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India Today
6 days ago
- Entertainment
- India Today
Pakeezah: A poignant reminder of Meena Kumari and India's poetic past
As part of our Retro Review series, we revisit 'Pakeezah', the swansong of two great artists, Meena Kumari and Ghulam Mohammed, composed like an elegy for a forgotten Pakeezah (1972)Cast: Meena Kumari, Raaj Kumar, Ashok Kumar, MuradDirector: Kamal AmrohiMusic: Ghulam Mohammed, NaushadBox-Office Status: Super HitWhere to Watch: YouTubeWhy to Watch: For its painting-like frames, lavish sets, poetic dialogues, and the haunting melodies that linger like unforgettable of the Story: A husband and wife can create magical romance on the screen, even if their marriage is a tale of sorrowadvertisement'Pakeezah' is a journey into an India that once was, and a lament for an India that can never return. It is a picture postcard from a languid era of thumris, shayari, poetic repartee, and a culture defined by the refinement of language and decadence of Nawabs. It makes you nostalgic for the tik-tik of tongas, the whistle and whoosh of railway engines. It makes your heart beat to the khanak of ghungroos and the taal of tablas. 'Pakeezah' isn't just a film, it is a chapter of forgotten history, a romantic musical singing a lyrical past.'Pakeezah' is a feeling like holding a petal soaked in morning dew to the lips, tasting wine that's been ageing for decades, or hearing the rustle of fine muslin on a silken body. Only the memory lingers like a bittersweet pain of an experience bygone. Defining it requires the magic of Kamal Amrohi, who started this haunting masterpiece as an ode to Meena Kumari, his wife, but ended up creating a poignant memorial to the great tragedienne, a celluloid shrine to her eternal A Poetic LegacyKamal Amrohi, the film's director, producer, and writer, was born in Uttar Pradesh's Amroha, a town famous for its abundant mango orchards. Kamal's cousin Jaun Elia is one of the foremost shayar of Urdu, with a cultish following among fans. Poetic flourishes, it seems, ran in the family. Kamal, though a filmmaker, treats every frame of 'Pakeezah' like a painting, nourished with the nazakat (delicacy) of a nazm. (Credit: IMDb)The film establishes its poetic metier from the outset with a refined, lyrical screenplay and evocative visuals. It opens with a leisurely voiceover in Amrohi's luxuriant tones, segueing into a breathtaking scene. On a bustling street in a city of Nawabs, a horse-drawn coach slices through the crowd, its hoofs' clatter weaving a sonorous jugalbandi with the chime of ghungroos (ankle bells).From a row of havelis adorned with jharokhas (overhanging windows), the strains of a thumri and the rhythmic thaap of tablas drift upward, crafting a symphony of a bygone era. In each jharokha, at least a dozen in number, dancers in swirling anarkali ghagras perform kathak. Moments later, Lata Mangeshkar's voice rises above the melodious clamor, heralding Sahibjaan (Meena Kumari) in pinks and gold, her presence a nostalgic blend of beauty and vibrant colours and rich strokes make every scene a Raja Ravi Varma painting. Sahibjaan pines for Salim (Raaj Kumar) in flaming reds as yellows and greens sparkle over turquoise water. When they romance, in fleeting moments, waterfalls gush through hills, and the silhouette of a boat floats under a silver moon. When her heart breaks, a lone red kite dangles from a barren tree on a dark night. Every scene plays out to the sound of an alaap, or a thumri, creating lilting Silence of MusicEven in silence, there is music