Feminist is a word rarely used to portray Guide; most descriptions include multi-layered, ahead of its time, a story of redemption, based on adultery, inspiring musical, numerous philosophical underpinnings, a treatise on male-female relationships.
Vijay Anand, the director, has said that he intentionally left the movie open to multiple interpretations. Taking that as my license, I shall attempt to illustrate the many examples of feminism in Guide; although this exercise is fraught with controversies.
A women (Rosy) shares a marriage that is conflict ridden and devoid of love, with a man (Marco) who forbids her to indulge in her true love of dancing. Rosy meets a sympathetic guide (Raju) and, in part due to his exhortations, soon leaves her philandering husband.
A memorable dialogue at that time "Mein Bewafaai Karoongi To Khule Aam, Tumhari Tarah Jungalon Mein Chupkar Nahin" (It I commit adultery it shall be well known, unlike you who covers it up in Jungle.).
The most memorable is
"Marco, Mein Jeena Chahti Hoon" (Marco, I want to live a full life.)
Earlier we have witnessed Rosy’s joy at her first hint of liberation ("Katon Se Kheenchke Yeh Anchal"), but this is the first time we see the bona-fide feminist; demanding equality even in matters of infidelity and, more important, demanding her right to a fulfilling career.
After Rosy moves in with Raju, his mother upset over the un-conventional relationship demands that either Rosy leave or she shall leave. Rosy attempts to placate the mother, but to no avail, and the mother soon leaves the house.
This in itself is not feminism, but it enables Rosy to begin her dancing career with Raju’s encouragement and management. After some initial successes, Raju proposes marriage to Rosy; but she deftly turns it instead into a live-in relationship. The abbreviated dialogue :-
Raju : Mujhse Byah Karogi (Will you marry me.)
Rosy : Hanh, Tumhare Liye Mein Apna Pesha Chhod Doongi (Yes, I shall leave my career for you)
Raju : Iski Naubat Nahin Aayegi, Isme Hum Dono Ki Mehnat Hai (No need to do that, Both of us have worked hard for it)
Rosy : Aur Shaadi Ke Baad Jab Bacche Ho Jayenge To (What about children)
Raju : Zaroori To Nahin Ke Shaadi Ke Baad Bacche Ho Jaye (No need to have children right away)
Rosy :
Zaroori To Nahin Ke Shaadi Ho Jaye (No need to get married, is there ?).
And another great song (Gaata Rahe Mera Dil) symbolizes the consummation of their relationship. Rosy is slowly getting the upper hand in this partnership, and is also exhibiting a single-minded focus on achieving her dream of being a successful dancer.
The feminist theory engages its first controversy; should relationships be generally equal or is there leeway for one or the other to dominate, particularly if one of them is going to be more successful.
Eventually Rosy becomes a big star, and major problems begin to emerge in the relationship. Raju starts gambling and drinking, and also begins to realize the differences between a star and the star’s manager.
The star always gets the limelight, and the manager always gets shunted aside in the star’s presence. A bruised ego leads to more gambling and drinking on Raju’s part, in turn leading to Rosy being increasingly dissatisfied with Raju; both grow apart and begin living in separate bedrooms. Rosy’s husband Marco re-enters (the two have not officially divorced.); and
Raju suspects that he is interested in a reconciliation.
Raju’s insecurities do not allow Marco to meet Rosy, ultimately they lead Raju to forge Rosy’s signature on a bank form pertaining to Rosy’s and Marco’s joint marital assets. Raju is arrested for this forgery, and Rosy refuses to support him in court; leading to imprisonment for Raju. Rosy has first left an adulterous and un-supportive husband, and now leaves her in-secure and un-sure mentor and lover; to carry on with her career. This is certainly an example of feminism, albeit a more controversial one.
I would argue that Rosy’s behavior is entirely justified (although I suspect that I would be in a minority), after all it is clear that her primary goal is success in her career and the men in her life try to impede it (intentionally or un-intentionally) in varying degrees.
Men are supposed to be single-minded in pursuit of their career, and here we have an example of a woman doing the same. The fact that this movie is considered to be based on adultery is also tilted to a male point of view; I would modify it to be based on Achievement and the various prices a woman has to pay for it. All of my conclusions and beliefs are certainly open to challenge, particularly since they are interpretations and not explicit facts shown in the movie.
The rest of the movie deals with Raju’s redemption, after being released from jail he runs away to a remote village. Through a set unfortunate circumstances he is forced to endure a fast, for the purpose of creating rain to alleviate a horrible drought.
After several days a vigorous rainstorm does occur, but Raju pays for it with his life. Not much feminism, but many other interesting issues such as the connection between science and religion, and atheism vs. belief in god.
Waheeda Rehman excels in the role of Rosy, her dancing is exquisite and her expressions are outstanding. She had a difficult role to play, especially since it was un-clear as to whether the audience would sympathize with her, but she managed to pull it off.
Her truly memorable scenes are when she confronts Marco in the cave, and also when flashes Dev Anand a withering look after she has found about his forgery. This is the role of a lifetime, and she delivers in spades. Legend has it that she was advised not to accept the role because of its negative aspects, but decided to
do it anyway since she believed she was soon going to quit films.
Dev Anand delivers his best performance as Raju the Guide, although the true star is Dev Anand the Producer. It took a lot of guts to create such a controversial film in India of the 1960’s. To his credit he completed the Hindi version, despite many difficulties such as the English version flopping, and two earlier director’s (Chetan Anand & Raj Khosla) dropping out.
Legend also has it that Navketan’s production controller Yash Johar (father of Karan Johar) had a hard
time selling this movie, and SD Burman’s elevating music certainly helped in first selling this controversial movie to distributors and later to the Indian audience.
Vijay Anand wisely decided to make this movie without appearing to take any side in any of the myriad controversies present in this movie. He makes all his points quite subtly, and always leaves room for multiple interpretations. His skill in song picturisation is undeniable and evident for all to see.
Can the movie be said to advocate Feminism, if yes is it one of India’s best at it; like Vijay Anand
I leave the readers to reach their own conclusions.