Aadmi aur Insaan : Of Friendship & Betrayal

Zindagi ittefaq hai
Kal bhi ittefaq thi
Aaj bhi ittefaq hai

On first hearing, it sounds like a title track for the movie Ittefaq, which was being made around the same time as this movie. Following the super-success of Waqt, Yash Chopra soon began working on a movie which had its roots in socialism.

India was on the path of industrialization, and lot of factories were coming up. Many development projects were on the anvil, construction of dams and irrigation projects were a priority. Akhtar Ul Iman used this backdrop and scripted the movie which was a story of two friends, one rich and the other poor, Munish & JK.

Yash Chopra roped in Dharamendra to play the humble and honest Munish Mehra. Dharamendra was shooting for Satyakam with Hrishikesh Mukherjee, and that could have been one of the reasons for casting him in this movie as the character of Munish was a little similar to Satyapriya Acharya. Those were the days, when Dharamendra was not yet labelled as He-Man. In those days, he had a lover-boy image, a man of honour and integrity, brainy and brawny. While he did play a simpleton in movies like Seeta Aur Geeta, Jeevan Mrityu, Satyakam etc; in parallel he also did thrillers like Do Chor, Ankhen, Shikar etc.

Even in this movie, he did justice to the character of Munish Mehra. Siding up with Dharamendra was Feroz Khan who played JK alias Jai Kishan. JK is a rich brat industrialist who loves to party and knows his drink.

Jaam pakad badha ke haath, maang dua ghatey na raat
Jaan-e-wafa teri kasam, kehte hain dil ki baat hum
Gar koi mel ho sakey, aankhon ka khel ho sakey
Apne ko khushnaseeb jaan, waqt ko meharbaan maan
Milte hain dil kabhi kabhi, warna hai ajnabi sabhi
Mere humdum mere meharbaan
Har khushi ittefaq hai

It was a chance meeting that brought Munish and JK together. JK liked Munish’s sincerity and honesty; and he decides to alleviate Munish’s burden. JK helps Munish financially and also sponsors his education. JK comes across as a benevolent person who wants the welfare of Munish.

Munish returns to India, armed with a degree and JK soon makes him the in-charge of his construction project. While on duty, Munish chances upon Meena, played by Saira Banu, and falls in love with her. He of course doesn’t know that JK too likes Meena a lot.

While Munish is going about his duties, he accidentally finds out about JK’s financial irregularities and how he has expanded his empire by wrong means and business malpractices.

A two-hero movie invariably has a duel and here too, Munish & JK are locked in a bitter duel that involves Meena on one hand, and JK’s favours done for Munish on the other. One weighs more than the other, but which side will Munish swing?

Husn hai aur shabaab hai, zindagi kamyaab hai
Bazm yoon hi khili rahey, apni nazar mili rahey
Rang yoon hi jama rahey, waqt yoon hi thama rahey
Saaz ki lai pe jhoomle, zulf ke kham ko choomle
Mere kiye se kuchh nahi, tere kiye se kuchh nahi
Mere humdum mere meharbaan
Ye sabhi ittefaq hai

JK feels betrayed, the one person whom he had trusted, turned against him. He hoped that Munish would remain indebted to him for life. But instead, Munish dared to go against a friend who had done so much for him. Its an interesting movie about human relationships, about friendship and honoring that trust. Its never an easy task to take a stand, but Munish takes a stand and the duo split.

Munish takes up another job, trying to forget the bitterness. Yet again, just by chance, a case comes to Munish, to investigate the collapse of a bridge. It turns out that the bridge was constructed by JK’s firm. Will Munish do a fair investigation based on ground realities or will he mix emotion with his profession and use this as a vehicle to get back to JK?

The problem with honest people is that, they have very few options. They are always in a pristine white zone; rarely do they choose to stay in a gray area or live a life filled with ambiguities. On the flip side, the ones in gray area just have one objective; that objective could be anything, love, money, status symbol. Whatever be the objective, they find ways and means of getting there, by hook or by crook. That’s the basic difference between a man [aadmi]  and a civilised/moralistic man [insaan]. Feroz Khan, for the stark portrayal of JK, won the Filmfare award for Best Supporting.

Except for the song Zindagi Itteaf Hai sung by Lata mangeshkar and Dil Karda, O Yaara Dil Dara sung by Mahendra kapoor, the other songs weren’t anything to write home about. It was the same team that had worked in Waqt, Sahir Ludhianvi & Ravi. But somehow, the consistency was lacking this time around.