and poetry. Despite its absence, the film forces you to imagine it. In one scene, Sahibjaan, a courtesan, is sitting in her mehfil (social gathering). The musicians start playing their sitars, mandolins, and tablas, and wait for Sahibjaan's vocals. As the patrons twitch nervously, Sahibjaan, lost in her lover's thoughts, stares with a pained expression. There is a stunned silence, but seeing her plight, you can feel Amir Khusrau's 'Chhaap Tilak Sab Chheen Li Moh Se Naina Milayake' pulsing in the background. advertisementThis sequence, incidentally, ends with an ode to cultural refinement. Instead of getting upset with Sahibjaan for not performing, the patrons leave her mehfil with a poetic complaint:'Majboor Dil Bhi Kya Shah Hai, Usne 100 baar dar se uthaya, Main phir bhi 100 baar chala aaya.'The film is most remembered for Raaj Kumar's iconic lines about Meena Kumari's feet. But every word in the aforementioned scene is an undiscovered gem.A Tribute To Meena KumariWith its visuals and words, the film is a triumph of Amrohi's vision and grandeur. When it was released, he was panned for the opulent sets, the riot of colours, and pious dedication to detail. Fifty years later, it is the template for costume dramas and musicals, and filmmakers like Sanjay Leela Bhansali pay regular homage by imitating Kamal's art. (Heeramandi is almost a sequel to 'Pakeezah'). advertisement(Credit: IMDb)When Amrohi conceived the film in the early 1950s, he had just married Meena Kumari. He wanted 'Pakeezah' to be a tribute to his love. Meena Kumari, in her early 20s then, was stunningly beautiful, a vivacious, playful girl of films like Baiju Bawra. By the time 'Pakeezah's filming began in 1969-70, her life had turned into a tragedy of a painful marriage with Amrohi, failed romances, and at the age of 40, battling with life-threatening cirrhosis, she pulls off a performance laced with subtle dances, suppressed smiles, and swallowed tears. Her eyes, heavy with unspoken grief, mirror the soul of Sahibjaan, carrying the weight of her own unfulfilled one scene, when asked her name, Raaj Kumar calls her Pakeezah, the pure one, an apt description for her portrayal of a tawaif (courtesan)waiting for someone to rescue Purity of ArtLike Sahibjaan, the film also went through an agonising, almost tragic, wait of two decades. Its music composer, the unheralded Ghulam Mohammed, died a decade before the film went into production. He created immortal melodies whose success he couldn't savour. And Meena Kumari died within a month of release. advertisement(Credit: IMDb)History is a study of change. 'Pakeezah' serves as a chapter of history because it tells us many things. Apart from being a chronicle of Meena Kumari's life, it reminds us how our cultural contexts have changed in the past decades.'Pakeezah' is a Muslim social drama. Its idiom and language is inspired by Urdu. Its plot is simple: a courtesan's quest for acceptance by society, and a Muslim patriarch's reluctance to do so, a bit of an anachronism for the swinging 1970s. But the film ran for 50 weeks in India, 33 of them were house-full. When Meena Kumari, born Mahjabeen Bano, died, Indians flocked to theatres in a spontaneous outpouring of mass India was culturally a 'Pakeezah', the pure one. It was a nation that knew art can't be seen through ugly prisms of narrow identities. Pakeezah is, thus, a requiem for Meena Kumari, Kamal Amrohi, Ghulam Haider, and Indians who made the film immortal. Because of them it remains a timeless ode that invites generations to rediscover the purity of art that transcends time.
