Breakaway from stereotypes

IN THE summer of 1982 film maker Ramesh Sippy pitched two generations of superstars, Dilip Kumar and Amitabh Bachchan together in ``Shakti''. Today, almost 18 years later, Aditya Chopra brings yet another generation of superstars, Amitabh Bachchan and Shah Rukh Khan together in ``Mohabbatein''. If ``Shakti'' did not fare as well as it should have at the box office, it is because the script could not do justice to Bachchan's superstar stature. In that respect, ``Mohabbatein'' is a better timed film. When the film went on the floors, Bachchan's image had taken a beating in the media and Shah Rukh Khan's releases had bombed in a row. This, combined with the unprecedented popularity of rising star Hrithik Roshan, makes one have lesser expectations from ``Mohabbatein''.

What was unexpected however, was the sudden shift in Bachchan's popularity in the wake of the ``Kaun Banega Crorepati'' show. As a result, no matter how successfully director Aditya Chopra juggled his two protagonists, loyalists of both felt let down on some account or the other. So Shah Rukh Khan supporters complained that their hero had been prematurely pushed into the middle-age bracket, while Bachchan fans felt deprived that no justification was being offered for the older man's extreme hostility towards love. Amrish Puri in a similar role would be acceptable without explanations, but not Bachchan, and certainly not at this stage.

If 18 years ago, critics blamed ``Shakti'' for being partial to Dilip Kumar, now they blame ``Mohabbatein'' for glorifying Shah Rukh Khan. While the truth is, that 18 years ago, Bachchan was on the wrong side of the law and today, 18 years later, he is on the wrong side of virtue, and therefore the underdog! ``Mohabbatein'' is not about the glorification of individuals, but making room for another man's ideology. It is about acceptance, surrender and most importantly, humility. It is the right role at the right time for Shah Rukh Khan when he has to shed his irreverence and assume responsibility. As for Bachchan, in his new avatar, he has created a unique slot for his generation, non-existent until now.

For too long, Hindi cinema has ignored the complexities of the ageing hero, representing him as a one-dimensional, usually a celibate character, devoid of either romance or allure. ``Mohabbatein'', and to a greater extent, ``Mission: Kashmir'' ushers in a new trend of simultaneous dwelling on the conflicts of the older and the younger heroes. Even the happy appearances of apparitions, Aishwarya Rai and Sonali Kulkarni, in both the films are breaking away from the stereotyped haunting ghosts singing in lonely corridors, popularised by the formula films. Aditya Chopra borrows heavily from his father's films adding his own novel touches. He relies on recurring motifs, cow bells in ``Dilwale Dulhania Le Jayenge'', and violin and autumn leaves in ``Mohabbatein''. Vinod Chopra borrows from his idol Kurosowa, adding his own idiosyncrasies. Weaving fragile moments within spine-chilling violent sequences, he is uncompromising on quality. Both fumble and make a few mistakes but their passion for the medium is undisputed.

* * *

Every decade has its heroes. One remembers Ramesh Sippy creating history with ``Sholay''. Rajesh Khanna creating magic and then fading away. It was the beginning of the angry young man and the Bachchan phenomena. Backtracking through a film journalist's diary:

... In 1974, J. Om Prakash makes ``Aap Ki Kasam'', a feel-good family film. Ad film maker Shyam Benegal does a feature film, ``Ankur'', shot in Hyderabad, a milieu familiar to the director. The film wins a National Award for debutante Shabana Azmi. First sex-education film ``Gupt Gyan'' creates a stir. Mehmood makes a tear-jerker ``Kunwara Baap'' starring his son. And Basu Chatterji, master of the middle-class, makes ``Rajnigandha'' with Vidya Sinha and Amol Palekar. Manoj Kumar makes ``Roti Kapda Aur Makan'' addressing the needs of the nation.

... Gulzar's ``Aandhi'', apparently based on Indira Gandhi's life, is released in 1975. Suchitra Sen had earlier done ``Mamta'' with Ashok Kumar and the latter was curious about Sanjeev Kumar's performance in ``Aandhi''. After watching the film, he told Sanjeev, ``Suchitra is very good in the film.'' Sanjeev's heart sank. Then Kumar added, ``You're much better.'' Yash Chopra makes ``Deewar'' with the hit writer duo Salim-Javed. Vyjayanthimala is the original choice for the mother's role but quotes a whopping price, therefore, Nirupa Roy is cast in the role. A small budget mythological film, ``Jai Santoshi Maa'' smashes all box office records, almost equal to the magnum opus ``Sholay''. Amjad Khan makes his debut in it in the character of the unforgettable villain of all times, Gabbar Singh. Smita Patil makes her debut in Shyam Benegal's ``Nishant'' about village unrest over the caste issue.

