Love and the Papaya Man

Maya had been sweeping the verandah when the papaya man first appeared. He came slowly down the road, wheeling his bicycle along, one hand balancing the basket of papayas perched precariously on the seat. He did not yell out in a singsong voice, like the other hawkers did, and Maya, busy with her twig broom and her pail of water, became aware of him only when his still, silent shadow fell across the steps of the verandah.
She straightened up, one slim hand tucking a loose strand of hair behind one ear, the other hand quickly letting down the crumpled pleats of the cotton sari bunched up around her knees. From within the house, the mistress, suspicious of the sudden silence, called out, “Maya! Maya, have you finished?”—and then, “What is it? Has someone come?”
Maya, quiet for the briefest of moments, answered, “Papayas, memsahib. There’s a man selling papayas… do we need any, memsahib?”

And that day, for the first time in what was to be a long and literally fruitful association, Maya stepped down into the dusty road, to stand beside the papaya man’s bicycle and examine the fruit he sold. Easily, unhurriedly, she smelt and felt each papaya, aware at the same time of the man who stood by, watching her. A quiet young man, who silently appraised her; admired the curve of her chin, the sleek golden slimness of her waist, and the thick silken plait which snaked its way down—

“This one,” Maya said, and glanced up to find him looking at her. He looked away hurriedly, and Maya, to her chagrin, flushed as she handed him the money, and wrapping up the papaya in the end of her sari, walked quickly away into the house. The man stood for a while, all by himself in the road, looking down at the crumpled money in his palm; then he continued down the road, not bothering to stop in front of any of the other houses.

And so it continued; for days, for weeks, for months. Long after papayas were not really in season any more—the papaya man would come, even if he only had one or two papayas to bring. Wheeling his cycle along, a quiet figure walking through rain and sunshine, dust and gale, stopping always at just this one house in the street. And Maya would watch for him, with a barely concealed tenseness, an eagerness she herself did not acknowledge. Even when the papayas were bitter and unripe; even when they were no good to anybody but Maya- she would buy them. To cut in thin slices and sprinkle with salt and red chilli; to eat, even if not to savour.

Until the day he said, in his characteristic quiet manner, “I won’t be coming from tomorrow.”

Maya gasped, her world suddenly tumbling to her feet. “Why?!”

He paused—perhaps for effect, perhaps because he was nervous—then he said, “I’ve got myself a job, in a printing press—”

She stared, perplexed. “But why? What’s wrong with selling fruit?”

“Doesn’t pay much,” he muttered, and then, gathering up all his courage, he looked her straight in the eye and added, “I’m thinking of getting married.”

That was all the proposal Maya could get out of him; but, a month later, when she stepped into her new home and looked in awe at the grove of papaya trees next door, she could not help but turn and look at her husband in wonder.

Her husband grinned shyly. “My neighbour’s papayas,” he murmured. “I really don’t think he’s missed any.”

(Highly commended winner in the Commonwealth Broadcasting Association’s Short Story Competition, 2002)

A Morning Swim

The fog hung, forbidding as a pall, over the Yamuna. The water would be icy today, thought Rashid as he huddled beside Imam Miyan’s rickety tea-stall, chewing a stale rusk. There were few people about at this hour of the morning; just the rickshaw-pullers, the coolies and the beggars. It was so cold, there’d probably be nobody at the river either.

Imam Miyan’s hefty fist clouted Rashid half-affectionately. “Eat up, you swine! Do you want to be late? Better get there before the fog lifts and people start arriving.”

Rashid nodded, his thin shoulder hurting with the blow. Not that he would ever protest; Imam Miyan was the only adult who was even remotely kind to him; and when you were just eight years old and an orphan, kindness mattered a hell of a lot. Rashid summoned up a watery smile, but kept quiet. As far back as he could remember, he had been having breakfast—a crumbly rusk and a cup of tea—at Imam Miyan’s stall. Whether his parents had been friends of Imam Miyan’s he neither knew nor cared; all that mattered was that Imam Miyan was good—sometimes.

