There are a bunch of films that I’ve read a plot synopsis of, found it interesting, thought I’d try and watch it—and then taken a look at the cast, only to discover it starred someone I didn’t like. It’s happened time and again; with Talaash, having discovered that the film starred Rajendra Kumar, I decided to put the film on the back burner, even though the synopsis sounded interesting.
Then, reading Anirudha Bhattacharjee and Balaji Vittal’s SD Burman: The Prince Musician, and seeing the list of songs (some of them truly lovely ones), I thought I may be able to sit through the film. Perhaps the rest of the cast, the interesting story, and the good music, would compensate for Rajendra Kumar.
Talaash begins with the graduation of Raj Kumar ‘Raju’ (Rajendra Kumar), who is being congratulated by all his classmates for having once again come first in the class. Raju goes off to meet his friend Lachhu (OP Ralhan, who also directed this film, which was produced by Rajendra Kumar). Lachhu has, after seven tries, finally managed to graduate too. They congratulate each other, and talk briefly of their futures. Lachhu will be roped in to work at his wealthy father’s cloth shop; Raju doesn’t know what he’ll do, but he’s certain: the wealth of his family will only be doubled. Yes, he’s not known want, ever, and he will continue to enjoy all that wealth, now through his own hard work.
Raju travels home to his widowed mother (Sulochana Latkar) and, thanks to his arriving a little earlier than expected, is able to overhear a dialogue between his mother (who’s sitting and working a sewing machine) and her friend (Mumtaz Begum). The friend is commending Raju’s mother, praising her maternal love and sacrifice: how she has laboured hard all these years, not even letting Raju know that they’re so short of money…
Raju’s eyes are opened, he’s very remorseful, and weepily grateful to Ma for having been such a devi. When asked to give him some words of wisdom, Ma says that Raju must always follow his soul. It doesn’t matter what the mind wants or what the heart wants; see what the soul wants, and go for that.
Raju returns to Bombay, leaving Ma behind in the village with his siblings [who, by the way, seem to completely vanish after one single, wordless appearance]. He gets a job as a clerk in a company owned by Ranjit Rai (Balraj Sahni).
Raju, far from being the hard-working, dependable sort, ends up botching things left, right and centre, and gets ticked off—plus warned—by Ranjit Rai.
A self-pitying Raju confides in Lachhu (who is now also Raju’s roommate) and Lachhu, in a surprising departure from the norm for a Hindi film comedian, offers sane advice: do what you have to do, well. So what if you aren’t as wealthy, don’t have a car or a big house, as another person? Compare yourself to those who don’t have a roof over their heads or food to eat.
Raju, suitably chastened as well as encouraged by this pep talk, goes back to work a changed man. He works late, after everybody else has gone home [Was this the film that set the trend for expectations from corporate sector employees all across India?!] And, when an appreciative Ranjit Rai asks him what his dream is, Raju frankly admits that he wants to be in Ranjit Rai’s place.
Ranjit Rai pretends to absentmindedly drop his wallet near Raju’s desk, but Raju, spotting it on the floor, picks it up and rushes out to hand it to Ranjit Rai.
Then, a few days later, a business associate tries to bribe Raju, offering him Rs 10,000 for a signature. Raju turns down the offer brusquely, even though that money would probably come in handy.
Raju keeps at it, nose to the grindstone, while Lachhu falls in love with the beautiful Rita (Helen), who comes one day to his shop. Rita [for no reason that I can see] seems equally charmed by Lachhu.
One day, after a hectic and gruelling few weeks of work, Raju is given a happy surprise: Ranjit Rai tells him to take a few days off. Go for a holiday somewhere. Raju decides that the hills will be a good option, and since a lovesick Lachhu, choosing just then to swoon after dancing with Rita, is amenable—the two friends head off to an unspecified ‘pahaadi ilaaqa’ (‘hilly area’), which looks rather like Kashmir.
Rita is also travelling on the same flight [no, no coincidence, this: Lachhu already knew Rita was also headed for the ‘pahaadi ilaaqa’, to perform]. She mistakes Raj Kumar’s name for a title, and when they arrive at the hotel where all of them will be staying, Rita surreptitiously tells the manager (Randhir) that this is a prince, no less.
Soon, everybody in the hotel thinks Raju is a prince. All the women (including characters played by Nadira, Daisy Irani, and Tabassum) flutter their eyelashes at Raju and simper and flirt. Raju seems blissfully unaware that this is anything out of the ordinary, or that these women are being overly friendly. He’s either painfully dumb or too naïve for words, it’s hard to say.
One day, the entire troop goes out riding, and Raju’s luck is such that he ends up on a very reckless horse which runs away with him and throws him. Fortunately for Raju, a girl (Sharmila Tagore) named Gauri comes running to his rescue, tears off a strip of her dupatta to tie around his head, and gets some water from the river to splash on his face.
By this time, Raju’s gang have turned up, and the women go on instant alert: who is this filthy village girl? Why is she sitting with Raju’s head in her lap? Who does she think she is? Blah, blah. Raju, angry at their attitude, shoos them away and apologizes to a distressed-looking Gauri…
… only to have to apologize to her all over again a while later, when she arrives at his hotel room, carrying the wallet he had accidentally dropped when he had fallen off the horse. Raju’s entourage of jealous (and horrifically rude) females again start to rant at Gauri, but he sends them away—and, within moments, has confessed his love for Gauri, who looks very pleased.
Their romance progresses swiftly, and encounters only a brief speed bump in the form of Gauri’s father (DK Sapru), who is wary of outsiders—of pardesis who break girls’ hearts. But Raju is able to convince Daddy of his sincerity and love and devotion to Gauri, so all is well. A local festival that includes mass weddings is coming up within the next couple of days and both Gauri and her father plead with Raju to stay back so that the two of them can be married.
