When I began this blog, it was with the intention of indulging in my love for old cinema. While that has remained the main objective of my writing here, I’ve added to it a desire to make this a means of documenting old cinema (especially Hindi cinema) too. Not all old cinema, since that would be too mammoth a task for one person to take up; but films that I think are worth documenting, in particular if they seem to be otherwise obscure now. Films that are landmarks in Hindi cinema history; films that were somewhat different, perhaps, from the usual.
Or, as in this case, films that allow us a glimpse of familiar faces that we know from another, later, period. Leela Chitnis, the perennially poverty-stricken and very distressed mother of 60s cinema, stars in Wahan as an Aryan princess, and Ulhas, the well-known character actor of the 50s and 60s, appears in his debut role as her fiancé.
In 1960, RK Narayan won the Sahitya Akademi Award for his novel, The Guide, published in 1958. The story is of a small town tourist guide who has an affair with the lonely wife of an archaeologist, an affair that has a lasting impact on his life.
Of course, anybody who knows anything about Hindi cinema would recognize the plot (and the name) immediately: this, after all, was (minus the ‘The’) the name of one of Hindi cinema’s most popular films ever made. The Dev Anand-Waheeda Rehman starrer Guide, directed by Vijay Anand, won an impressive seven Filmfare Awards (and that excluding what should definitely have been an award, for SD Burman’s brilliant score for the film).
I’ve had this film on my radar for a long time. I first came across a mention of it online about ten years ago, and since Guru Dutt had acted in so few films, I was curious about this one (which, incidentally, was also his last film). Back then, I used to subscribe to a video rental service, and having found Suhaagan on that, ordered it—and what I got was the absolutely execrable, horribly regressive Suhaagan that starred Geeta Bali [if ever I decide to draw up a list of Hindi films you must not watch, that Suhaagan will be on it].
The Guru Dutt-Mala Sinha Suhaagan, which several people on my blog have mentioned in the past (including fairly recently), and which I’d searched for on Youtube now and then, finally cropped up in Youtube’s recommendations for me. So I bookmarked it.
A little less than a week ago, on December 4, I received news that a very dear aunt had passed away. My parents, my sister and I made arrangements to travel to Kolkata for the funeral, the next day. Early in the morning, just as I was about to leave for the airport, the newspaper was delivered, and one headline sprang out at me: Shashi Kapoor had passed away, too. On the very same day as my aunt.
I suppose if Shashi Kapoor had passed away on any other day, on a day when I was not quite so swamped in sorrow of my own, I would have posted a tribute to him earlier. Later, I thought. When I am a little less distraught. My father, reading the newspaper, remarked that he and Shashi Kapoor had been born in the same year, just 6 months apart (my father in September 1938, Shashi in March 1938). My mother, looking at a lovely photo of a smiling and very handsome young Shashi, remarked that he looked uncannily like a cousin of mine (which I have to agree with; I have thought so many times). In our own ways, all of us remembered Shashi Kapoor.
Some months back, I watched two relatively new Muslim socials: Daawat-e-Ishq and Bobby Jasoos. Both were an interesting reflection on the way the Muslim social has changed over the years (after close to disappearing during the 90s). The Muslim social of the 1950s was, more often than not, a film that, even when set amongst the wealthy upper class—the nawabs and their kin—came heavily burdened with all the stereotypical trappings of what was perceived as ‘Muslim’: the qawwalis and mushairas, the shararas and sherwanis. (I’ll write about all of those, and more, in a post to follow).
Bobby Jasoos and Daawat-e-Ishq had shed those to quite an extent. But that process had begun in earlier films, even as far back as the 60s. In Neend Hamaari Khwaab Tumhaare, for example, where Nanda’s character—the daughter of a nawab, no less—doesn’t merely have a Western education, but spends most of her time in skirts and dresses. And this film, where Nutan’s Jameela is a firebrand, giving as good as she gets, and by no means the simpering and demure Muslim girl exemplified by her contemporaries in films like Mere Mehboob, Mere Huzoor, and Chandni Chowk.
Hindi cinema has, over the years, borrowed liberally from English literature. Shakespeare (Hamlet, and in more recent years, Angoor, Omkara, Maqbool, and Haider), Agatha Christie (Gumnaam), Arthur Conan Doyle (Bees Saal Baad), AJ Cronin (Tere Mere Sapne): Hindi cinema seems to have drawn inspiration from a lot of authors, whether or not that inspiration has always been acknowledged or not.
Here, then, is another film derived from a literary work by a writer in the English language. Charlotte Brontë’s Jane Eyre, published in 1847, has spawned a number of cinematic adaptations (one of the first I ever saw starred Orson Welles and featured a very young Elizabeth Taylor as Helen Burns; one of my favourites stars the brilliant Toby Stephens as Rochester). In Hindi cinema, too, Jane Eyre was made into a film: Sangdil. I’ve been wanting to watch this for a while, and when recently I finally got around to reading the complete, unabridged version of Jane Eyre, I decided it was also time to watch the film.
Yash Chopra’s debut as a director, Dhool ka Phool is unusual in a lot of ways.
Leela Chitnis, for instance, is not a coughing-her-guts out (or basket-making) pathetic old mum.
The hero and heroine travel by train—and that too in trains that go over bridges—without the train falling into the river or crashing and the protagonist losing their memory in the process. Or being given up for dead.
And two people in love in the first half-hour of the film end up moving on in life and not loving each other till the end of time.
On the flip side, it does have a long-lost mother feeling an inexplicable affection towards a strange boy, who for no reason that he can fathom, instinctively calls her “Ma!” It does have a thunderstorm at the end of a love song, with the expected consequences [read: raging hormones, libido and “Humein aisi galti nahin karni chaahiye thhi”]. And it does have Manmohan Krishna being the goodie-two-shoes who stands up for what is right and righteous.
The last Hindi film I reviewed was a Bimal Roy production – and it left me feeling very disappointed. To get over that (and to remind myself that Bimal Roy’s films can generally be counted upon to be good), I decided to rewatch this one, an old favourite that reinforces Bimal Roy’s style of film-making: everyday stories of life, real life, with all its joys and sorrows and mundane happenings.
By some strange oversight, despite the fact that Waqt is one of my favourite masala films, I’ve never reviewed it on this blog. And I’m wishing I didn’t have to end up writing about it on such a sad occasion—because Achla Sachdev, the actress who played the self-sacrificing, long-suffering mother and wife in this film, passed away on April 30, 2012.