THREE HINDI FILM REMAKES FOR RANBIR KAPOOR

Bharat Bhushan

RanbirKapoor

We all see things differently and that is what is 'perception'. And yet we expect our friends and fellowmen  to follow our views  exactly. I learnt this after a long time. Once i was as insistent of my views as any ardent supprter of some cause or campaign. I broach my subject with the above statement as what i may state now would alarm and  surprise many! In my view Bharat Bhushan the late star and actor of many a hindi hits was a good actor. He was never the top rung but a middle rung actor who gave us some very popular and successful films such as - 'Baiju Bawra', ;Basant Bahar', 'Mirza Ghalib'. 'Barsat ki raat', ' Phagun','Gateway of India' etc. He underplayed his role and what was Amol Palekar later he was then. He also had good sense of the medium for i understand that he wrote screenplay for some of his films. This background was perhaps necessary to make my other( main) observation

I like Ranbir Kapoor as an actor , and find him promising. But somehow;as in case of Shahrukh Khan his film selection has not been successful. He may have taken risk or tried to cultivate a different image but the net result was not  fruitful. Be it, 'Besharam', or 'Rocket Singh', or ' Bombay Velvet'. But he is a very good actor . My opinion of him is biased as i have great admiration for Prithvi Raj Kapoor and Raj Kapoor and therefore Ranbir has a great lineage to protect and preserve. And even though there is no similarity of acting or facial resemblane with Bharat Bhushan three of his films if remade would suit Ranbir. The films are:

(a) Mirza Ghalib. This was  a film based on the life of the famous Urdu Poet of 19th Century Delhi. The cast included Bharat Bhushan in title role  and it also had the great Surayya . The songs are sung by Talat Mehmood and Surayya and are mostly original Ghalib Gazals but rendered musically so well that they are popular to date. In addition to the songs the film is made well and was a big hit during its time and liked by Nehru. It captures the culture of Delhi of that time very well. Bharat Bhushan  fits in the title role as if it was made for him. Though Prithvi Raj Kapoor made Akbar immortal it could also be said of Bharat Bhushan And Surayya   made Ghalib immortal . The film was produced under the banner of Minerva movietone and directed by the legendary Sohrab Modi.The music by Ghulam Mohamad as said above is popular still. Bharat fitted the role with his soft, lean and lanky demeanour . The beard and robe and the tall cap made him authentic Ghalib. I feel if Ranbir does the role it will add to his stature and with his quality to underplay he may win many admirers. He will have to work on the correct Urdu rendition which i am confident he will and be successful. The music will be a challenge as we dont have a Khayyam or Jaidev who knew the pulse of that culture, but i am sure this challenge could be worked out.

Mirza Ghalib

( b) Baiju Bawra. This is another great superhit film of the Golden era when Music was central to Indian cinema. The cast included Bharat Bhushan and Meena Kumari  and the music was by Naushad and songs were written by Shakeel Badayuni. The film was directed by Vijay Bhatt. It was based on the life of Baiju Bawra who was great classical singer and who defeats Tansen in Music competition . He had resolved to avenge the death of his father who was killed by Tansen. The music of the film was a super hit and so was the love story and songs  .If Ranbir does this role it will make him a formidable actor and his personality suits the role of Baiju the singer and lover.

Baiju Bawra

( c )  Barsaat Ki Raat. This was yet again a superhit of sixties  starring Bharat Bhushan and Madhubala with remarkable music by Roshan and lyrics by Sahir Ludhiyanvi. This was an era when music was superior to cinema. The title song along with the famous Kawalli -'Na tau karwan ki talash hai na to humsafar ki talash hai..' remains the hallmark of the film. As in above cases the  role of a poet was played by Bharat Bhushan and his pleasing personality and soft image lent him credibility. If the film is remade today it may require some script update but shall still appeal. Ranbir wearing Sherwani and loose Pyjamas would be most suitable and charming. The film was scripted by Bharat Bhushan and directed by P L Santoshi( father of Raj Santoshi )










The questiuon remains that who would be the heroine? And without much discussion i suggest that Alia Bhatt would fit the bill. This lady is talented! To the manner born she is. Sometimes she reminds me of Meena Kumari , sometimes of Madhubala and sometimes of Geeta Bali. And yet she is her own person. I recommend her for roles opposite Ranbir  in all three films.

without  much exaggeration i believe that if these films are remade they  will not only make Ranbir remembered for a long time but would also make the couple memorable. The films shall also provide great entertainment to Cinema lovers. Notwithstanding the doubt which  inherantly is attached to remakes this endeavour shall be different and historical.

