I remember watching Padosan as a child, and I remember my sister saying, “How could someone so handsome consent to be made up as someone like Bhola? And to act so silly?” I already liked Sunil Dutt a good deal, but that comment made me sit up and respect him a lot more than I already did. In a period when there was a very definite idea of what a ‘hero’ should be like (and the 60s was a decade where heroes tended to be more cookie-cutter than in the 50s), Sunil Dutt did roles that ranged from a man having an affair with another man’s wife (Gumraah), a dacoit (Mujhe Jeene Do), a buffoon (Padosan), a cuckold (Yeh Raaste Hain Pyaar Ke)… and in a slew of everything from suspense films (Mera Saaya, Humraaz) to family melodramas (Milan, Meherbaan, Khaandaan, etc).
Versatile, unafraid of experimenting—and a man, too, who seems to have worked in several films that focused on social reform. In Nartakee, for instance, where his character is that of a college lecturer, Nirmal, who comes in contact with a reluctant nautch girl who would much rather learn how to read and write than dance and sing for patrons.
As frequent visitors to this blog would know by now, one of my weaknesses is good music—and there have been, over the years, dozens of films that I’ve watched primarily because they had good scores. In some instances, just one song that I really liked. More often than not, my luck’s been pretty shoddy and I’ve ended up sitting through frightful films like Akashdeep, Saaranga, and Akeli Mat Jaiyo.
With Waaris, which I watched mostly because of Raahi matwaale, I had hopes [cautious, considering my track record, but hopes nevertheless]. It stars Suraiya and Talat Mahmood, both favourites of mine, and it was produced by Sohrab Modi, who even if (when acting) had a penchant for ‘declaiming to the skies’, did make some good films.