A Blast from the Past

When I set out to write this page, I was wondering, ‘Why am I writing this page?’ I have been a Hindi film buff all my life and from the very beginning was fascinated by the ability to bring stories on the big screen. With time, my belief that films are just another platform to tell stories only strengthened. How the filmmaker tells the story decides whether the film will appeal to the audience or not. My earliest memories of film viewing were the weekend film on Doordarshan, which was a family affair. After the film, the discussion at the dinner table would focus on whether Kalyani should have killed the other woman in the Bimal Roy classic, Bandini and why Raju betrayed Rosie’s trust in the Vijay Anand classic, Guide. I am sure our household was not the only ones – we had company! When I grew up my interest only deepened and saw many more films, mostly good and very rarely trash – must thank Doordarshan for not exposing impressionable minds to inane films unlike some of the film channels of today! Mr. I&B Minister, thank you!!

I have picked two films that I saw during my growing up years. They have remained etched in my memory. I could have chosen a Sholay or a Mughal-e-Azam. I love both these films and they are great films and they good enough to be tutorials on filmmaking. I am in now suggesting that the below-mentioned films are better or worse than a Sholay – I hate comparisons because each good film has its place in the sun (just as both Bradman and Laxman have their appointed places in the Cricket Hall of Greatness!!). If Alfred Hitchcock had chosen a Hindi film, closest to his genre of filmmaking, he would have chosen Teesri Manzil (1966). Teesri Manzil saw the coming together of two geniuses of the time, Vijay Anand and Nazir Hussein. They could not have collaborated on a better venture. The film also saw the emergence of R D Burman as a frontline music composer. The film had all the ingredients of a good mainstream film – good script, fine camerawork, outstanding chemistry between the lead pair (Shammi Kapoor-Asha Parekh), elaborate dance sequences, foot tapping music. Who can forget the opening scene where headlights of a car on a highway are zoomed in to show the credits? Can anyone not remember the elaborate dance number, ‘O Haseena Zulfonwali’ featuring the legendary Helen matching steps with Shammi Kapoor? How could we forget the charming Premnath who plays the mentor to the hero? Did we not relish the well-choreographed climax scene shot brilliantly in natural light? There are so many golden moments in the film but my pick is the scene in the train where Shammi Kapoor and Asha Parekh travel together in the same compartment along with a fat man who only laughs! That scene is so well crafted that it evokes genuine laughter!! This film is worth a dekko even after 30 years!

Hrishikesh Mukherjee has always been one of my favorite directors. His forte was in bringing to screen real-life people with real situations and weaving all the ingredients of mainstream cinema around such men and situations. I have watched most of his films but Anupama (1966) remains a personal favorite. This film is a tribute to his mentor, Bimal Roy and the film would have definitely made the master proud. Anupama is a story of a timid girl who is held responsible by her father for her mother’s untimely death. She finally finds love with a young writer, played by Dharmendra. Sharmila Tagore was probably one of the most versatile actors, Indian cinema saw and in this film, she plays the lead role with admirable ease. In an era when filmmakers discovered color, this one is made in black and white – am not sure, if it would have created the same impact in color. The film has many outstanding moments but my favorite is when Sharmila Tagore is leaving her home and she finally vents out her emotions to her father. After the scene, you feel lighter—that is the impact of the scene!! My earliest memories of the film were through some unforgettable songs. Who can forget the two Lata gems – Dheere dheere machal & Kuch dilne kaha? Can anyone forget the Hemantda solo – Ya dil ki suno? Bimalda led to Hrishida and after Hrishida, who? I can’t think of anyone else who can ever recreate those magical moments on screen!

Hrishikesh Mukherjee (1922 - 2006) Anupama (1966 – immortality)

Why do I remember some of those films? Because they share something with some old grandma’s tales – the presentation and the story-telling style! The films have remained with me because they told me the story in a manner that I could understand! In addition, the dramatic scenes and some interesting passages ensured that they stay with me! Therefore, I have not written the storyline of the two films but only highlighted some moments that have remained with me.