India Today
08-06-2025
- Entertainment
- India Today
Hamraaz: A prophecy of Vimi's real-life tragedy
As part of our Retro Review series, we revisit 'Hamraaz', a film that mirrors the tragic life of its leading lady, the beautiful Hamraaz (1967)Cast: Sunil Dutt, Raaj Kumar, Vimi, Balraj Sahni, Mumtaz, Madan Puri, Manmohan KrishnaDirector: BR ChopraMusic/Lyrics: Ravi, Sahir LudhianviBox-Office Status: Super HitWhere to Watch: YouTubeWhy to Watch: For its breezy transition from a romance to a relationship triangle, and finally a whodunitMoral of the Story: Trust your spouse even if they are trying to hide secrets (because sometimes the past is complicated)advertisementActor Vimi was a mesmerising enigma. Her beauty was so striking it could have launched a thousand ships, yet her expressions were wooden, likely due to her inexperience as an 'Hamraaz', her debut film, Vimi was tasked with a complex role, portraying a whirlwind of emotions. Over the first two hours, her character Meena falls in love, elopes, loses her husband to war, mourns a stillborn child, remarries, discovers her child is alive, and almost reunites with her first husband, miraculously returned from the dead. Yet, through these trials, Vimi's performance remains restrained, relying on her graceful presence. Her sole achievement is her statuesque presence, standing with the frozen aura of a divine sculpture. If only Vimi had navigated life with similar stoicism, we might have seen more of her. Photo credit: IMDb advertisementIntroduced to BR Chopra through connections, including the film's composer Ravi, Vimi, a mother of two, and a part-time singer, was cast as the lead in 'Hamraaz' against prevailing Bollywood norms. The film became the highest-grossing movie of 1967, and Vimi emerged as a fashion and style icon. Bold and beautiful - she famously posed in a bikini - Vimi seemed destined for her life unraveled swiftly. Her next two films flopped, her husband, whom she married against her family's wishes, abandoned her, and Vimi spiraled into darkness, struggling with loneliness, failure, alcoholism and financial hardship. She died in 1977, alone in a hospital, leaving behind a tragic legacy.'Hamraaz' echoes a similar tale of love, loss and death, like a prophecy of Vimi's tragedy. It is an eerie foreshadowing of her own descent into heartbreak and PLOT'Hamraaz' opens as a breezy romance set against the lush meadows of Darjeeling, beneath a turquoise sky, immortalised by Mahendra Kapoor's 'Neele Gagan Ke Tale.' Meena (Vimi), falls for the dashing Captain Rajesh (Raaj Kumar), who slays it in stylish caps, goggles, and army her father's disapproval of an army officer as a son-in-law, Meena marries Rajesh in secret. But their bliss is short-lived; the next day, Rajesh is called to war. When his name appears on the list of the fallen, Meena collapses - a classic Bollywood cue for a doctor to announce the imminent arrival of a stork, miraculously after just a night of arrives with Kumar (Sunil Dutt), a stage artist leading a troupe to rally support for the Indian army. Smitten with Meena, he expresses his intent to fall in love and worship her, aptly conveyed by a rare Mahendra Kapoor song in low is hesitant but is softened by three breezy songs and her father's insistence. Meena weds Kumar, hiding her past to start anew in Bombay. For four years they live happily, without being bothered by storks. Alas, Vimi, thy destiny is secrets unravel with the appearance of a child thought dead and a mysterious figure in two-tone shoes. As Meena scrambles to protect her past, she meets a tragic end, with Kumar as the prime suspect. Who killed Meena? What's the secret behind the shoes? The film resolves these mysteries, ending with a hint of new romance for GOOD, BAD AND UGLYIn its first half, 'Hamraaz' glides like the Darjeeling toy train through picturesque locales, propelled by Ravi's timeless music, Sahir Ludhianvi's philosophical poetry, and Mahendra Kapoor's soaring voice. Sahir, ever the magician, casts his spell with profound words, especially 'Na Munh Chhupa Ke Jiyo,' a stirring anthem of resilience through life's trials. Set against the backdrop of the 1962 war, the song serves as a rallying call for Meena, and India, to discard setbacks and face life with Chopra brothers, BR and Yash, were masters of pace, ensuring sharp narrative transitions. After five songs in an hour, 'Hamraaz' shifts from a musical to a lost-and-found plot, then a mystery, and finally a its energy, the murder plot stumbles with glaring holes. Characters make illogical leaps, like