Children of a Lesser God - My Thoughts on Footpath (1953)

Long ago as a young child, in my initial days of innocence, I remember having heard a song that made me really stop and think. The song was penned by the great Shailendra and wasfrom a movie called Boot Polish (one of the first children-oriented films of Hindi Cinema);and was sung by the great Mohammed Rafi in his sweet and eternal melliflous voice.

It has been long since I have heard the song again but even today the song still stays close to my heart, for it's evocative use of piety to generate feelings of charity. One of the Anataras of the song, specially, is very special to me because it captured my heart and stirred my imagination like nothing before. The lines were as follows:

Bhara Ho Pet To Sansaar Jagmagata Hai
Sattaye Bhookh to Imaan Dagmagata Hai

What can signify better the pain of hunger and it's impact on human desires and wants. Look around you and you will find the strains of this truth all over you, from vagabonds rummaging through dustbins to children begging on footpaths to men and women looking at you with eyes that have long forgotten the world of God and his prayers, the proof of these words is all over us. So strong is the stench of this truth, that often one prefers to put on extravagant perfumes and expensive odours to ensure that the stench of this demeaning depravity does not reach their high nostrils.

The footpath is the crucible of all such truths - truths we all find unpalatable but which are true nevertheless. For you and for me and for many of us, the footpath maybe just a path that leads us to our destinations…. To the others, however, the footpath with its hard stony ground below and the cold, open sky above is an accommodation and sometimes a little more than that. On a cold wintry day or a god-forsaken rainy day, these are the places where you find people like us but still very unlike us, trying their best to maintain dignity in conditions where dignity is a luxury.

These are the forgotten people…. People who live from sunrise to sunset, from dawn to dusk hoping for life and the money that is needed for this life. On these footpaths are dug the graveyards of talent and merit, within these footpaths lie the coffins of dignity, self-respect and morals, on these footpaths are born the protégé of crimes, the children of paucity and the brokers of the malice that sells the self again and again for a loaf of bread, a drop of water and a shred of clothing. Here is born crime and chaos for a stomach that fails to get food would happily feast on anything and everything. Hunger knows no God.

From the footpaths of the sprawling metropolis of Bombay and London to the pavements of mighty New York and Tokyo, with their imposing skylines and sprawling penthouses, they are found everywhere … poor men and starving men, homeless families and vagabonds - men and women for whom the biggest concern is not the rising prices of the commodity markets or the fluctuations in the international stock markets; but whether they would live to see the morning the day after.

These men don’t live… they survive!

And then one fine day they die away as slowly as did their dreams and aspirations before them … such that the knowledge of a dying flame is not the last flicker of a flame reaching out for life but the omnipresent gloom of darkness that pervades death.

It takes a lot of courage to face this sort of depravity and still more to live it but to portray it on a marquee that’s more interested in stories of kings and princes and feasts on the love tales of the rich and the powerful, requires a suicidal mind frame, for the end result of such films is nothing but a ‘flop’. Even so Footpath (1953) is a stark depiction of life on the footpaths and it’s close cousins – the rented tenements of the 50s, of the lure of the world of crime, the ruthlessness of a system that feasts on its constituents and a face-off between morals and morale, ethics and money, hunger and conscience.

Those were the days, the country had just thrown off the yoke of an oppressive, foreign regime and was looking forward for a better tomorrow with it's eyes firmly at the horizons. Those were the days, when India believed in itself and before politics had become the cuss word it is today. Those were the days when Bharat and India were one and the same - long before the divergence that had already begun could manifest itself

Dilip Kumar as Noshu carries the entire film on his broad shoulders. The entire film is a look into the psyche of a man who has failed to earn money by honest means and whose conscientious will may not allow him to remain a freeloader at someone else’s expense. Noshu is attracted by the lure of money, seduced by the free availability of riches on the black markets and arrested by ethics and morals that condemn him to death by starvation in the white markets. Having entered the market, he’s again confronted by a difficult choice… kin versus cash.

