For all those who thought I’d deserted classic Hindi cinema to wax eloquent about Robert Mitchum: good news. I’m back. After gushing for a week (well, a little more) about Mitch and his films, I’ve returned to Bollywood—and with a film that’s a must-watch for anyone who likes Muslim socials; who thinks Madhubala is gorgeous; or who loves old Hindi film music—especially qawwalis.
I fall into all three categories, so Barsaat ki Raat was long overdue for a rewatch.
Another film from one of my favourite directors, and with two of my favourite stars as well. Like many of Bimal Roy’s other productions—Parakh, Usne Kaha Tha, Bandini, Kabuliwala, Do Bigha Zameen—Sujata is about people like you and me, not outright villains (I like to think I’m not one!!), but not saints either (yes, well, I have to admit I’m not one of those, either). People who’re shades of grey, not black and white. And, like most of Bimal Roy’s other films, this one too focuses on the underdog: in this case, an ‘untouchable’ girl.
I am occasionally inclined to see a film simply because I adore one particular song of the film. Unfortunately, I score more hits than misses using this criterion. Saranga (1960) is a case in point—it has the classic Saranga teri yaad mein nain hue bechain (one of the few hit songs of Anu Malik’s father, Sardar Malik), but not much else. With Usne Kaha Tha, I had better luck. The lovely Aha rimjhim ke yeh pyaare-pyaare geet liye is a wonderful song, and the film itself is an interesting one.