This movie again shows Yash Chopra’s strength as a director. Be it the tight thriller Ittefaq or this movie, he excels in both. The reason I have mentioned Ittefaq so many times is that, both these movies released in the same year. And while Yashji was shooting for this movie, Saira Banu fell ill and the shooting had to be halted for a few months. Restless person that he was, Yashji and Akhtar Ul Iman collaborated again on Ittefaq project which was shot within a month. When Saira was back in good health, he wrapped up this movie.

Some people aren’t able to give their best even while directing just one movie at a time, but Yashji did justice to both movies. The ease with which he switched from melodrama to thriller genre, and then back to the melodrama, is commendable. Basically, his understanding of movies, the spirit of the story, and comprehending the characters with all their flaws, is tremendous.

In AAI, Yahsiji has captured the milieu of the construction site very well. Be it the bridge or the government offices, he is spot on. But best of all is the way he films human emotions. Feroz Khan’s anger, arrogance and the hurt was shown very well. He is quite a spontaneous actor, so it becomes all the more important to give him enough time and space and he does wonders. Even in movies like Safar, Arzoo, Apradh etc, he comes good in scenes where has to display remorse and anguish.

Dharamendra is excellent in the movie, be it the honest officer or the good brother or the faithful friend; he plays all the parts with such ease and fantastic body language. Never does he try to overpower other characters in the movie. In fact, he gives Saira and Feroz enough space to shine in the movie.

Yashji balanced the characters very well; never showing one better than the other. He shows both sides of the story and nobody comes across as a villain; they are all trapped in a situation of their own making. Just remember that, much before Namak Haraam, there was Aadmi aur Insaan.

This post was also published on MadAboutMoviez

 

Tell Me O Khuda

Its so true that if you don’t learn from past mistakes, you will end up repeating them. Easier said than done, because every time we make an effort in the hope that the result would be different and positive, it only drags us back into muddy waters of the past.

About two decades ago, I was standing in a queue for movie tickets of a Shahrukh Khan and Divya Bharti starrer. It was their 2nd movie, after the blockbuster Deewana. And I was at Orient theatre in Calcutta, hoping that the tickets don’t sell-out before I get to the window. The movie was Dil Aashna Hai, first directorial venture of Hema Malini. But that did not matter at all, as I was there to see Divya and SRK.

The movie was a multi-starrer with Dimple Kapadia, Amrita Singh, Jeetendra, Mithun and Kabir Bedi. It was supposed to be a suspense drama wherein Divya Bharti, an adopted child who becomes a bar dancer, is out to find her real parents and the reason for abandoning her. SRK loves Divya, inspite of her profession, and wants to help her in this noble cause. This new purpose of life takes her to three doorsteps of rich wealthy couples who have a good standing in society. But will any of the high society couples disclose their past, and not just that, but also accept her as their daughter? That’s where the story meanders and becomes episodic in nature. Needless to say, the movie bombed at the BO. I felt cheated but I still remember the day.

So, after two decades, neither has Hema Malini learnt her lesson nor I. She is still walking around with the same story and to re-tell it once more, in the hope of finding a new audience who might be willing to appreciate it or even watch it. And I still end up becoming an audience for her movie.

As we get into the movie, TMOK, we quickly realize that the movie is a CLV for Esha Deol. You maye have heard of GSLV(Geosynchronous Satellite Launch vehicle) and PSLV (Polar SLV). So, this is a Career Launch Vehicle for her. Most star kids have just a single shot at the launch vehicle, but quite a few privileged ones have multiple shots at it. So, its kind of re-launch, but that would sound demeaning; so lets settle for “launch”.

The point is, she is in every frame of the movie; even when its not required. And she is doing everything, and that too in a good way and not goofing it up! So, she is a successful writer [a la Chetan Bhagat but in female disguise], a good camel racer (she wins the camel race in Rajasthan and dedicates it to the Girl Child), she is mind healer who also doubles up as a psychiatrist because the producer was running out of money since she spent too much on getting Rishi Kapoor and Vinod Khanna on board, and Esha also makes a don from Goa cry like a baby. Yes, she finally made Dharam paji cry on her failure to launch all by herself that she needed the entire family support.

I think they unnecessarily squeezed in Johnny Lever to play a comic side-kick who works in a municipality ward of a hospital that burnt down during the great fire of 1986. Unnecessary because the movie had a lot of unintentional laughs, but I guess no one had a good sense of humour to see that. Arjan Bajwa, a supposedly nice friend who helps Esha in the cause of finding her parents, has to bear with her and cross-dress and live in guest houses and carry a ring around, while Esha prances from one household to another. And if this was not enough, he had another side-kick; so a side-kick to a side-kick. That makes it double the kick for the audience!