Enacting a moral dilemma requires a deep understanding of the character. With this complex role of varied dimensions, the actor proves once and for all his mastery over a very difficult genre of acting…. for here is a role that delves deep into the psyche and is very difficult to perform and only accomplished actors may dare do so…. Dilip does it and does it with élan and finesse.

This is one of the very few films, in which the thespian has enacted the negative side of human psyche and the emperor of acting cannot be faulted in this movie that’s a classic only due to two reasons, Dilip’s performance and Zia’s direction.

Some of the scenes, which confirm his status as the greatest actor ever of Hindi cinema, include his confrontation with his brother on his choice of profession, his scenes with the legendary Meena Kumari, the mischievous glint in his eye on making his first profit on the black markets and finally the monologue wherein he accepts his crime. In addition, Dilip in this movie also moves away from his image of clean-cut decency and adds panache and style to a highly controversial role.

In sync with the role, the thespian dons a cigarette on his lips throughout the film exuding a raw sex appeal; that was so far the reserve of the stylish actors. Undoubtedly, an out and out Dilip Kumar film

Meena Kumari is underutilized in the movie and, although the movie focuses on Dilip and his dillemas, Meena still manages to hold her own in all her scenes. The desperation and frustration of a starving woman has never been bettered and her confrontations with Dilip are excellent set pieces for studies in acting.

It's sad that the combination of Meena and Dilip, although they were often appreciated for their strong capabilities in enacting trageddiene roles were not often matched in roles that required such deep emotions. It would have been great to watch the two stalwarts match each other in movies with such deep emotional overtones but sadly it was not to be. Still whenever these stalwarts came together it was a treat for cinema conniesuers like me. Thankfully Naseeruddin Shah and Shabana Azmi and Smita Patil did come together more often in roles that showed their virtuiosity. Wish we could have seen similar number of strong emotional content from Dilip and Meena.

Ramesh Thakur shines in his role as Noshu’s idealistic elder brother – one who prefers a death by starvation to a life in the shadow of crime. Anwar Hussein is brilliant in his portrayal of an opportunistic black-marketer. Achala Sachdev is also competent in the role of a self-seeking and venom-spewing housewife.

On the whole, the music score of the film leaves a lot more to be desired, considering that the movie carries the Khayyam stamp. However, the film boasts of one of the most memorable Talat Mehmood gems “Shaam-e-Gham Ki Kasam”. One rendition of the song and you will be quick to forget the inefficacy of the remaining songs, for this is undoubtedly one of the greatest songs ever sung by the great but underrated Talat Mehmood. I often listen to this song when my heart is under pain or stress or simply too lonely.

Zia Sarhady is undoubtedly one of the greatest directors of Hindi Cinema… In fact, Zia was the front-runner of the neo-realistic brand of movie making and hence belonged to the elite circle of Bimal –Abbas – Satyajit - Rithwik and others of the movement. In all, Zia made only 3-4 movies but each and every one of them is a classic in it's own right.

Followers of the cinema of De Sica and Kurosawa and Bertolucci would do well to see the movies made by this great director before denouncing Hindi cinema of frivolity and formula fare. It's to the discredit of viewers of Hindi Cinema that we have not made more such movies but to the credit of Indian Cinema, whenever we have have walked into a movie with such intentions, the results more often than not have often showcased our talent in presenting emotions to the world.

Foot path is one of the darkest films ever made in India and it’s to the credit of the director that you feel trapped in the inner psyche of Noshu for the entire length of the film and more. The film depicts all the stark realities of life in the lower echelons of society, to the extent of the bath scene wherein a naked Meena Kumari is shown taking a bath under a tap in the open – a brilliant statement on the reality of life in those dark bylanes... Although many films have been made on the subject of youth turning towards the world of crime, Footpath surpasses all of them in the study of the psyche that forces a man to look beyond the right and embrace the writ of the wrong.

If you love neo-realism, this is definitely not a movie to miss.

