tired of the old

The scene where he breaks down in front of Anupam before assassinating him in cold blood is one of the few scenes that make you sit up and take notice of this actor of extra-ordinary potential.

Atul Kulkarni as the extremist, incorruptible political leader Laxman Pandey is excellent. Actually that makes me think – why do you see that most of those who are extremists are also often incorruptible? Whether it’s Hitler’s Nazis or Mussolini’s Fascists or Stalin’s Communists, the cadre is often and always incorruptible. Why go far, look around you, the Taliban of Afghanistan or the Hindutva Brigade of Hindustan, they are also incorruptible – on a personal level, they have a character that’s unembellished – maybe that’s what gives them that deep fervour and manic energy! Psychologists, Are You Listening?

Watching Atul recite ‘Sarfaroshi Ki Tamanna” is a treat in itself. Though the couplet has been recited ad nauseum by many a luminaries, Atul stands tall with his rendition. The fierce pride of a patriot, the incorruptibility of a martyr and the deep unconditional love of a child for his mother are all too well evident. As is also evident the pain of betrayal, the hurt of disillusionment and the final hope for redemption.

Kunal Kapoor as Aslam plays the role of the confused Muslim youth to perfection. Today’s Muslim faces a tough task. He has to wear his patriotism on his sleeve to prove his patriotism to his country or else be ready to face the barbs that come his way, courtesy his religion which remains his biggest and only crime.

Shaikh Ne Kar Diya Ailaan Ki Qaafir Hoon Main,

Pandit Aaj Bhi Kehta Hai Musalmaan Hoon Main!

As a man, exposed to and in the midst of an identity crisis vis-à-vis religion and nationality, the guy is an absolute natural. The manner in which he reacts to both the arguments of his co-religionists as well as the taunts of the fundamentalists of the ‘other’ is brilliant. I never expected such maturity from a guy in his beginning of career – Maybe the Harman Baweja and others of this world could take a leaf out of this lanky, smart actor

Sharman Joshi as Sukhi plays his role with consummate ease. Every time I look at him, I am reminded of my college chums – they were so much like him – Sharman is totally spontaneous. He’s genuinely funny but he’s not a comedian. In him, I can see so many of my days as a student in college – so effortless does he seem in his performance. Agreed, the actor does not have as heavy a presence as the others but to his credit he still manages to engage our hearts with his childlike innocence. Look at him as he cries aloud that he does not want to get killed and you can feel within you the pain and the hurt of a man who is caught in a cesspool not of his making.

Soha Ali Khan as Sonia is a revelation. The ruthless coldness of a girl who seeks vengeance, the pain and anguish of one who has lost her love and the sudden maturity of a girl who’s forced to mature in days leaves a telling impression on her face. The actress is in complete control of her character and plays the child-woman to perfection. The attraction between her and Madhavan is a sensual turn-on as also is the sensual chemistry between her and Siddharth. You can feel the air burning and sizzling in the song where Madhavan and Soha are in each other’s arms while Siddharth watches silently. My mind went back to that great scene from Andaz (1949) after watching this exchange of silent, fleeting glances.

Alice Patton as Sue brings a dash of realism to the entire story. She is the anchor-sheet that keeps all the actors glued to the reality, while simultaneously bringing them closer to the past and as such a single misdemeanour from her part could have hurt the film badly. Maybe, it still requires a foreigner to explain to us Indians, the value of our freedom and our struggle and maybe no other person in that role could have brought in that earnestness that is the hallmark of her performance.

To this extent, Alice is brilliant and maintains her silent dignity throughout the film, whether it’s the auditions, the shooting, the transformation of happy-go-lucky modern guys into the past metaphors of patriotism or the way in which she reacts to the entire scenario and the film definitely benefits due to her restrained performance.

Madhavan as Ajay plays his role with conviction. It’s very difficult to be so positive in an environment that smacks of only pessimistic overtones. But Madhavan has always been different; in the movie he brings a breath of fresh air; a feeling of hope and a feeling of assuredness – in fact, it’s his character and the injustice done to it that creates the vortex of that cyclone that engulfs them… any false step would make the entire movie a failure.

Both Waheeda Rehman and Kiron Kher are magnificent. They plan their roles with complete and total dedication. If Waheeda is dignity personified, Kiron is motherhood personified. However, Om Puri is wasted in his two-bit portrayal while Anupam Kher and Mohan Agashe look more like cartoon caricatures than the brilliant actors that they are. K K Raina disappoints with his stereotyped depiction of a corrupt politician; one that neither gains nor does it explain. Agreed, the performance is restrained, but much more is expected from an actor of his calibre.

A R Rahman returns back with yet another brilliant soundtrack. The title track with Daler Mehndi implodes with vigour and gusto. There is no two ways that Daler has never been used so brilliantly in the Cinema world. Lata as usual is brilliant in Lukka Chuppi … the pain in the song well augmented by the song as well as the performance but the song that brought me gushing was Ae Saala…what a tempo, what a style… absolutely brilliant and Naresh Iyer sings it so well…Pathshala by Naresh Iyer and Mohammed Aslam also manages to stay true to the mood of the album. After a very long time, we find a good lyricist in Prasoon

Rakesh Mehra in his second venture not only vindicates the trust and promise he showed in his debut venture but also builds up upon it. His second foray into filmmaking avoids the errors of his first effort while simultaneously building on his strengths. One of his greatest assets is the manner in which he has delineated all the different characters in the film while still subjugating the differences for a single cohesive story. Some of the scenes like the now infamous Aamir-on-a-horse scene and the scene wherein the 4 individuals are running with the rising aircraft in the background and the fence in the foreground are brilliant. Another one that stands up in the reckoning is the scene wherein the guys are all drunk and are encircling India Gate saluting it with affection, pride and attitude.

The message is clear and so is the feeling:

Watan Ki Raah Mein Watan Ke Naujawan Shaheed Ho

Pukaarte hain Ye Zameen-O- Aasmaan Shaheed Ho

As you leave the theatre to the resounding strains of ‘Rang De Basanti’, you can feel somewhere deep within you the poet Iqbal stirring up and declaring:

Na Samjhoge To Mit Jaoge Hindostanwaalon,

Tumhaari Dastaan Tak Na Hogi Dastaanon Mein….

The time has come; but the question remains have we?

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

.

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!