Anyways, finally after 2.25 hours of pain and agony and suffering and small bursts of unintentional laughs, the audience is finally relieved when the end credit rolls. Not sure if people waited that long, so let me do a small social service and declare that Salman Khan was there in an item song when credit rolled. But tragically, that screen space was eaten up by Esha too. I warned you earlier, she was in every frame!

On hindsight, I think Hema Malini’s first attempt with DAH was much better than TMOK. I am not mocking now, duh! This has been an expensive mistake and not the best way to learn a small lesson. Hopefully, both of us, Hema and I, will not repeat this; ever again. Hopefully!

This post was also published on MadAboutMoviez

 

Fun Mode : Kishore-da’s Unbridled Enthusiasm

Just the other day I was listening to Kishore songs, not the sad depressing numbers which can make even a normal person melancholic, but some fun songs for a change. One thing that came out loud and clear was the fact that he enjoyed singing those songs, however silly the lyrics was or however absurd the tunes were; he gave it his all.

If a singer himself does not seem kicked about a song, how will he ever enthuse others? That’s the feeling I get when I hear those inane new talents on the numerous talent hunt shows. They come, they sing, they don’t even bother to work on the comments given by the judges [some of the judges are not even worth their salt, better not hear their comments at all] and mechanically appear again in some other show.

Anyways, back to Kishore da. He totally gets into the mood, full-on, unplugged. There are legends about Kishore and the manner in which he rendered the Khaike Paan Banaraswala number. It goes like this: Kishore actually asked for a bunch of pans which come in those cases [as seen in Padosan] and a peek-daan to spit out the paan. He sat on the floor or some kinda bed and literally rambled the words Bhang Ka Rang Jama Ho Chaka-chak. I go back to my previous para where I mentioned that unless the singer does not enjoy the song, there is very less chance that others will. And Kishore was a master of that. The kind of energy that he would blow into the song and the infectious jovial nature is unparalleled.

Since his Padosan songs have been talked about no end, I shall refrain from doing so. Let me talk about his other songs, especially from the black & white era. In the same genre as Mere Bhole Balam from Padosan was a song called Gaana Na Aya Bajana Na Aya, Dilbar Ko Apna Bana Na Aya. Its a hilarious song that blows your top-off. Kishore is seen trying to create a new song and the result is pure comedy. The lyrics were again by Rajendra Krishen and music by Hemant da. There is a small Brit accent piece, Kishore trying an imitation, really funny. Who could imagine the ever-serious Hemant Kumar composing such a number, but such was the exuberance of Kishore that everyone was affected by it. Also seen in the video clip is Gemini Ganesan along with Meena Kumari who are baffled by Kishore’s antics. Probably the only time that the south matinee was seen with Kishore in the same frame.

How funny can Kishore da get? Well, turns out very funny. So funny that in the movie Aansoo Aur Muskaan, there is a song picturised on Kishore in a ashram which is called Swami Kishore-aanandam Kirtan Ashram. And the song itself is Guni Jano Bhakt Jano, which sees Kishore in the garb of a sadhu. The lyrics of the song even goes on to list all the stars of bollywood in a fine spin of words sounding like bhajan

brahmaande he koti sitaram prithvi par bhi anek sitaram
arre aashirvadam ashok-kumaram
prithvi-putram raja-kapuram shammi-kapuram shashi-kapuram
ramam shyamam dilip-kumaram purab-pashchim manoj-kumaram
arre premapujari dev-anandam, roopa-pujari IS-joharam
arre nilam-kamalam raj-kumaram, yade yadam sunil-dattam
are ittefaqam rajesh-khannam jai jaani rajendra-natham
uchhalamakudam jai mahamudam

Two of the wackiest Kishore songs feature Pran, and Kishore himself in motley attire, thats pure coincidence. In Cheel Cheel Chillake, he is dressed in a school uniform, probably on some tour in scouts jamboree. The movie was Half Ticket, I haven’t been able to see the movie yet. But if the movie is even half as good as the song, then it shall be a treat to watch.

No one can forget a pre-supposed duet song being sung by the same singer. Kishore achieved that feat in Aake Seedhi Lagi where he not only cross-dressed but also cross-voiced. He sang as Kishore for Pran and then as squeaky/screechy and rustic village-belle-Kishore for himself. I am not even finding words to describe Kishore’s ludicrous yet fantastic act. No one could have pulled it off, but him.

‘Kahani Kismat Ki’ had an unprecedented song picturisation. And much before Dharamendra had climbed atop a tank in Sholay, he was seen in a crane elevated carrier singing Rafta Rafta Dekho Aankh Meri Ladi Hai; which he does after gathering a small crowd. Towards the end, he even starts singing ghati lyrics which is hilarious, and an embarassed Rekha looks around for some kind of sanity.

