Old is Gold ~ The Aura of Hrishikesh Mukherjee
- Rajesh Subramanian
"It is so simple to be happy but so difficult to be simple”, says Rajesh Khanna in Bawarchi. This sentence suits none better than Hrishikesh Mukherjee. His brand of cinema imbued amiability, compassion and an old worldly ideology in the innate benevolence of the human being. It was infact a sense of reassurance for the generations of cine-goers who preferred to get away from the mindless pot boilers encompassing savagery and sleaze within the dark confines of a theatre. Hrishida was indubitably a master storyteller and a filmmaker nonpareil.
Beginning
Starting off as a laboratory assistant in New Theatres, Hrishikesh Mukherjee moved to the editing department under the tutelage of ace director Bimal Roy before donning the directorial hat with the critically acclaimed 'Musafir'. The Dilip Kumar starrer flopped but his directorial skill was noticed. “It was Raj Kapoor who strongly recommended my name to producer L B Lachman during the making of Anari. I am eternally indebted to Raj, who became a dear friend of mine”, Hrishida told the writer of this article during a long chat at his Bandra apartment in 1996. Thereafter his rise was meteoric with an ensemble of evergreen classics like Anuradha, Chayya, Asli Naqli, Aashirwad, Anupama, Satyakam, Guddi, Anand, Buddha Mil Gaya, Bawarchi, Abhimaan, Namak Haram, Chupke Chupke, Mili, Golmaal, Naram Garam, Khubsoorat, Bemisaal, Jurmana and Rang Birangi.
Simple Yet Profound
Hrishida had the gift of tackling intricate issues in the simplest manner. In doing so he managed to convey deep philosophy of life, often decimating closed beliefs and values and charting out a fresh order which was humane and sensitive. He left filmgoers perplexed as to how they could miss out situations which were commonplace but went unnoticed till Hrishida portrayed them in his films.
His doctrine of love and altruism ran like a thread through much of his oeuvre. Whether manifested by the warm hearted Bawarchi, the adorable Rekha in Khoobsurat or the protagonist spreading happiness in Anand his characters connected with the audience right from the first reel. His work came straight from the heart and reflected his ethos, concerns, joy and sorrows. “When I was disgruntled about corruption I made Satyakam. When I wanted to share my joy and laughter I made Chupke Chupke and Golmaal. The selflessness you see in my films is also a personal philosophy which I believe in strongly. We should eliminate ego completely and live for others. Believe me this is the shortest route to contentment,” revealed the genius.
Master Craftsman
“I don't believe in wasting raw stock or spending on expensive costumes or glamorous sets. Movie making is about conveying the story to the audience with the right kind of emotions and feel. If your intention is sincere it touches their heart”, said Hrishida “I always insisted for rehearsals with the actors before going in for the takes. Being an editor I knew clearly what footage I wanted. On very few occasions we must have done more than two retakes. My producers like me a lot I saves a lot of money”, chuckles the old man.
Amitabh Bachchan remembers, “Hrishida was very economical, an incredible editor and a master technician. He edited the entire film in his mind. Many a times we would not understand why he was asking us to walk in a certain way or can a particular shot. We just followed his instructions blindly. The result would be phenomenal on screen”. He also reveals that when Jaya and he decided to get married, Hrishida was the first person they confided in. He was like a father who loved them but also disciplined them.
Melodious Moments
Music played a significant role in most of Hrishikesh Mukherjee films. Whether Kisi ki muskurahaton pe, Tera mera pyar amar, Kahin door jab din, Tere mere milan ki yeh raina or Aanewala pal there was a strong element of melody that connected with the audience and gave a smooth progression to the story. “I never added songs which disturbed the pace of my film”, maintains Hrishida, who was a trained musician himself and understood the finer aspects of music.
Winds of Change
The filmmaker, who directed 42 films during his career spanning over four decades, found the overall scenario changing by the mid 80's. The convictions and solicitude of his cinema which had stood him in a good stead for more than two decades were gradually being treaded underfoot in the wake of crass commercialization. There was very less scope for a cultured and civilized mainstream cinema. “People got fascinated by glamour, fast track living, disco music, sex and mindless action. It was a clear indication that our time was over”, was his honest confession.