Nineteen seventy-six proves a year of diverse releases. A Muslim social film launches Ranjeeta Kaur in ``Laila Majnu'' by H. S. Rawail. A simple love story, ``Chit Chor'' is set in a village. A romance for all seasons with a casting coup in ``Kabhi Kabhi'' by Yash Chopra. The lyrics contain some beautiful poetry set to music by Khayyam. Subhash Ghai makes his debut as a director with ``Kalicharan'' starring Shatrughan Sinha and Reena Roy. Aruna Vikas emphasises the middle of the road cinema in the Vinod Khanna-Shabana Azmi starrer ``Shaque''. Mrinal Sen's ``Mrigaya'' launches Mithum Chakraborty and also gets him his first National Award for Best Actor.

Manmohan Desai's ``Amar Akbar Anthony'' in 1977 starts a new genre in cinema i.e., item-based entertainment. ``My name is Anthony Gonsalves'' remains a memorable song till date. Another Manmohan Desai superhit multi-starrer in the same year is ``Dharamveer''. Ramesh Talwar makes his directorial debut with ``Doosra Aadmi''. The film addresses the single woman issue and her choice of partner. ``Shatranj Ke Khiladi'', Satyajit Ray's first Hindi film ropes in Amitabh Bachchan as commentator and actor Richard Attenborough. Rajshri Films, undergoing a low phase after ``Geet Gaata Chal'', comes up with their second hit, ``Ankhiyon Ke Jharokhon Se'' in 1978. Raj Khosla dwells on adultery in ``Main Tulsi Tere Aangan Ki'' and glorifies the other woman. Starring Nutan, Asha Parekh and Vijay Anand, all past their prime with a young Vinod Khanna.

In contrast, B. R. Chopra viewed the same subject in a lighter vein in ``Pati Patni Aur Woh''. ``Muqaddar Ka Sikandar'', Prakash Mehra's version of the modern day Devdas, starring Amitabh, Vinod Khanna, Rakhee and Rekha sows the seeds of Rekha in the image of a courtesan, a role she perfects later in ``Umrao Jaan''. ``Satyam Shivam Sundaram'' is Raj Kapoor's Waterloo! Even the handsome Shashi Kapoor and a semi-clad Zeenat Aman cannot save R.K.'s obsession titled `a sublime love story'.

Shashi Kapoor turns a producer with ``Junoon'' in 1979 based on Ruskin Bond's ``The Flight of Pigeons''. It is Shyam Benegal's maiden commercial venture with a wide star cast of Jennifer Kendall, Shabana Azmi, Naseeruddin Shah, Nafisa Ali, Ismat Chugtai and a very young Sanjana Kapoor. The Amitabh-Rekha pair creates magic in ``Mr. Natwarlal''. Amol Palekar excels in ``Gol Maal''. Jaya Prada makes her debut as a mute dancer in ``Sargam'' and Sridevi with ``Solva Sawan''.

In 1980, Govind Nihalani makes his directorial debut, ``Aakrosh''. Sanjay Khan makes ``Abdullah''. Umesh Mehra's ``Alibaba Aur 40 Chor'', a fantasy film starring Dharmendra, Hema Malini and Zeenat Aman creates a new genre. Rajshri's well- meaning films attract good actresses. Shabana Azmi does ``Ek Baar Kaho'' and Raakhee signs ``Humkadam''. Basu Bhattacharya comes up with his trilogy on marriage, ``Grihapravesh'', after ``Anubhav'' and ``Aavishkar''. B. R. Chopra makes ``The Burning Train'' inspired by ``Towering Inferno''. Technicians are invited from abroad to shoot the fire sequence of the film. Subhash Ghai's remake of ``The Re-incarnation of Peter Proud'', starring Rishi Kapoor, Tina Munim and Simi Garewal in ``Karz'' is a hit remembered for the song ``Om Shanti Om''. Hrishikesh Mukherjee's ``Khubsoorat'' brings a new phase in Rekha's career. The actress is simultaneously applauded for the over-dramatic T. Rama Rao's ``Maang Bharo Sajana'' glorifying the other woman.

Esmayeel Shroff launches Kunal Kapoor in ``Ahista Ahista'' (1981) on the life of a devdasi. Sanjay Dutt makes his debut in Sunil Dutt's ``Rocky''. ``Ek Duje Ke Liye'', K. Balachander's tragic love story and a remake of a South film, launches Kamal Haasan and Rati Agnihotri. Rahul Rawail makes a debut with ``Love Story'' launching Kumar Gaurav and Vijayeta Pandit produced by Rajendra Kumar. Shyam Benegal makes a contemporary Mahabharat ``Kalyug''. Manoj Kumar makes one more patriotic film, ``Kranti'' the comeback vehicle for Dilip Kumar. Feroz Khan's ``Qurbani'' and the musical score, ``Aap Jaisa Koi Meri Zindagi...'' picturised on Zeenat Aman has the nation swinging. ``Silsila'' starring Amitabh, Jaya Bachchan and Rekha shot in the tulips of Amsterdam is a casting coup by director Yash Chopra, and Muzaffar Ali's poignant story of a courtesan ``Umrao Jaan'' is a visual delight.

BHAWANA SOMAAYA

Editor, `g' Magazine

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