assuming a death without evidence, and the police investigation, led by Balraj Sahni's gravitas, feels absurdly simplistic, as if the writer ignored basic investigative logic and relied on the credulity of the audience. Photo credit: IMDb Despite plot holes that could have accommodated Kumar's lavish sets, the film's chaotic pace, its music, and Dutt's dynamic energy keep audiences engaged. In the films of the '60s, it was almost customary to showcase a bare-chested Sunil Dutt (rewind to 'Waqt', another Chopra classic).advertisementIn 'Hamraaz', Dutt's shiny bod, its modesty preserved by a minimalist trunk, is on display for a full five minutes. To heighten the film's allure, BR Chopra skillfully weaves in a side plot. Mumtaz, with her captivating charm, romances Dutt on stage in figure-hugging black-and-white dresses, delivering a masterclass in fashion. However, this subplot falters slightly, veering into shrill and moralistic territory with sermons on spousal loyalty drawn from Shakespeare's soul of 'Hamraaz' is the debonair Raaj Kumar. His regal presence and scotch-soaked gravelly voice are straight up lit, radiating killer vibes. Tragically, his screen time is scant and scattered, with not a single line to showcase his iconic dialogue delivery. Only Chopra could have revealed the raaz (mystery) - spoiler alert - of obscuring Raaj Kumar's face for much of the second half, zooming in instead on his dual-tone shoes. This tired suspense tactic, already used in the horror mystery 'Bees Saal Baad', feels like a cheap trick at the cost of Raaj VERDICTDespite these flaws, 'Hamraaz' is a typical Bollywood beast, steered by Ravi's melodies, Sahir's poetry, and Chopra's pacey direction. Its genre shifts and a stellar cast make it a wild ride that could have been more fun if it were memory that haunts, though, is Vimi's life: a star who shone briefly in 'Hamraaz', only to be extinguished by flops, abandonment, and addiction. In the end, the film is a requiem for Vimi, a bitter reminder that sometimes, the reel tragedy pales next to the real one.
India Today
25-05-2025
- Entertainment
- India Today
Ankhen: The sanskari spy who shunned martinis and saved India
As part of our Retro Review series, we revisit 'Ankhen', the 1968 spy thriller that outgrossed every Bollywood film of its year, blending James Bond swagger with desi Ankhen (1968)Cast: Mala Sinha, Dharmendra, Mehmood, Kumkum, Nazir Hussain, Jeevan, Madan PuriDirector: Ramanand SagarMusic/Lyrics: Ravi, Sahir LudhianviBox-office status: Super HitWhere to watch: YouTubeWhy to watch: For tacky gadgets inspired by 007; wacky villains inspired by Hitler; and trendy women's fashion inspired by LebanonMoral of the story: Duty over desire, because India's enemies don't stand a chance against a sanskari spyadvertisementWhat do you get when Ramanand Sagar takes off on James Bond? A 007 who doesn't smoke, isn't bothered about Martinis - shaken, stirred or bugged; and runs away from gorgeous women hitting on him. In short, a sanskari spy - a satyugi avatar of the kalyugi secret agent of drinks, dames, seduction and 'Ankhen', the man who gave us Maryada Purshottam Ram two decades later on Doordarshan, gives us Sunil (Dharmendra), a globe-trotting spy who just wouldn't cross the Lakshman Rekha of maryada. Two beautiful women literally stalk him. But every time they snuggle up to him, Sanskari Sunil lectures them on desh, duty and dharma. No wonder one of them prefers death to the company of a spy who, unlike Mike Myers' Bond avatar, just wouldn't, well, shake a 'Ankhen' is the antithesis of Bond's nocturnal games. But not his diurnal gadgets. Like the arrows that kiss each other to the sound of hissing snakes before falling off in 'Ramayana', Sagar conjures some really tacky gadgets. One of them, like a compass, goes tu-tu-tu whenever Sunil is around. Another, a stethoscope clone, picks out bugs in the (aforementioned) liquor bottles in a Lebanon hotel. In one scene, Sagar beats the future Tom Cruise with a mask that turns a deshbhakt into a traitor. Pity he didn't apply for a patent - the revenue from 'Mission Impossible' would have widened Sagar's 'Ankhen'. Photo credit: IMDb Ankhen's script is both pretentious and prophetic. It features a Kingsmen-like network of saviours - in this case retired INA officers - ready to rid India of its enemy is a curious herd. The head is Dr X, Jeevan, who barks orders through clenched teeth and a voice fraying at the edges, suggesting that he could benefit from a prescription of laxatives. Dr X, who dresses like Hitler in khaki and