Rashid finished the rusk and dug out a coin to pay, but he was lucky today—Imam Miyan refused the rupee.

Bihari, three years older than Rashid, was waiting at the corner, his scabby knees knocking together with the cold. They walked together to the riverside, and Bihari muttered, “Do you want to go in today? It’ll be like ice.”

Rashid nodded vigorously, trying to push away the thought of the chill water, the itching rash on his body and the stench that awaited him. They had reached the stone steps leading down to the water, and he stripped hurriedly, handing his clothes over to Bihari. The river was a swirling mass of sewage, carrying with it plastic bags, wilted marigolds and garbage. A sacred river, they called it- sacred enough for the ashes of the dead, from the cremation ground upriver, to be ceremonially immersed in it. Ashes, with bits of charred bone sometimes, wrapped in red cloth… all of it whirling downriver, somewhere to an unseen nirvana.

Rashid dived.

It was cold. Cold and opaque, wrapping its foul, grasping fingers about his thin little body, numbing his senses with its rotting presence, encasing him in an insidious envelope of slime. Rashid plunged, deep and swift, down to the riverbed. It was murky and horrible, but he swam around, in widening circles, till his lungs felt as if they would burst, and then he rose, gasping, to the surface.

A few gulps of cold air, and then he was diving down again, into the depths of the Yamuna. Six dives it took before he hauled himself out, shivering and retching. Bihari was sitting on his haunches, sifting hurriedly through a pile of slime, but he rose to help Rashid up the steps, dripping and exhausted. Rashid shrugged on his ragged clothes, watching Bihari through a putrid, shivering daze. After a moment, he said, “Come along. People have started coming; it wouldn’t do to get caught.”

Bihari stood up, and with their sodden, stinking burden, the two boys began walking back to the slums, Rashid still wet. He glanced back once over his shoulder, and saw men, wrapped in white, already beginning to go down the steps to the river. Chanting, breathing prayers, bringing with them flowers and fruit, incense and coins—all to be thrown into this sacred, smelly river. New coins, bright and shining—offerings to the Yamuna, propitiation for past sins—and Rashid’s daily earnings.

(Winner of the Commonwealth Broadcasting Association’s Short Story Competition, 2003)

Khamoshi (1969)

I first watched Khamoshi when I was a child (and too immature to really understand it). I last watched it as a teenager, more able to appreciate the film—which left a handful of clear, sharp images burnt into my memory: Dharmendra, looking out over a balcony and singing Tum pukaar lo; Dharmendra flinging a glass of water at Waheeda Rehman and then watching, half-bemused, half-shy, as she laughingly wipes her face against the front of his shirt. Waheeda Rehman, clinging to Rajesh Khanna but thinking of Dharmendra.
So, considering that this last week saw Dharmendra’s 74th birthday (on December 8th), and having read some very enjoyable posts by fellow bloggers: I decided it was time to re-view and review Khamoshi. It came as a bit of a surprise to realise that Dharmendra actually appears onscreen for just over 5 minutes (and that includes a song). The male lead is Rajesh Khanna. And the film belongs to Waheeda Rehman.

Continue reading

Hold Back the Dawn (1941)

A few preliminaries before I launch into a synopsis of this little-known but lovely little film.

This is the third film of Charles Boyer’s that I’ve reviewed on this blog (the other two are Gaslight and Love Affair). As in Gaslight, in Hold Back the Dawn too Boyer plays a less-than-scrupulous man who marries not for love but for less savoury reasons—after having convinced the woman in question that he’s deeply in love with her.
Now for the coincidence. This is also the third film of Olivia de Havilland’s that I’ve reviewed on this blog (the other two are The Charge of the Light Brigade and Not as a Stranger). As in Not as a Stranger, in Hold Back the Dawn too de Havilland plays a gullible woman duped into marrying a man she’s convinced loves her—though his motives for the marriage are very mercenary.