End of an Era
His last film Jhoot Bole Kauwa Kaate with Anil Kapoor in 1998 failed to ignite the same magic which was once his trump card. It was around this time that he was appointed the chairman of the Central Board of Film Certification and the National Film Development Corporation. In 1999, Hrishida was awarded the Dada Saheb Phalke Award, India's highest award in Cinema for Lifetime achievement. Hrishikesh Mukherjee, who was suffering from chronic renal failure died on 27 August 2006. With his passing away an era had come to an end. Hrishikesh Mukherjee will continue to live in the hearts of film buffs till time immemorial and his films will cherish and enthrall millions for ages because nobody else mastered the art of simplicity in Hindi filmdom as he did.
Dear Readers,
‘Cinema should make you forget that you are sitting in a theatre’, said Roman Polanski. Motion pictures which started off as a form of entertainment have become an integral part of our lives. With the release of Dadasaheb Phalke’s Raja Harishchandra in 1913 we Indians too got captivated to the silver screen. Over the decades we have lapped up films of all languages with profound enthusiasm. If the onscreen stories stirred our hearts and made us laugh and cry, the music, which is a significant part of an Indian film, in these flicks have enchanted us and bestowed immense gratification.
Whatever be the occasion – wedding, birthday, festival, party, child birth, aarti, concert, picnic, bhajan, seasonal onset or social gathering film music plays a pivotal role. The melodies composed several decades ago have the incredible power to arrest your attention and continue to mesmerize with each listening. It’s the combination of mellifluous tunes, explicit words and flawless rendition that make them timeless gems. Similarly the collective effort of creative genius be it actors, composers, singers, lyricists and technicians have offered us several immortal films.
As a mark of tribute to the legends, who have entertained us and give us inexplicable contentment we launch "Nosstalgiaaa", a bi-monthly magazine that will pay homage to the masters of Hindi cinema and enlighten the readers on all facets of filmmaking through articles, interviews, trivia, anecdotes and book reviews. In short, "Nosstalgiaaa" is solely dedicated to the golden era of Indian cinema and will take its readers on a nostalgic trip down memory lane. We felt what better day to launch the bulletin than on Akshaya Tritiya, which is considered one of the most auspicious days of the Hindu calendar. It is believed, any meaningful activity started on this day would be fruitful. People generally buy gold or jewelry on this auspicious day. Keeping that in mind we initiate the inaugural issue with the cover story "Old Is Gold - The Aura of Hrishikesh Mukherjee”. For many movie fans the genius directors films are more precious than any jewelry.
The forthcoming issues will unravel several fascinating aspects like ‘What Inspired These Achievers’, ‘Making of classics’, ‘ Success stories’. Not all of them came from an aristocratic background or were born with a silver spoon. But most of them had one thing in common – ‘A Strong Will Power’. An undaunted determination to achieve that escalated them to the pinnacle of stardom, which many only aspire to achieve it in their lifespan. We supplement this with incidences that took place in their reel and real life thereby helping us understand their share of early struggle and endeavor. ’Voice of the Readers’, mean a lot to us. Your esteem feedback and suggestions will help us in catering you better. We look forward to your best wishes and wholehearted support as we embark on a cinematic journey.
Regards,
Rajesh Subramanian and Niilesh A Raje
Nosstalgiaaa
Nosstalgiaaa@gmail.com
An Actor Par Excellence
Rajesh Subramanian
Its thirty nine years since Balraj Sahni left us but his performances continue to mesmerize cinema lovers.
It’s a strange coincidence that an actor born on May 1st, celebrated the world over as International Workers’ Day, would go on to play a rickshaw-puller (in Do Bhiga Zameen) upto perfection and win accolades. Balraj Sahni, was one of those rare actors who lived the characters he enacted on the silver screen. Whether it was the jailor in Hulchul, Abdul Rehman Khan in Kabuliwala, Major Ranjit Singh in Haqeeqat or Salim Mirza in Garam Hawa, he gave a realistic touch to them and made it look believable.
