Shahu Modak, Manhar Desai, and Secularism in Old Hindi Cinema

Some time back, I was standing at the gate of our housing society, waiting for my daughter’s school bus to arrive. A neighbour, the mother of one of my daughter’s classmates, began complaining about the poor standard (according to her) of teaching in the school, which is Christian mission-run. Her contention was that teachers who aren’t qualified, or don’t really excel, are allowed to stay on in the school simply because they’re Christian. “You see them in the school photos,” she said. “All converts, you can see by their faces.”

I pointed out gently that most Christians in India (or actually, across the world) have been converted, at some time or the other, either in their own lifetimes or through their ancestors.

“No, no, that’s not what I mean,” she said. “I mean people who have been given incentives by missionaries to convert. I have lived in South India, I have seen a lot of this.” She must have seen the look on my face, and she hurried to clarify. “You can tell they’re converts, because of their mixed names.”

“I have a mixed name,” I said. Madhulika Liddle.

And then, I think, the penny dropped. So far, she had forgotten, perhaps, that I am Christian.

She blustered. “Of course, of course. But not you. I mean people who look perfectly normal but are Christian.”

“Normal? So Christians are not normal?”

By which time the school bus had arrived and I think both of us were relieved to have an end to what had become an awkward conversation.

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Zabak (1961)

Zabak is a film I’ve been wanting to watch for a while, mostly for Shyama. I like Shyama a lot, and as far as I know, this is one of the rare colour films in which she acted as a lead. Plus, given my penchant for raja-rani films, I thought this might be worth a try.

Zabak (Mahipal) is the son of a healer and hamaam owner named Hassan Shah Isfahani (?). Hassan Shah is much acclaimed as a man who knows his medicine, and everybody around, from the Haakim (the Lord) of Isfahan to the man in the street, comes to him for relief from a variety of ailments. Zabak is a happy-go-lucky sort, spending his time joking around town, and romancing Zainab (Shyama), the daughter of the Lord of Isfahan.

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Mahabharat (1965)

I hadn’t heard of this version of the Mahabharat till a few days back (not, of course, that the existence of this film is surprising; given Hindi cinema’s love for mythology, there was bound to be at least one version of this epic floating about). Then, commenting on my jewellery songs post, blog reader Afsal posted a song from Mahabharat, and mentioned part of the cast: Pradeep Kumar as Arjun. Dara Singh as Bheem. Padmini as Draupadi.
And good songs.

That sounded deliciously unlike the usual B grade Hindi mythological, so I went looking for it on YouTube, and watched it.

I won’t narrate the complete story here; the Mahabharat is too well-known for that (and if you aren’t familiar with it, I’d advise checking it out first before watching the film). Suffice to say that the film begins right in the middle of some action, without setting any preliminary background in place. At the court of the blind King Dhritrashtra in Hastinapur, the entire court is watching the two cousins Bheem (Dara Singh) and Suyodhan/Duryodhan (Tiwari) engage in a wrestling match.

The wrestling match at Dhritrashtra's court

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