The avenging angel

IS IT fair to determine how someone rejected in love will react in pain? Ram Gopal Varma's ``Pyaar Tune Kya Kiya'' proves that you obviously cannot. Love is by far the most complex of human emotions. Poets and scientists have exhausted all theories in analysing what it is that keeps the adrenaline flowing. Still, despite extensive research, the phenomenon remains a mystery. The subject has provided fodder for several generations of movie- goers, yet every time writers and directors have attempted to explore the darker side of love, they have been disillusioned. Probably because the viewer does not like encountering the demons within him. It is so much simpler to bask in the spring of romance, comforted by the rain and the clouds, the birds, the bees and the daffodils.

``Pyaar Tune Kya Kiya'', as the poster suggests, is not a pleasant love story. The heroine discovers that the man she loves is already married. Distraught by the revelation, she turns vengeful, destroys her own life and her beloved's. The rage has more to do with the character than changing times. Almost 40 years ago Nutan, the village girl (Kalyani) in ``Bandini'' falls in love with a visiting revolutionary (Ashok Kumar) who promises to return but does not. Circumstances compel her to serve as a nurse in the city where she discovers that the man she has been waiting for all along, is the husband of her abusive, cantankerous patient. One day when the collective humiliation gets the better of her, Kalyani poisons her beloved's wife. ``Bandini'' proved that oppression beyond limits can lead to violence, even murder!

A desperate Chand Usmani in love with Ajit who is in love with Vyjayantimala in ``Naya Daur'' is also not willing to give up on her love easily. Taking the risk of cheating inside a temple, she is the cause of a rift between two friends, but is undaunted in her passion. An ignorant Madhuri Dixit in Raj Kumar Santoshi's ``Pukar'' indulges in harakiri only to prevent Anil Kapoor from going to the other woman. In her obsession for him, she damages his career and more important, his self-esteem!

Not all the other women were so assertive or aggressive. Almost always, the suffering lover (man or woman) withdrew, rather than stride back. Vyjayantimala as Chandramukhi in ``Devadas'' is self-denying, devoted to healing the troubled hero whose last wish is to die in the arms of his Paro... Meena Kumari in ``Dil Apna Aur Preet Parayee'' freezes her pain in her heart as she watches the man of her dreams, Raj Kumar marry Nadira and turn a stranger before her eyes. Nurse Waheeda Rehman treating Dharmendra in ``Khamoshi'' falls in love with her patient already committed to another woman but quietly moves aside. Doctor Simi Garewal in ``Do Badan'' also has no choice but to let Manoj Kumar return to Asha Parekh.

It could be that diffidence crushed their confidence and losing gracefully was easier than striking back, but Anil Kapoor in ``Lamhe'' prefers to set Sridevi free and is fortunate to get her back. So does Ajay Devgan in ``Hum Dil De Chuke Sanam''. But not Vinod Khanna in ``Chandni'', not Salman Khan in ``Kuch Kuch Hota Hai'' or Akshay Kumar in ``Dil To Pagal Hai'', all of whom intuitively know that the women they are about to marry belong to someone else.

IPTA celebrates 59 years

``...Life is a stage, and we all are actors on this stage...'' said the famous playwright - Shakespeare.

More than 50 years ago, Indian Peoples Theatre Association (IPTA), an amalgamation of creative people, formed a new theatre movement to revive Indian heritage of dance, songs and drama, then in serious danger of extinction. The living art form adopted and re-interpreted significant aspects of society and its changing values. The dream began in 1942. It was a time when culture was suffocating under excess colonisation and artistes feared that they were losing their vigour. The degeneration had begun and they knew that if they did not protest immediately, it would be too late. The dawn came with the new century. Writers were strong, unafraid. Breaking away from rhetoric they communicated in simple, more direct language. The response was overwhelming. Reflecting the evils of social tradition a whole new thinking was awakened. Subsequently, came the growth of the working class and to support their aspirations came the IPTA. Realism found its expression through performing art and the past glory and splendour was resurrected. Simultaneously, existed the fight against fascism and imperialism, the struggle for freedom.

The first conference of All India People's Theatre Association was held in Mumbai on May 25, 1943. Pandit Jawaharlal Nehru delivered an inspiring speech on this occasion. Ever since, IPTA has been an inspiration for the common man and is making all efforts to make his dreams come true.

BHAWANA SOMAAYA

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