Songs to Remember - II

It is said and rightly so by many that the agony of loneliness cannot be explained away just by pushing some notes on the harmonium or by writing some lines on paper - these words have to come from the depth of one's own deep recesses. No wonder then that today's lyrics fail to reach the depths of our heart despite so many technological innovations and in our moments of pain, we often gravitate to our songs from the past. Only that song can feel the pain of this heart which itself is grounded in pathos, written in pain and composed in agony

No amount of words - however well-intentioned- can ever explain the pain of a loner's heart - of a heart the waits and waits and waits, not knowing whether that wait would ever end - not knowing whether that wait would ever receive acknowledgment - but the heart still waits, knowing that it's it's job to wait!

Why? No one knows but in line with what a wise man once said "The Heart has it's reasons which reason does not know". I can only say what has been immortalized for ages in the beautiful song by one of my all-time favourite bands, MLTR:

"It's only words and words are all I have;
to tell you what I feel for you"

The agony of waiting cannot be stated - it can only be felt. No power on earth can explain it in words - no power on earth can put it in words - it's only something that can be felt and nowhere is it felt more than the song that I wish to bring to your notice now.

In 1953, a beautiful Ghazal was composed by Majrooh, and put to tunes by the underrated Khayaam and sung by the man with the velvety voice - the man whose voice was so silky that even Dhaka Muslin would have found itself worth nothing when compared to it's sweet, soft and painful voice - it was the voice of the great Talat Mehmood. No song can be more heart-breakingly so beautiful when it has to be so painful

As if on cue, the song was filmed on the man who broke a million hearts with his deep, brooding and scorching eyes - Dilip Kumar and directed again by the much under-rated but excellent Zia Sarhadi for his path breaking film - Footpath


What a song, what a voice, what a performance but most importantly - what an emotion!

Listen to the way the song begins:

Shaam-E-Ghum Ki Qasam; Aaj Ghumgheen Hain Hum
Aa Bhi Jaa, Aa Bhi Jaa, Aaj Mere Sanam

The softness of the words, the longing, the soft caress of the singer to each and every word in the song can bring tears into the eyes of the most stony of men. Look at the pleading in the tone - the request that can be seen in the song, the pain of loneliness and the hurt at being left alone - all of them combine to create tears.

The silence of the night can only be felt - whenever I hear this song and drink of the simple rhythm that follows it - I am often reminded of the pain a beloved maybe undergoing to meet the one it loves - imagine this, a lover without any contacts with his beloved, frustrated and unable to build any contacts with her, far away from her, frustrated with his impotence, his helplessness - and then feel the depth of a lonely night engulfing him - the emotions will tell you of that painful moment and words will not be required again

The singer continues:

Dil Pareshaan Hai, Raat Veeraan Hai
Dekh Jaa Kis Tarah, Aaj Tanha Hain Hum

The singer is at his best expression of frustrated loneliness. Listen to this song and you will be dumbfounded by the slight tremble that brings so much pain to all who can hear it. The song trembles on, making it very difficult for us to keep our emotions in control

Talat gives further evidence of his tremble - the quality of his voice that set him apart from the others - (the 'Kapish' as it was called) as he further navigates the depths of his feelings with the next couplet

Chain Kaisa Jo Pehlu Mein Tu Hi Nahin?
Maar Daale Naa Dard-E-Judaai Kaheen

What can be more truer to a man of love that what has been expressed above! How can one who loves find solace in anything except what he construes to be the only source of his hapiness. As if he has read our minds, the singer continues:

Rut Haseen Hai To Kya? Chaandni Hai To Kya?
Chaandni Zulm Hai Aur Judaai Sitam!
Shaam-E-Ghum Ki Qasam.....

The rush of questioning, the force of questioning and the passing of a judgement that without love all is wasted is the greatest sign of a man's final rebellion for his love.... Everytime I hear this song, my heart goes out to that one beautiful moment wherein true love rejects all happiness if they do not accord with the yearnings of the heart.

Simply sweet! Simply beautiful!

