The celluloid offers a platform for the innovative minds to stage the animation of their thoughts in a very contemplative manner. These thoughts or rather the train of thoughts are mostly influenced by the prevalent norms and the sarcastic milieu of the concerned period. Whenever a decadent cultural scenario threatens to shake the very foundations of freedom and results in the premature expiration of human bonds, relationships etc, the restive human spirit wants to pass the issue on to the following generation in the form of a narrative or literary interpretation. This becomes a wonderful subject for the film-makers to portray on the silver screen as to the projection of thought-provoking idealogies from the past.
’Saheb, Bibi aur Ghulam’ is a poignant exploration of human relationships, feelings and contemporary lifestyle. Penned by Bimal Mitra, this classic was brought alive on the Reel by none other than Guru dutt, who had produced & to some extent ghost-directed it, although Abrar Alvi was credited with the title of director. Released in 1962, this movie went into the annals of film making as one of the finest depiction of human sentiments. As an ardent fan of old Hindi Classics, I somehow, could not resist the idea of giving it another refreshing view last night after I got back from office and found a DVD waiting for me, thanks to a local rental shopowner, who painstakingly collects Old Hindi films, for my sake. Otherwise, Hindi Movies in Chennai !!! A Lost dream...
Set during the Pre-independent India, in the Bengal Presidency, it forays into the sedentary lifestyle of the erstwhile Zamindari regime. The film starts with Bhootnath, an architect by profession, played by Guru Dutt rummaging through the dilapidated remains of an old palace and retrospecting... In the days of his youth, He had arrived in Calcutta all agog with the British Raj, in search of employment. After much deliberations, he found a shelter in the haveli of Zamindar Choudhury Babu who was all smiles with his unsophisticated mannerisms. He got employment as well, in the Mohini Sindoor (Vermillion) factory whose proprietor Subinay Babu, played by Sapru, was a largehearted person having a dislike for all the ill-customs of the society like Sati, Child marriage and propagated messages of Brahmo Samaj. His daughter Jabba, played by Waheeda Rehman, develops an amusing fascination for Bhootnath. Meanwhile, the film experiences a turning point, when on the request of a faithful servant of the Zamindar’s haveli, which in fact is the dwelling of Bhootnath, he meets the Chhoti Bahu, the pivot of the entire saga, played by none other than the Tragedy Queen of the yesteryears, Meena Kumari. Bhootnath is floored at the sight of the celestial beauty, although he couldn’t capture her beauty in entirety at the first instance, save a pair of Alta(Vermillion) coloured feet. Chhoti bahu forlornly pins her hope on the change of character of her Husband The Chhote Zamindar, played by Rehman, whose unfaithfulness and straying habits are reminiscent of the Zamindari Tehzeeb(Tradition) of that period. Chhoti bahu requests Bhootnath to bring her Mohini Sindoor which she thinks is a symbol of purity & good luck and will work wonders for her husband.In the course of time, Bhootnath becomes the clandestine confidant of Chhoti Bahu.
The freedom struggle reaches the pinnacle with the freedom fighters planting a bomb in the market place which explodes and a hapless Bhootnath is wounded to be taken care of by the ever loving Jabba. The film progresses and now, an architect trainee, Bhootnath leaves Calcutta to undergo training. Meanwhile in the Haveli, Chhoti Bahu has taken to drinking in order to give company to her drunkard husband, after all his attempts at cleansing the latter’s mindset had fallen apart. Bhootnath arrives after a long time in the Haveli to find it in a state of irrevocable ruins. Subinay Babu is dead & had broken the news to Jabba that Bhootnath & herself were engaged in their childhood to be married later. Chhoti Bahu has become an uncompromising alcoholic and Chhote Zamindar is clamped with paralysis. Bhootnath becomes a sight of platonic delight for her as she requests him to accompany her to a nearby shrine where she plans to offer prayers for the recovery of Chhote Zamindar, her unfaithful husband. Their conversation is overheard by the loyalists of Majhle Zamindar, the elder Zamindar and he is duly informed of the proceedings. Fury unleashes as the Majhle Babu, orders his men to mete out proper punishment to Chhoti bahu for having had a liason (Even though Purely PLATONIC) with ANOTHER man, who is not a part of the Choudhury’s. The horse-bogey carrying BhootNath & Chhoti Bahu is attacked with the former beaten unconscious and the latter abducted. Later, in the hospital, Bhootnath is informed that Chhote Zamindar has expired and his wife, Chhoti Bahu has vanished. The Flashback comes to a loud end, when the workers engaged in the excavation process intimate the brooding BhootNath that a dead body has been unearthed inside the palace. As a visibly disturbed Bhootnath leans over the skeleton, he discovers a pair of bangles & other jewellery on it’s body which are so familiar & which he had long admired. The skeleton is none other than the mortal remains of Chhoti Bahu...
Although, I summarized the story in detail, it won’t be a viewing pleasure unless you watch the movie. The film traverses through a medley of flashbacks and narratives keeping the viewer unassuming as to the twists that galore throughout. Guru Dutt plays the character with the aura of a simpleton who has been held in awe throughout. Waheeda Rehman as Jabba is at her playful best bursting into an emotional frolic at the sight of BhootNath. Rehman as the chhote zamindar looks neat and suave that was characteristic of the prodigal scions of a aristocratic family. The depiction of his alcoholic indulgence has been crafted very well. But, The movie belongs to the one & only Chhoti Bahu, who is the soul of this film. Meena Kumari has presented the most sensitive performance of her career in this film. Her depiction of the nature of Chhoti Bahu has been interpreted by diverse media in different ways. To some, she appears as the representative of a traditional teaching which guides her to remain inside the precincts of the Haveli & regard her husband as The God Monumental, howsoever filthy or lecherous he may be. Some perceive her as an indulgent woman carried away by the wealth around her to take to alcohol and flirt immorally with a man outside the marriage & hence, justify the tragic end. Hemant Kumar’s music & Shakeel Badayuni’s lyrics are a lethal mix enthralling you all the way. The song Na Jao Saiyaan is as seductively lilting as the enchanting Pia Aiso Jiya, both sung by Geeta Bali or Mrs Guru Dutt. The mujra number Saaqiya Aaj Mujha has one of the finest use of light & colours by ace cinematographer VK Murthy. Editing by YG Chawan is crisp. Bhanu Atheya as the Costume designer has adorned the characters with rich drapery in keeping with the existing tradition & Biren Naag’s instillation of Zamindari art is excellent. The movie went on to win the President’s Silver Medal and Filmfare award(Film, Director, Actress, PhotoGraphy) and was the official Indian entry to the Oscars in 1963.
A Visual delight for all the lovers of meaningful cinema...