Early Days
Bitten by the Acting Bug
Balraj initially dabbled with theatre and did plays for IPTA. In 1946 he bagged his debut film Insaaf directed by Phani Majumdar. It was followed Dharti Ke Lal , Door Chalein, Badnami, Hulchul and Rahi. However, it was Bimal Roy's classic Do Bigha Zameen in 1953 that showcased his true forte as an actor and gave him recognition. Balraj lived for days with rickshawalas to grasp the finer nuances of the profession. The film went on to win an award at the Cannes Film Festival. His other notable films include Seema, Sone Ki Chidiya, Sutta Bazaar, Bhabhi Ki Chudiyaan, Kathputli, Lajwanti, Ghar Sansaar, Do Raaste, Paraya Dhan, Ghar Ghar Ki Kahani and Waqt that secured him a place amongst the greatest actors to grace Hindi cinema.
Words Have Power
Apart from his histrionic abilities, Balraj was a gifted writer who authored books like Mera Pakistani Safar and Mera Rusi Safarnama. He was a voracious reader and a politically conscious person. Sahni also penned his autobiography, Meri Filmi Aatmakatha. He also wrote the screenplay of the Dev Anand starrer Baazi. It was Balraj, who spotted the spark of comedy in Johnny Walker and suggested his name to Guru Dutt.
For the Common man
Balraj never carried his stardom beyond the studio. He was a down to earth and simple person, who was large hearted and easily approachable. He was elected as the first president of All India Youth Federation, the youth wing of Communist Party of India. He was also one of the first torchbearers, who understood the plight of the workers and formed the All India Artists' Association that appealed for the basic rights of the workers.
Reality Bites
Though he cared a lot for others Balraj Sahni suffered setbacks in his personal life. His first wife Damayanti, who co-starred with him in Gudiya, died at a young age. The second blow came when he lost his young daughter Shabnam and the gifted actor went into depression from which he couldn’t come out. On 13th April 1973, Balraj Sahni succumbed to a massive cardiac arrest at the age of 59. India lost one of its brightest talents that had taken the art of film making to a different level.
Sahir Ludhianvi (A Magician of Words)
- Niilesh A Raje
The Eighth Day of March reminds me of the day when women across the world are busy and occupied celebrating the International Women's Day. An occasion to honor the women for their hard work and achievements coupled with benchmark of success. The Women’s Day celebration also reminds me about the birthday of an eminent personality, popular Hindi lyricist and songwriter Sahir Ludhianvi (original name Abdul Hayee) who was also born on 08th March 1921 into a wealthy family.
Sahir’s father had named him as Abdul Hayee not out of love but out of hatred for his neighbour whose name was also the same (Abdul Hayee). Sahir’s father (an illiterate) always believed that he was the only son of a wealthy landlord. So why should his son take up good education or job that did not add any value at all. On the contrary his mother firmly believed that Sahir should go in for higher education so that he would be able to earn his own livelihood. When Sahir was in his early teens his parents separated. He opted to leave behind the aristocratic life that he was enjoying when his parents were together and the struggle for finances slowly started to begin now post his parent’s separation. Sahir stayed with his mother till the end.
Matters Of The Heart
Sahir (meaning magician) as the name suggests he was truly a magician of words who spent over 30 years of his life associated with Bollywood, wrote over 680 songs for over 100 movies. He had captivated the heart of several women during his life time through the power of written words but always failed in the matters of the heart not once but couple of times. He was lucky to fall in love but couldn't be happier and remained bachelor all his life. His intense love affair was with Amrita Pritam who became his most ardent fan.
There was a time when Sahir's economic position was weak and owning a house was next to impossible. When Sahir was courting Amrita Pritam, he built a taller house in front of Amrita's residence in Ludhiana to prove to her father that today even he could afford to have his own house. Statement is a fallacy derived from the Hindi film Tere Ghar Ke Samne.
Shayar of All Times
While in college Sahir had established his reputation for being a good writer, wrote fiery speeches and was equally popular for his ghazals and nazms. Sahir was a restless person and could not sit in one place for long. It was evident he had the literary talent but that could not give him stability so he decided to contribute his work for Bollywood in a way to give him financial stability.
The initial days of struggle still continued in Bollywood for Sahir for a couple of years but later he created some of the most popular songs ever. Some of his everlasting songs included, Yeh raat yeh chandni phir kahan, Jayen to Jayen Kahan, Jaane who kaise log the jinke pyaar ko pyar mila.