SALUTE TO SAAWAN

                          

Sawan season is knocking on the door and here I pay my tribute to this great season of love , longing, reconciliation and rejuvenation. The Hindi film industry has so generously portrayed the season in its films and songs since ages that it is one of the finest reflection of this season. Right from ‘Devdas’ of forties- “balam ayo baso mera man mein……Saawan aye tum na aye” to ‘Barsat’- “barsat mein humse mile tum sjan tumse mile hum..barsat mein”, to ‘barsat ki raat’-“ garjat barsat saawan ayore..laye humre bichre balamva..sakhi kya karu hai…”to ‘Parakh’-“O sajna barkha bahar aaye ras ki phuhar layi aakhiyon mein pyar layi…”to ‘Manzil’-“ rimzhim gire saawan machal jaye man—bhigei aaj is mausam mein lagi kaise ye  agan” to  ‘chupke-chupke’-“ab ki sajan saawan mein aag lage gi badan mein ghata barse gi magar mil na saken  ge do man ek hi angan mein”.

The list is endless and I discover new songs on regularity. Some which I have never listened before cast such spell even at first hearing that one is tempted to listen again and again. One such song is of Raja Mehndi Ali Khan , from the film-‘Reshmi –Rumal’ of 1961 starring Manoj Kumar and Shakila. Manoj Kumar is so relaxed in this song ; unlike his later serious and sombre looks he is refreshing and so lovely is Shakila in her vivacious best, the song goes like this:

“Zulfon ki ghata lekar saawan ki pari aayi

Barse gi tere dil mein hans hans ke jo lehrayi

Zulfon ki ghate lekar….”

The song is sung by Manna Dey and Asha Bhonsle  and the music is by Babul. There is one more Saawan song in this film sung by Talat Mehmood which is very popular-“ jab chaye kabhi saawan ki ghata ro ro ke na kar na yaad muzhe..”

The  noteworthy thing about this song is   introduction of some unique phrases and addresses , never heard hitherto such as -  ‘Saawan ki Pari’ and  ‘ Zulfon ki Ghata lekar ‘ .

BHAYA BHANJANA VANDANA SUN HAMARI……..

               

Some words, some phrases have such power  that they are able to motivate us  when  ever we listen to those words; specially in songs and poetic expressions . Songs consist of combination of words and phrases in a rhythmic fashion which create  images . This song sung by Manna Dey, written by Shailendra was composed by Shankar Jaikishan for the film ,’Basant Bahar’,

The film has many beautiful classical songs such as ‘ketaki, gulab, juhi, champak ban ghume’, sung by the  famous classical singer Pandit Bhim Sen Joshi and Manna Dey,( it is a duet/competition), but for me the Bhajan in discussion stands out.

Before talking of the power of song , the various artists who made it possible be introduced. Manna Dey,the singer. When he arrived in Mumbai he assisted Sachin Dev Burman and owing to his rich classical voice and knowledge of music was in demand for all difficult songs which required wide range/scale/pitch. This song is indeed difficult but he makes it easy.

Shailendra  remains  supreme in composing variety of songs, not only for Shankar Jaikishen  but for other  music composers such as S D Burman and  SalilChaudhary. He also wrote some famous bhajans such as ;’ na mein dhan mangu na rattan mangu( Kala Bazar), Duniya na bhaye mujhe( Basant Bahar), Jago mohan pyare( Jagte raho) and Shivji bihane chane palki sajayke bibhuti lagayke ( Munimji) and others

Bharat Bhushan  who is hero of the film ‘Basant Bahar’ to which the song belongs ,remains an underrated actor , successful in his time as an actor who always underplayed and was never overdramatic. In my opinion he was always cast well in the roles he played be it , ‘Baiju Bawra’, ‘Barsaat ki raaat’, ‘Mirza Galib’or ‘Basant Bahar’. Matching with his personality he played low key roles of a singer, poet, lover very well.

This song ( Bhajan) belongs to all three-Shailendra( lyricist), Manna Dey( singer)and Bharat Bhushan ( Actor). But the primary role is of Shailendra for creating this landmark Bhajan .

The most remarkable  quality about this song is that the manner in which it addresses God is different from other Bhajans which may be melodious but are appeasing, praising, appealing  the Almighty. Here he is addressed as ‘Bhaya Bhanjan’( the one who  demolishes/shatters /perishes -Fear )  .

Unlike normal devotees here the singer is merely asking for a glimpse of ‘Bhaye Bhanjan’. And in my opinion that is what we need in life – Free from Fear. Fear of failure, fear of the powerful, our insecurities-social, economic etc. Instead of asking for richness and wealth if ask for only freedom from fear we shall be able to achieve on our own. What is distinct in this plea is that the devotee is asking for very little , a small support from ‘Bhaye Bhanjan’.

The lovely images , the offerings  to God are also new and unique. The Bhajan  goes like this:

Bhaya bhanjana vandana sun hamari

Daras tere mange ye tera pujari

( O the one who removes all fears, listen to  my prayer

This devotee seeks your Appearance )

As stated earlier he is invoking the God by calling him as Fear-Demolisher ! This is a new form of address not totally absent in other invocations but yet  something fresh which draws attention of the reader as well as that of the Almighty!