Then, there is the Eena Meena Deeka number. The mukhda of the song is a string of garbled words that make no sense but have been sung with great conviction as though it were the commandments. Kishore totally believed in the song and executed it with perfection, just watch his choreography; amazing. And the lyrics of the song has some insensible wisdom. Check this

Mat socho ki sasta hai sauda
Phal paayega lagayega jo paudha
Dil ki ye kyaari banegi phulwaari
Ye duniya jalegi, jalan ki hai maari
Hasegi hasegi hasegi meri pyaari

If you thought Kishore had sung only romantic and sad songs for Rajesh Khanna, then you are wrong. Rajesh Khanna too had a fair share of Kishore’s masti songs. One of them being the Saasu Tirath, Sasura Tirath from the movie Souten. The lyrics literally mean that in-laws are are to be worshipped and visited regularly as a duty and a pilgrimage.

Another lesser spoken about song from the movie ‘Chalti Ka Naam Gadi’  was Hum The Wo Thi Aur Samaa Rangeen Samajh Gaye Na. The two brothers, Anup and Kishore, discussing the forbidden topic of an encounter with a woman which Anup hasn’t had and Kishore teases him with lyrics which go like this:

Khoya Mai Kaise Uski Baton Mei
Kehta Hoon Dam To Lene Do Ahhaha
Khoyi Woh Kaise Meri Baaton Mei
Kehta Hoon Dam To Lene Do Ahhaha
Kya Kya Keh Dala Aankho Aankho Mei
Kehta Hoon Dam To Lene Do Ahhha

Another song from the same movie, worth mentioning, is the Panch Rupaiya Barah Aana song. It so happens that Kishore repairs Madhubala’s car and she still owes him Rs.5.75. And Kishore is out to get that money, even if it means earning it by entertaining her.Watch Kishore dressed in leather pants, jacket and a feathered cap. And watch him each time he says Chahe Namoona Dekh Le and tunrs up in a different costume. This song later became an inspiration for a song in movie ‘Jeevan Ek Sanghursh’, where Amit Kumar crooned Dede Mera Dede Tu Bees Rupaiya, Twenty Rupees My Twenty Rupees.

Vinod Khanna has rarely been seen in comical acts, except for the movie Hera Pheri with BigB. But in this song Priye Praneshwari from movie ‘Hum Tum Aur Woh’ is a song which sees Vinod Khanna in never-seen-before getup. The only other funny getup Vinod Khanna ever did was in Hera Pheri. In this song, Vinod is singing to his lady love in chaste hindi and even I did not know the meaning of a few of those words. The lyrics of the song and Kishore’s rendition is just awesome.

priye praaneshwari, hridayeshwari
yadi aap hamey aadesh karey to
prem ka hum shri ganesh karey

If anyone is depressed, thinking about love and missing their loved ones, should listen to Hum To Mohabbat Karega from ‘Dilli Ka Thug’. Its another comical song which describes the extent to which a person can go, to prove his love and to stay with loved ones. After hearing words like Joota Polish Karega Tel Maalish Karega, they are bound to smile at their own stupidity and limitless affection for their loved one, what with thoughts like … joota paalish karega lekin tum par marega, laila laila karega thandi aahen bharega and doobegaa nahin tairega pyaar se ham nahin darega

A song which encapsulates the qualities that a man looks for in a woman is very humorously penned in Zaroorat Hai Zaroorat Hai Zaroorat Hai, Ek Shirimati Ki, Kalavati Ki, Seva Karey Jo Pati Ki. It may sound a bit regressive, but its to be taken with a pinch of salt; because the song is really a romantic one at heart. Sample this:

haseen hazaaro bhi ho khadey, magar usi par nazar padey
ho zulf gaalo se khelti, ke jaise din raat se ladey
adaaon mei bahaar ho, nigaahon mei khumaar ho
qabool mera pyaar ho to kya baat hai 

itar mein saanse basi basi, vo mastiyo mei rasi rasi
zara si palkein jhuki jhuki, bhavey ghaneri kasi kasi
phoolon mei gulaab ho khud apna jawaab ho
vo pyar ki kitab ho to kya baat hai

And with Kishore enacting it, his facial expressions and the naugtiness in the voice was great.

This is just the beginning of a long list of Kishore-da’s songs which continue to enthrall us. The man was a complete maverick and no one entertained us, the way he did; whether it was infront of the camera or behind it, be it in the recording studios or shooting a movie. Whereever there was a fun moment, he was there; or may I put it like this – wherever he was there, there were fun moments. So, please go ahead and list your fave Kishore songs which tickled your funny bone, I am sure that won’t be a tough task!

This post was first published on PFC