But the lover knows that this rush of adrenaline will not help him - his loneliness requires the presence of the loved one and so the lover goes back to supplication with a deeper sign of resignation

Ab To Aa Jaa Ke Ab Raat Bhi Ho Gayee
Zindagi Ghum Ke Sehraa Mein Kho Gayee
Dhoondhti Hai Nazar, Tu Kahan Hai Magar?
Dekhte Dekhte Aaya Aankhon Mein Num

And with that finally the lover breaks down into tears.....

What a song..... what a pain.... what feelings ..... slowly and steadily the pain envelops the listener and he falls asleep as tears from his eyes fall next to him and form a small puddle next to his aching eyes

To the beloved, I would like to surmise a beautiful couplet from Ghalib:

Humko Maalum Hai Taghafful Na Karoge Lekin,
Khhaaq Ho Jaayenge Hum Unko Khabar Hone Tak

Indeed, the pain remains, the loneliness remains but look at those tears - aren't they more beautiful than the most shiny of all pearls?

Life in the time of Cancer - My Thoughts on Anand (1971)

I did my post grads in Bio-Technology and as a part of my practical education, did a part of my internship in LTMMC, Bombay. While working in that hospital, for the first time after a long period, my heart, that had long since banished the remembrances of my childhood as a nightmare fit to be forgotten, encountered endless rows of numbers masquerading as patients – each of them neatly arranged in batches of ghostly faces wrapped up in white linen and neatly stacked on dirty unkempt beds, suffering from the different forms of Cancer – an affliction that was both dreaded and feared by India of the 2000s. Some also slept on the floors and often traveling through the ward itself was a challenge worthy of the bravest and the calmest.

Their eyes were hollow, as if hope – that eternal beast that makes life bearable had forsaken them, the smile that makes the world go around had faded away, the innocence and desire that makes life worth living had either left them or had been banished from their collective consciousness to distant lands; lands from where there is no return and all that has remained in those bodies was a distinct hollowness, a sort of nonchalance that comes from knowing that it’s all lost and death will come and claim us soon.

But still in the midst of this lost demeanour, the hunger to live for that one extra second still remained and kept those souls trying to push their luck for just that one extra minute more, just a second more, just an hour more. That greed of redemption, of an escape was strong enough to make them shoulder on in a frustrated pursuit of yet another day but as the new day would inevitably bring with it nothing and end like the day before and before, the night would get darker and lonelier and the pain would get deeper.

And thinking about these sufferers of the night, I am suddenly transported to that night in 1986 when a grandchild kept looking at the last laboured breaths of a loved grandmother, unknowing that this meeting would be the last one and that they would never meet again (well – at least not on this plane) and this illness that claimed the grandmother could come back yet again much later to claim another one. There was no fun in that night – there is no fun in today’s night too – the sceptre of death is not that easy to forget and move on – just imagine then that there are people who laugh it off – as effortlessly as if it was smoke from a lit cigarette that wafted across and went off, on it’s way to the heavens. Strange but True!

All of us try to live our Life the way we want to; even though Life is not an easy customer and often it forces us to live life as per his whims and fancies, as per her dictates; but how many of us can actually dare to live Life the way it’s supposed to be lived? How many of us can stare at Death and smile at it’s rugged face and still go on doing what they would normally do, even under the ever-increasing Shadow of Death? Maybe that’s the reason why the day of one’s death is a closely guarded secret even from the greatest of the astrologers and even legendary magicians in myths and tales around the world have tried their best to fool that most certain of all realities.

Not many I guess can then face Death and die on their terms and conditions… In fact I can very well count the few I know on my fingers and even then my fingers would seem to be a surplus.

Of course I can count on good old Anand, that evergreen legendary character from that great movie by the same name. If anything, that optimistic outlook is Anand’s greatest contribution to Indian Film Industry. Anand is a must-watch for all who wish to know how to live. If Anand did nothing but smile at Death as he did and had no other reason to exist, even then Anand would be immortal. How I wish I could be like Anand when my time comes!