answers to the call sign of Napoleon, runs a den somewhere in the northeast of India. His goal: destabilise India for the benefit of you-know-who. (Hint: Not Pakistan).advertisementHis most ominous asset is 'Madam', Lalita Pawar. In one scene, the diminutive Pawar slices through a group of men, slashing them with karate chops. For this run alone, 'Ankhen' deserves a Sunil is dispatched to Lebanon to find out who this mysterious Doctor X is. The task is a cinch. Everyone in Lebanon speaks Hindi, and two women, the ones who whisper sweet nothings into his dispassionate ears, are ready to illogical thing leads to another. And Sanskari Sunil completes his DHARAM SERVES COLD Halfway through, you wonder why Dharmendra signed up. His Sunil enters in a Jodhpuri coat, looking like a groom ditched at the mandap, not a suave spy. No dhai-kilo dialogues, no steamy escapades - just a yawn-inducing sanskarism that leaves Garam Dharam the penny drops: 'Ankhen' isn't his film. It's Mala Sinha's show. A box-office titan in the late 60s, Sinha owns every frame. Photo credit: IMDb advertisementShe fits into hairstyles, kimonos, sarees, skirts, and Arabian dresses with equal flair. She stalks Sunil through Japan in a made-for-her intro, belts out Ravi-Sahir's songs in a dramatic platter of emotions, and guns down baddies in the isn't just a spy saga - it's a feminist fest with Sinha kicking stereotypes as deftly as she does gets his moment, though. In a scene made for him. Locked in a cage with a tiger guarding it, he doesn't just escape - —he saws through the bars and wrestles the beast, setting the template for Bollywood's macho showdowns in the 70s, when tigers were in huge its wild gadgety jugaad, 'Ankhen' is a time travel to the 1960s Bollywood - outrageous, earnest, and illogically entertaining. Rewind it for the nostalgia, stay for the sheer audacity of a sanskari spy who makes 007 look like a rebel without a cause, and wine, no women, only desh. That's 'Ankhen' for you.
India Today
24-05-2025
- Entertainment
- India Today
Muthina Haara: A patriotic tale of Kodava soldier, his family, pride and pain
In this week's Retro Review, we pick a 1990 Kannada classic. 'Muthina Haara', set in a time period between the second world war and the Indo-China war of 1962, touches upon sensitive topics like repercussions of war, mental trauma of a soldier's family, efficient cultural representation and Muthina Haara (1990)Cast: Dr Vishnuvardhan, Suhasini Maniratnam, KS Ashwath, Master Anand, Sadashiva Brahmavar, Prakash Raj, Ramkumar and Rajendra Singh BabuBox-office status: Hit (Became cult-classic over time)Where to watch: YouTubeWhy to watch: Understand repercussions of war, trauma endured by defense families, how to make films with good cultural representation. An old poster of 'Muthina Haara' (PC: Wikipedia) advertisement'Uri: The Surgical Strike', 'Amaran', 'Shershaah', 'Lakshya', 'LOC Kargil' - these are all examples of blockbuster or cult classic army films in Indian cinema that have left a mark in the hearts of most Indians through their depiction of a soldier's life, courage, and valour. But to the new generation, war drama films from the '90s are now history - something not often discussed, and for many, not interesting enough.'Muthina Haara' is a film that is so dear to Kannada households that it is a regular on TV every Independence Day and Republic Day. Featuring one of the most iconic pairs from the golden age of Kannada films - Vishnuvardhan and Suhasini Maniratnam - the Rajendra Singh Babu's cult classic holds significance in the history of cinema. Rajendra Singh Babu has several titles to his filmography - 'Bandhana' and 'Antha' - which were blockbusters upon release and remain iconic to this day. Perhaps we'll get to those titles later down the line, but 'Muthina Haara' is our first choice for one reason - scale and ambition. Having produced the film himself, Babu took a huge risk, which didn't really pay off completely at the time of release. The film, which was initially accepted only in tier-1 cities, gained full recognition over the years as audience sensibilities evolved. A picture of Rajendra Singh Babu with former Vice-President M. Venkaiah Naidu at IFFI 2106 (PC: Wikipedia) advertisementThe film is certainly not flawless. It has its fair share of plot points that could be memes today - the hyper-dramatic acting at times, the occasional disregard for logic, the 'jugaad' shots here and there. These 'at moments' crop up regularly, especially if the film is judged based on today's sensibilities and trends. However, these