But Raju refuses. Because for an event so important as his marriage, his mother must be there to witness and bless them. He consoles Gauri by assuring her that he will return—by the time this festival comes around again, he will be back with his Ma. Gauri sends a pretty red shawl for Ma, which Raju takes and gifts to his mother, telling her only that it has been sent for her by ‘someone’. He tells her nothing about Gauri.
When Raju rejoins work, it is to be greeted with astounding news. Ranjit Rai is extremely happy with Raju for all the good work he’s been doing, as well as for his honesty (besides the wallet Raju returned so promptly, there’s also the question of the refused bribe, which too Ranjit Rai knows about). In recognition of Raju’s hard work and honesty, he has been promoted to manager. Shortly after, Ranjit Rai makes him partner in another of Rai’s companies.
Raju is also given a plush house (to which he fetches Ma, younger siblings having been conveniently forgotten by now). And a fancy car.
Plus, Ranjit Rai turns up at Raju’s new home to greet Raju’s mother and compliment her on the exemplary behaviour and demeanour of her son (Rai Sahib has a thankfully short and forgiving memory—he seems to have forgotten all about Raju’s early days at office). Rai has also come on another mission: to invite them to his home for a party. His daughter Madhu, who has been studying abroad all these years, has finally returned, and he’s hosting a party in her honour.
Ma declines—she’d feel out of place there—but encourages Raju to attend. So Raju does, and is introduced to Madhu.
Who is this girl who looks, barring the brown hair and green eyes, the spitting image of Gauri? She’s not anything like Gauri either, as Raju soon discovers. Unlike the simple village girl, Madhu is urbane, sophisticated, a girl who likes fast cars and Hindustani classical music with equal fervour. She is also surprisingly bold in her overtures towards Raju. Very soon, he’s become very aware of the fact that she is attracted to him.
Meanwhile, Raju’s friend Lachhu has been having problems of his own. Rita, now his girlfriend, introduces Lachhu to her father Dias (Sajjan) as a potential son-in-law, and Dias refuses, subsequently evicting Lachhu from the house. When a distraught Rita accuses her father of being cruel and greedy, of wanting her to go on working just so that he can earn money from her dancing, Dias breaks down and confesses the truth.
Many years ago, when Rita was a baby, one night a very drunk Dias came home with two other tipsy friends. Dias woke up his wife and forced her to cook something for the three drunks. While Dias and a friend, Peter (Madan Puri) lolled about on the sofa and got even more drunk, the third, John (Jeevan) slipped away into the kitchen and assaulted Dias’s wife.
Though the other two managed to save her in time, John pulled a gun. There was a fight, Dias picked up the gun, and egged on by Peter, shot John—dead. A solicitous Peter offered to look after everything and cover up while Dias made his escape with wife and baby. Which would have been all very well, except that Peter soon started showing his true colours. All these years, he has been blackmailing Dias, extorting money from him in exchange for keeping mum about John’s death.
Talaash, to me, was a somewhat odd film. There are two mysteries or problems here: one is Rita and her father’s being preyed upon by the wily Peter, the other is the identity of Madhu, and what connection—if any—she has with her lookalike, Gauri. If you are observant enough, and if you can put two and two together, you will know, pretty early in the film, the truth behind both. Both are built up well, however, so the journey to the end isn’t bad—it’s entertaining, at least—but because of the somewhat obvious clues embedded in the story, the end doesn’t really come as a surprise.
What I liked about this film:
SD Burman’s music. Talaash has a lot of songs, and while some of them are fairly forgettable, there are a few that are well-known and lovely. These include the credits song, Meri duniya hai maa tere aanchal mein (sung by SD Burman himself); Palkon ke peechhe se kya tumne keh daala; Khaayi hai re humne kasam sang rehne ki; and Tere naina talaash karein jise.
The overall scripting, which isn’t bad. There are no obvious plot holes that I could see, and barring an irritating and forced episode regarding a match for Lachhu in the form of a character played by Tuntun, not much that is extraneous, either. The building up of the relationship between Raju and Madhu is well-done, especially when seen from his point of view: the gradual attraction, the way his fascination grows for this woman who shares Gauri’s features but is otherwise completely different.
What I didn’t like:
The motive behind the main plot, which I did not agree with at all.
Major spoiler ahead:
Madhu’s motive behind this entire farce was to test Raju’s love for her. Well, she gets to know that Raju does love her and not her wealth, but what of her love for Raju? Does her love mean that she is happy tormenting him so, deliberately putting him to the test, making him doubt his own feelings to such an extent that it nearly drives him mad? And all because she is unconvinced that he truly loves her and not her wealth? As Gauri, Madhu should have realized that Raju loved her—Gauri had no wealth to speak of. Testing him in that case would’ve been a simple problem: merely wait and see if he turns up on the appointed date for the wedding. If he doesn’t, he is obviously not the right man for her. To turn up as Madhu, to drive him batty, to leave him torn and in two minds (plus feeling guilty as hell because of what happens to his mother)… no, that’s not cricket.
There is also some cringeworthy melodrama near the end, in a scene involving Balraj Sahni and Rajendra Kumar.
On the whole, not an awful film, but not one of my favourites in the ‘mysterious woman’ category.
Interestingly, while watching Talaash, I kept thinking, ‘Someone in the art department likes purple!’ Purple, especially in its brightest, most virulent shades, seems to be present in just about every frame, with walls, book covers, painted flowerpots, vases, picture frames, even leaves of potted plants, being purple. Plus, purple seems to be a popular colour for costume design too. There’s so much of this colour to be seen in this film, I wondered who was obsessed with it.