The first stanza is also interesting in terms of imagery :  Stanza  1    

Geeton  ke  phoolon  ki  mala  banakar                                            

Laya  hoon  dil aarti mein  sajakar

Ye sanson  ki  sargam  karoon   tujhko  arpan

Tujhe  aur  kya  doon  mein  thehra   bhikar

Daras  tere  mange ye  tera  pujari…

 (  with  garland of flowers consisting of songs

I have come  to offer my heart decorated in prayer - plate to worship you

I breathe the full scale as song as offering !

What else can I give; I am a mere popper !

Daras tere mange….. )

Here the devotee is offering his songs as garland of flowers. His musical notes as offering. He is a singer and says has nothing else to offer as he is a poor person. Singing to God is also ,therefore an offering

Aaja    madhur  swapan  si  muskarati                  stanza2

Mun  ke  bujhe  deep  hanse  kar  jagati

Jape  dil  ki  dharkan   tera  naam hardam

Utar  jyot  kirnon  ki  lekar  sawari

Daras  tere  mange ……

(   appear as sweet dream smiling

And lighten my dark life

My heart chants your name always

Descend   on the shaft of light as carrier

I seek your appearance )

There is third stanza too but here I  discuss only  the two stanzas which are sufficient and representative of the ideology. In the second stanza he continues with his plea to appear in his dreams and smile at him  as this would bring light in his dark life . He says that he is ever chanting his name and finally invokes God to descend  on the shaft of light/rays  as carrier( Hindu Gods have their carriers- Shiv-Nandi the Bull, Vishnu- Garud the eagle, Ganesh-Mouse etc, Durga-Lion)

The purpose of this was to bring forth that Words have tremendous power to motivate us and indeed poets when they combine certain words /phrases they invoke such everlasting images that remain in your mind. This particular song sung by Manna Dey and written by Shailendra for the film ‘Basant Bahar’ is one such song. The Nucleus of this Bhajan – “Bhaye-Bhanjana’. Invoking Supreme as one who perishes Fear. Offering garland of songs( geeton ki phoolon ki mala banakar) and asking God to descend on a Shaft of light( Utar Jyot kirnon ki lekar sawari). These images are strong and immensely rejuvenating.  

DO BOOND PAANI

                                         DO BOOND PAANI

In 1971 Khwaja Ahmad Abbas made ‘Do Boond Pani’. Title seems to be inspired from ‘Do bigha zameen’ the outstanding film of Bimal Roy of early fifties. But the inspiration seems the same- social responsibility. Khwaja Ahmad Abbas was a legendary, committed film maker and a known Marxist. He made many films on social issues of the downtrodden and though they did not make money but were critically acclaimed , they did win National film awards such as –‘Dharti ke Lal’, ‘Shahar aur Sapna’, ‘Do boond pani’, ‘Saat Hindustani’( Goa liberation). He was primarily a writer/journalist who wrote life long the last page of the English weekly ’Blitz’ edited by the charismatic ; Rusi Karanjia. He was also a script writer and wrote some famous scripts for Raj Kapoor- ‘Awaara’,’Shri 420’, ‘Bobby’ and,’Mera Naam Joker’. He also directed Raj Kapoor and Nargis in the  film ‘Anhonee’ in which Nargis  gave a good performance in a double role. One of the founding members of IPTA in the forties ( Indian Peoples Theatre association) to which were attached many great artists such as Balraj Sahni, Damyanti Sahni, Shambhu Mitra and many young talented people who had dreams about India and devoted much of their time and energy in social causes.

 The film is about a village in Rajasthan where the water was scarce. People bathed on special occasions. The hero of the film Ganga ( Jalal Agha )  is newly  married to Gauri (Simi) but owing to water scarcity people start leaving the village. But he stays back; as he does not want to abandon  his ancestral  home . He is emotionally attached to his land. However there comes a scheme to build a Dam and canal to bring water to Rajasthan.  Ganga leaves his village to enrol in the Dam construction. His family is alone ; wife pregnant and sister raped by a decoit. He too dies to save a disaster. Finally water arrives promising greenery; his wife bears a son.

The film won the Nargis Dutt award for national integration. It has nice music by Jaidev and some of the songs such as ,’pital ki mori gagri dilli se mol mangayi’’and  ‘ja re pawaniya piya ke des ja..’ were popular.

Though the film did not intend to propagate at that time but what emerges now owing to the present times is that Ganga  loved his village. To all of us it appeared as arid piece of land from where the people  should move to fertile place. But Ganga never thought to leave his village . Perhaps because the bones of his ancestors were buried there.  Perhaps he knew of no other place. This was his Nation/country/world. And therefore people have their own world their  own cocoon  from where they draw strength. Their world may not match with our ideas of Nation, but we must respect that. Further this emotion has been there in individuals and societies  since the time the societies have formed. They do not need any prescription. It is different from others but it is in harmony with the other societies. We must learn to  acknowledge their emotions