demerits do not cast a shadow on the key themes 'Muthina Haara' stands film explores multiple avenues - romance amidst chaos, life through a soldier's lens, the rooted and regional culture of the Kodavas, and more. At the same time, from a filmmaking standpoint, its approach to screenplay - tracking the life story of the lead pair - did not only focus on drama but also integrated a range of other ingredients that made it feel both authentic and War - Drama through traumaThe film explores a soldier's life and his family's temperament as they witness four different wars, each of them playing a significant role in the story. While the names and timelines of these battles aren't mentioned clearly, one can understand the references given in the film to draw parallels and connect the dots. The story of the film 'Muthina Haara' spans between World War II and the Indo-China war of 1962 (PC: Youtube/SRS Media Vision) Starting off in Burma during the Second World War, Achchappa (Vishnuvardhan) is injured in action while fighting for the British Indian Army. The army nurse who tends to his wounds is Lieutenant Annapurna (Suhasini). The two bond over the commonality that they come from the same place - Kodagu in Karnataka. As the treatment goes on, their hearts grow closer, and as the distance between them increases, when Achchappa recovers and gets redeployed to the battlefield, they realise they've fallen for each to the story - Achcha and Anu are married, and Anu gives birth to a baby boy, Veeraraju (Master Anand). Immediately after his birth, Achcha is posted to Korea, hinting at the Indian military's contribution to mediating the end of the Korean War (1950–1953). From there, he receives a promotion as an officer in the Indian Army and is posted to serve in reaching Rajasthan, Achcha sends a letter to Anu asking her to join him with Veeraraju and live in his army quarters. Just as they are about to reach Rajasthan, a war breaks out with 'India's enemy' in 1952, and Achcha gets deployed. Anu and Veeraraju are picked up by an army convoy along with the families of other soldiers. While on their way to the convoy, they get ambushed and Veeraraju is martyred while Anu gets lost in the deserts of Rajasthan. A still from 'Muthina Haara' (PC: SRS Media Vision) advertisementAchcha who is on his way to base from the Warfield notices Anu and realises what has happened. While having to deal with the pain of losing their only son, the couple decide not to go back home or to inform their parents of Veeraraju's passing. Years pass with Achcha and Anu choosing to spend their lives in service. They are now posted in Kashmir, with Achcha having risen in rank to become a commander training young cadets, while Lt. Anu heads the medical division in the camp. Navigating their trauma - and facing new ones - the couple have held on to each other through thick and thin, before war is declared once again and Achcha returns to the what seems to refer to the India–China war of 1962, which took place between October and November, Achcha and his battalion, having entered enemy territory, are captured by the Chinese. Despite being tortured to divulge military secrets, Achcha manages to escape along with his entire battalion without leaking any information. However, he gets mortally wounded while trying to hold the enemy back as his comrades escape. Achcha somehow manages to hold on until he reaches Indian soil, to give a final salute to the emotional weightage aside, the action choreography of the war sequences may seem a tad caricatured - perhaps more so to those who have only watched modern war dramas or Hollywood classics like 'Saving Private Ryan' (1998). But when you take into consideration the film's budget (from the 90s) and the final output achieved, the technical shortcomings can be forgiven. The result, accomplished on a budget that's peanuts compared to 'Saving Private Ryan' or any of the Bollywood films produced in the '90s, makes 'Muthina Haara' stand apart from the rest.'Muthina Haara' does not use war as its primary focus. Instead, it uses wars to focus on their repercussions on a military family - especially the lead couple, whose romance bloomed amidst one of those wars. The film does not use war to show countries engaging in battle in a villainous shade, but instead shines a light on the bravery, valour, and patriotism of the Indian representation - The right lindThe film shines a light on a minority community from the Kodagu district of Karnataka, called the Kodavas. The Kodava people have a way of life that is