Anand is a sweet film, devoid of violence, sex, heavy drama and all such formulae which make for a successful potboiler; in fact if you look at it closely all that it has is a simple story which does not have any twists, no turns, no menacing villains, no scheming vamps, no leering Casanovas and no buxom belle baring either their upper or lower torso, all that makes a film a super-duper hit is just not there but I have no doubts that when history shall decide on the greatest movies ever made in India, Anand will definitely merit more than a mention. In fact, it will merit a whole chapter or section and then more. In fact, Anand remains to date one of the only 5 movies, which managed to bring tears to my eyes while watching the classic but doomed end of the movie.

To put it in a nutshell, Anand is an insight into the last days in the life of a young man, Anand (Rajesh Khanna) and his positive and vibrant attitude towards life, in the face of sure and irreversible death. It also brings out in clear contrast the stark differences between an optimistic and pessimistic outlook towards life as evidenced by the contrasting characters of it’s two main protagonists - one (Anand) on his deathbed but still gung-ho about living life to it’s fullest and the other (Dr Bhaskar) in full prime of health but still brooding and depressed – nothing could be more contrasting in it’s approach. Maybe the director wanted to clearly point out the joys of having an optimistic outlook towards life.

On an equal ground, Anand along with Tere Mere Sapney (1970), is one of the earliest movies to recount the dilemma of the doctors who have taken the Hippocratic oath – an oath that expects them to behave like demigods whereas the hunger that stirs in and the desires that are a part of a man ask him to be a little more practical in his or her decisions in life. So on one hand, we have the idealistic Dr. Bhaskar who only thinks in idealistic terms and refuses to see the world in anything except black and white and on the other, we have Dr. Prakash Kulkarni who is true to his oath but does not mind flinching from his rich patients to serve a few poor ones.

Rajesh Khanna as Anand performs the role of a lifetime. The first superstar of Indian Cinema in his heydays when his name spelled success and his touch equaled Midas, gave Indian Cinema some of it’s most endearing movies (Aradhana, Anand, Kati Patang, Amar Prem, Roti, Dushman etc) – no other star has made so many beautiful movies in so short a span ( 1969 – 1974) and still made them all memorable – it is here for this phenomenal touch that Rajesh Khanna scores over the two greatest superstars of Hindi Cinema - Dilip Kumar and Amitabh Bachchan

Anand was a role that required a degree of self-consciousness for it’s only self-consciousness that can give man the confidence to perform such a loud, at times irritating and at times frustrating character in such a manner that it endears himself to one and all. To Anand, Rajesh brings an earnestness not normally seen in movies. The scene wherein he gets Bhaskar to accept his silent love for the girl and then the way in which he interferes in their first date by forcing himself on the date makes one angry. I would have killed him had he dared to plonk himself in my first date with my love. Another scene that makes me go bonkers is when he goes ahead and calls every stranger – Muraari Laal – one of the best scenes in the movie.

The pain that he suffers silently and hides gracefully is a thing to be admired and respected. Anand is singularly his proudest achievement as an actor and will always remind us of his greatness even after the man is gone and done with. Who can forget that great piece of dialogue – “Babu Moshaiye, Zindagi Badi Honi Chaahiye, Lambi Nahin”

Amitabh Bachchan excels in his role of the brooding and deeply pessimistic Dr. Bhaskar. The frustration of the character, trying his best to come at terms with his own impotence and helplessness when confronted with the grim realities of life is so well portrayed that even you can feel his agony both in his silence and in his speech.

The most powerful scene in the movie is the scene where Anand demands to know about his sickness and Bhaskar lashes out at him, only to be shocked at his mature understanding and deft but playful handling of his own ill fate.

Dr. Bhaskar – Jaanna Chaahte Ho Tumhein Kya Hua Hai? Agar Main Tumse Kahoon Ke Tumhein Lymphosarcoma of the Large Intestine Hua Hai To Kya Samjhoge Tum? Bolo?

