Harsh Thakor writes
In the history of the Indian cinema no artist has got closer to getting totally into the skin of a character, particularly of the common man.Balraj may not have had the charisma of Amitabh Bachan or Dilip Kumar, the popularity of Rajesh Khanna in his heyday or the machismo of Dharmendra or Vinod Khanna, but in pure acting prowess he surpasses all of them.Watching him on screen was like reading a most touching poem ot listening to classical music.Few actors have been as natural , have displayed such purity of expression and been as intense.
Born in Rawalpindi (now in Pakistan), he studied at the Government College of Lahore, graduating in Literature. Absorbing the then prevalent desire for both Nationalism and Westernization, he started writing English poetry and got involved with ’realist’ theatre. He taught Hindi and English at Shantiniketan wrote his first compilation of Hindi fiction, Shahzadon ka Drink in 1936. He also worked as a journalist and briefly as a radio announcer for the BBC’s Hindi service also setting up the Monday Morning journal in Delhi.He came to Bombay in 1947 and became a key figure in Indian Peoples’ Theatre Association (IPTA) plays. After a walk-on part in Phani Majumdar’s Insaaf (1946), he starred in K.A. Abbas’s first film, Dharti ke Lal (1946), the only film produced by IPTA.
It was I Dharti Ke Laal that Balraj revealed his acting prowess for the first time.The film reflected the conditins of the Bengal famine.The deprivation and poverty faced by the broad masses was superbly depicted.This film set the tone for the making of several films later championing the cause of social reality.
In 1951 Balraj was arrested because being acomunist activist championing the cause of the down -trodden.He acted I ’Hulchul’ with apolice escoet and went o to succesfuly act in Hum Log in the same year.
In 1953 Balraj gave the best performance of his entire career in ’Do Bhigha Zameen’, which superbly illustrated the conditins of the toiling labourers in the villages who were landless and had to literally beg for work in the cities.He brilliantly portyrays the character of a poor peasant, ’Shambo Mahato’ who is forced to pull a rickshaw in Calcutta to eke out a living.You can hardly feel that Balraj is acting and you feel he is actually Shambo Mahato’His expressions, mannerisms, and all other facets of behaviour look totally like an opressed peasant.It is fascinating how he has to confront any possible obstacle to survive.It was one of the greatest feats of acting not only displayed on the Indian screen but in the International arena.I can’t imagine any great star doing as much justice to the character.To train for the role he actually lived with the rickshaw pullers in Calcutta to acclimatise himself with the harsh realities of their lives.At the end of the film when a factory is built on his land and he has to accept defeat , his face tells it all.His face at that point reveals one of the most unforgettable expressions ever conveyed on screen worldwide-literally telling the story of the wretchedness of human defeat.
He went on to give brilliant performanes in ’Seema’, ’Kabuliwalla’, ’Garam coat’ and alos played a lead role in commercial film s with actresses like Nargis in like Lajwanti (1958), Ghar Sansar (1958)), Meena Kumari (Satta Bazaar (1959), Bhabhi ki Chudiyan (1961)), Vyjayantimala (Kathputli (1957)) and Nutan (Seema (1955), Sone ki Chidiya (1958)) . He exhibited his charasterictic grace and dignity.He gave a classical peformance in Kabuliwalla whee he literally lived with the cobblers to enable himself to get inti the skin of the charcter.Again you gorgot it was Balraj Sahni and felt he was the Kabuliwallah..In Seema he showed graet emotionlal passion as the director of an orphonage.
In the 1960s he shifted to character roles and left his mark with strong performances in films like Haqeeqat (1964), Waqt (1965), Do Raaste (1969), Ek Phool Do Mali (1969) and Mere Humsafar (1970)He also directed Lal Batti (1957), a film set in a train and on a lonely railway platform where passengers are forced to spend a night at the time of India’s Independence.He displayed great depths of sensitivity and character in playing the role as an army commander in the Indo-China in ’Haqeeqatt’.He superbly blended the qualities of agression and hostility with kindness and compassion.He was at his best in Waqt and overshadows all laeding stars like Sunil Dutt or Raaj Kumatr, acting afather who has lost all his wealth and famil;y and in the end finds his whole family in unbelievable circumstances.His dialogue and expressions when and after he meets his sons and wife are extremely touching especially when he staes that life is unpredicatable .The same sensitivity is revealed in Ek Phool Do Maali’ and ’Do Raaste’.He superbly blends anger, hapiness and sorrow .
I 1973 he gave his last major hit in Garam Hawa , apictire based in the era of Partition which reveaks the changing fortunes in the life of Ahmed Mirza.Sahni plays the central role of an elderly Muslim shoe manufacturer who must decide whether to continue living in India or to migrate to the newly formed state of Pakistan. He responded with an absolutely brilliant performance, enacting his character to perfection.His eyes again tell the story.It is most touching to see his peformance when he is torn with the conflict of either staying in India or migrating to Pakistan -again his face tells it all.There could have not been a more fitting end to his career.From his first to his final film he dispalyed the same charasterictic sensitivity-the hallmark of agenius.
Sadly he died in 1973 at arelatively young age of 60.THroughout his life this great artist championed the caues of the poor and was for more tha half of hisl ife amember of the Communist Party.He came to Bombay during the 1970 riots to promote communal solidarity and harmony and adressed the masses.Films he acted in like ’Do Bhiga Zameen’are relevant till this day in the age of globalisation where inspite of cybercafes coming 90% of the people in the villages do not have access to drinking water .He was one of the most sensitive and passionate of human beings who cared more for the opressed masses tha any actor.
By Harsh Thakor