His thoughts seen in Kabhi Kabhie: "Main pal do pal ka shayar hoon . . . Pal do pal meri kahani hai. Masaruf zamana mere liye kyon waqt apna barbad kare" (I'm a poet for a second or two . . . why would the busy world waste its time on me). These words pretty much gives the audience his approach to life.
Sahir’s work gave him fame, money, rewards and recognition but that did not help him find a life partner with whom he could settle down in life. He encountered several beautiful women on his roads to achievements but most of them backed out when it came to giving marriage commitment. Sahir fell in love several times but those relationships never culminated into marriage. In fact he enjoyed his failures in love. He wrote poems as a tribute to his lost loves.
Even today, he is well remembered for his poems than for his loves. ‘Chalo ek baar phir se ajnabee ban jaaye hum dono’ were Sahir’s feelings into words when he spotted his estranged lady love Sudha Malhotra at a party. The same was immortalized by B R Chopra in his film, Gumraah. Today’s generation of songs may bore listeners after a week of their production whereas some have been soothing the ears of people for several decades. Lyrics of Sahir Ludhianvi have been no exception.
No one can go through life without their share of knocks. I am no different from any other.
- Amitabh Bachchan
- Amitabh Bachchan
- Salim Khan ( Script Writer )
A. Who penned the song Ankhon hi ankhon mein ishara ho gaya from the film CID?
B. Who won the first Dada Saheb Phalke Award?
C. Who composed music for the Oscar winning film Gandhi?
D. Who was the original choice for Gabbar Singh’s role in Ramesh Sippy’s Sholay?
Author
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Khatija Akbar
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Publisher
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Hay House India
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Price
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Rs 399/-
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Pages
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264
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ISBN
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978-93-80480-81-7
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~ Niilesh A Raje
February 14th is celebrated all over the world as Valentine’s Day. A day when each lover tries to make it the most romantic with that someone special be it over cup of coffee, movie, shopping date or romantic dinner. Valentine’s Day also reminds me of the birth anniversary of someone who bewitched all the men’s heart with a serene expression on her face. She was none other than Madhubala considered to be one of the most beautiful actresses to have once graced the screen of the Indian Film Industry.
In the biography “I Want To Live” – The Story of Madhubala the author Khatija Akbar gives the reader fascinating nuggets of information that throws new light not only on the life and times of Madhubala but also on the Golden Era of Hindi Cinema. The author has done extensive research in terms of conducting interviews with many of them who interacted with Madhubala. The story of this star is covered in the book spread across eight chapters right from her first film as a child star up to the magnificent Mughal–e–Azam bringing about not only the ‘reel life’ but also the ‘real life’ human being in her.
An interesting incident I would like to share with the readers is her professionalism and commitment towards her work. It had rained steadily all night. A heavy downpour had collapsed Bombay (now Mumbai) city. There was no power supply and train services were suspended. Be it the common masses or glamorous film stars most of them preferred to stay indoors by not venturing out the next day in the morning except for one Madhubala. She had to report for the shooting that morning and she did. The studio was flooded, its furniture and equipment standing in water with no one around the studio except for the security guard. How she reached there, what route she took, how early she left, an incident not only motivating but also reflects Madhubala’s benchmark of professionalism. It was late 1948, and the star was just fifteen years of age.
Book has covered each aspect of the actress be it Madhubala’s early death, her long affair and break off with the actor Dilip Kumar or her marriage to Kishore Kumar which witnessed mental turmoil. In her late 20’s at a time when heart surgery was not widely available she was advised to undergo one for a hole in her heart. It only gives the impression that life had not been fair with her in matters of the heart. But just few days before her death, Madhubala had been murmuring I want to live . . . God, I don’t want to die. Nine days after her thirty-sixth birthday on the morning of 23 February 1969 she eventually succumbed to her serious illness.
Born on Valentine’s Day Madhubala had her Villa filled with flowers resembling it as a florist’s shop. But on her last birthday the author says there was only one bouquet for her. Such is the modality of life. But her fans still remember and miss her on her special day as the legend Madhubala lives on who performed successfully despite her illness.
FILM QUIZ ANSWERS
A) Jan Nisar Akhtar
B) Devika Rani
C) Pandit Ravi Shankar
Voice of the readers is their very own platform for giving feedback or suggestions.
You can reach us (Rajesh Subramanian and Niilesh A Raje) @
Nosstalgiaaa@gmail.com
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