Anand – Shayad Yehi Ki Mujhe Cancer Hai Aur Mere Paas Jeene Ke Liye Bahot Kam Waqt Hai

What does one say about an interaction that is as profound as this – confrontations are not easy to film or perform and when the actors happen to be great proponents of two different schools of acting, it’s like a meeting between Kiong Richard III and Saladin – impressive and majestic and this happens to be one of my favourite top 10 confrontations in the history of Hindi Cinema and one that shows bigger sense of purpose than drama.

This one scene along with the Murari Lal scene remains etched in my memory, although it has been years since I saw this movie.

Ramesh Deo scores as the pragmatic Dr Prakash. This was one of his few positive roles and he does a good job of it. Ramesh Deo was an actor-par-excellence from Marathi Cinema who never got his due and spent most of his life in Hindi Cinema doing only side roles. This is one of the few films in which he had a chance to hold out in face of such strong actors as Amitabh Bachchan and Rajesh Khanna. His interactions with his wife Seema Deo, a brilliant actress in her own right and their little domestic squabbles make for interesting viewing. Look out for him in the initial scenes where he tries to exhort Bhaskar to be a little more practical in his approach and stop being so idealistic.

Another actor who makes his mark is the versatile Johnny Walker, who in a small cameo role manages to sweep us off our feet. Johnny Walker was one of the greatest comedians of Indian Cinema and literally ruled comedy for a long period. As a comedian, Johnny unlike his great rival Mehmood never did a role that had tragic proportions – maybe this was where Mehmood overrode him as a comedian but Anand is one of those few movies in which Johnny (though reluctantly) gives free flow to his emotions – this is one of the only two movies that I remember of wherein Johnny cried or had tears in his eyes – the other one being Madhumati.

Only an actor of Johnny Walker’s calibre could have handled a scene as deft as the Muraari Lal scene. This is one of the sweetest ever scenes and I advise every student of cinema to watch this scene at least once while studying cinema.

Lalita Pawar who once again excels in her role as the strict disciplinarian matron of Ramesh Deo’s ward. Every time I see her perform, I am reminded of my grandma. She used to be just like her – a tough nut from outside and a soft heart from inside. I really miss her a lot.

Asit Sen as the hypochondriac patient and Dara Singh as the wrestler provide comic relief in their small roles. Sumita Sanyal, an intelligent actress from Bengali Cinema was roped in to play the role of Amitabh Bachchan’s love interest and she plays her role with characteristic subdue. Sadly, her role could have been developed better. Durga Khote on the other hand is soft but plays her role quite well.

Salil Chaudhary weaves an exceptionally good musical score with some of the philosophical tracks really making you wait and think about the fleeting nature of life. This was a sort of a comeback for the legendary composer who was almost unavailable from the scene for a long time.

Each and every song is a gem and made a super star out of the lyricists – Gulzar and Yogesh. Whether it’s Manna De with his philosophical take on life in ‘Zindagi Kaisi Hai Paheli Hai’ or Mukesh remembering his past with “Kahin Door Jab Din Dhal Jaaye’ or the one song that most signifies the movie “Maine Tere Liye”, each and every song is a delight.

Chhoti Chhoti Baaton Ki Hai Yaadein Badi,
Bhoole Nahin Biteyee Huiyee Ek Chotti Ghadi

This is what Anand is all about – ‘Chhoti-Chhoti Baatein’ and their impact on life.

Hrishikesh Mukherjee manages to tell a story devoid of the usual parameters but still manages to make a point. This movie is an example of a master at work. At no point of time does the movie look preachy or boring. The best part is that it manages to convey the meaning without even seeming to do so.

His directorial ability lies in the fact that a simple idiom of life has been given a pulsating meaning of it’s own and vibrates with a resonance unmatched. Undoubtedly, he is a great director.

The ability to present simple things on a cinematic canvas is his greatest ability and there have hardly been any directors who have able to make masterpieces out of seemingly trivial things of everyday life.

The great Frank Capra once said – “Tragedy is not what moves the actors; it’s what moves the Audience”. If this is what is the truth of a tragedy is all about, Anand not only passes the test but passes it with flying colours.

Anand is more than a movie; it’s a statement of life.

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?