Continue reading

Mujrim (1958)

Right now, I’m on a five-day visit to my parents. They’re not Beiges, but I’d probably label them Greys—the salt far surpasses the pepper in their hair. We’ve been spending quality time together, eating the best chhola bhaturas in town, catching up on the latest gossip, and watching films. We started with Living it Up and Bells are Ringing, and then my father (who generally prefers Bollywood to Hollywood, unless it’s the Marx Brothers-Laurel and Hardy-Chaplin brands of comedy) put his foot down. Let’s see something Hindi, he said. So we settled on this one, because my father likes its music a lot, and Mummy and I like Shammi Kapoor a lot.

Continue reading

The Maltese Falcon (1941)

This probably sounds really weird, but The Maltese Falcon (based on a novel by Dashiell Hammett) reminds me of a landed fish. Fresh out of the water and flapping about like mad, its tail swishing from side to side at breakneck speed. One twist here, another twist there, one turn here and another there, never still for a moment. Possibly not the best simile for a film, but I can’t help it: the speed of this film is just so frenetic. I saw it again last night, and found myself struggling to keep pace.

The Maltese Falcon begins with a quick introduction, a paragraph scrolling down the screen to the effect that in 1539, the Knight Templars of Malta paid tribute to Charles V of Spain by sending him a golden falcon encrusted from beak to claw with jewels—but pirates seized the galley carrying it, and the Maltese Falcon was lost, its fate a mystery.

Continue reading

Akeli Mat Jaiyo (1963)

Akeli Mat Jaiyo (‘Don’t Go Alone’—specifically addressed to a female) is, if nothing else, very aptly titled. Because if you gallivant where you’re not supposed to, you run the risk of being pursued by a moron whose best friend is a ventriloquist’s dummy. You may end up betrothed to somebody whose family includes a father with a loony sense of humour. Worst of all, you may have to stake your all on saving the ‘life’ of that ventriloquist’s dummy. So yes, akeli mat jaiyo. No way.

Continue reading

Ocean’s Eleven (1960)

Sabrina Mathew’s latest post is an interesting one that compares the two (1968 and 1999) versions of The Thomas Crown Affair. A couple of things from Sabrina’s review struck me: “The remake is keenly aware that the original got away with a lame robbery only because Steve McQueen planned it. So the remake fixes the problem with a daring art heist…”. And, ”The film is not just content with redoing the heist bit; it also wants to fix the romance by giving it a happy ending.” That reminded me of another film, again with two versions, for which I could quote Sabrina verbatim. Ocean’s Eleven, both the 1960 and 2001 versions, are also about robberies. And in this case too, the remake features a much sleeker robbery than the original—and a happier end.

Continue reading

Ten of my favourite Johnny Walker songs

When I first began blogging about old cinema, my husband asked me, “So will you do a list of Johnny Walker’s songs sometime?” I thought about it (not long; I didn’t need to) and decided yes. Badruddin Jamaluddin Qazi, aka Johnny Walker, definitely deserves a ‘top ten’ list all his own. This, therefore, on what would have been his 83rd birthday, is a list of songs through which he frolics and flirts, teeters and tumbles—just, generally, keeps me glued to the screen. These are all from films of the 50’s and 60’s that I’ve seen, in no particular order.

Johnny Walker (ne Badruddin Jamaluddin Qazi)

Continue reading

Bells are Ringing (1960)

I so, so adore this film.

And that, mind you, keeping in mind the fact that I generally don’t think very highly of Hollywood musicals. I have nothing against the music, usually—most of the films had excellent songs—but what really gets my goat is that other than sounding and looking good, few of Hollywood’s musicals have anything substantial to back them up. Look at Oklahoma! or South Pacific (or even Singin’ in the Rain, for that matter): great music, nice looking leads, superb dancing—and that’s it. I can count, on my fingers, musicals that also have worthwhile plots. The Sound of Music. Fiddler on the Roof. And this, a gloriously funny and romantic story about a loony telephone operator and the man she falls in love with.

Dean Martin and Judy Holliday in Bells are Ringing

Continue reading