unique and distinctive when compared to their neighbouring cultures and traditions. The Kodavas are stereotypically (no complaints) known for three things: military contribution, hockey, and the best coffee (subjective). A still from the film 'Muthina Haara' with the lead Vishnuvardhan and Suhasini in traditional Kodava attire (PC: Youtube/SRS Media Vision) Writer VM Joshi and director Rajendra Singh Babu put in the effort to understand the history, culture, and traditions of the Kodavas and have integrated them efficiently into 'Muthina Haara'. Although it might lean on the lines of glorification, it is still better than misrepresentation or complete culture swapping (yes, that is a 'Skyforce' reference).'Madikeri Sipayi' and 'Kodagina Veera' are songs from the film that have become a bridge between Kodava culture and its understanding among the people of Karnataka. While 'Madikeri Sipayi' is a romantic song establishing the love between Achchappa (Vishnuvardhan) and Anu (Suhasini), it is partly sung in Kodava Takk (language of the Kodava) and partly in Kannada. 'Kodagina Veera', on the other hand, speaks about the way of life of the Kodavas at the time. A still from the song 'Kodagra Veera' from the film (PC: Youtube/SRS Media Vision) The dialogues are also partly in Kodava Takk during key moments to ensure the essence of the culture is retained. From the costumes worn on set to the customs shown in the film - be it that of a wedding or the celebration of the harvest festival 'Puthari' - the makers ensured that the culture is portrayed as accurately as terms of cultural representation, the Kodava wedding scene and the song 'Kodagina Veera' stand out for their authenticity in costume, culture, and creativity. 'Muthina Haara', which translates to a pearl necklace, has cultural significance among the Kodavas as well. Pearls are a significant part of a Kodava bride's Kokkethathi pendant - a crescent-shaped piece adorned with rubies, pearls, and the image of Goddess film is a study material for several theses that delve into the topic of cultural representation. However, the film as an individual entity can also be broken down and studied for the way it integrates India's patriotism with its distinctive culture. This sincerity was a trait seen in films of the past. Unfortunately, with people's increasing inclination towards metro life today, even accurate cultural representation in films - especially when it concerns minority groups - has become of cinematic brillianceTo say that 'Muthina Haara' was ahead of its time would be an understatement. Were it to be remade today with modern technology and adapted to present-day sensibilities and trends, the screenplay and themes would be so relatable that a big, bright box-office future would be almost certain for the film. Considering the fact that the film was made in 1990, it showcased several cinematic elements and moments that are purely brilliant. While attention to detail in the cultural representation of the Kodava is one of those factors, from set design to cinematography and more, there's a lot more to the Singh Babu's visionary approach to storytelling - something that was prevalent in his previous films as well - was evident in this film. The film was shot for more than 30 days in Kashmir, with the crew facing several disturbances in the shooting schedule due to extremist interruptions in the area. They also shot in Jaisalmer, Rajasthan, bringing more authenticity to all the border conflict scenes in the film. A practical stunt with Vishnuvardhan riding a Camel while shooting in Rajasthan (PC: SRS Media Vision) The director, in an interview, admitted that he pays great attention to set design, props, and costumes in order to make the set resemble the time and setting the film was based on. In this film, his efforts have certainly paid off. Reportedly, the furniture used in the opening sequence of the film - the hospital where the lead pair meet - was imported from Burma for authenticity. Including British flags, anti-Hitler posters, and several other elements only added to the overall cinematography in the film also shines in several moments. Not just the picturesque takes of the beautiful landscapes that the film was shot in, but there were also several moments where excellent use of lighting and aesthetics can be observed, which communicated the emotions the characters were going example would be when Achchappa is captured by the enemy in the latter half, where he is tortured by the enemy who are trying to extract military secrets and strategy. There is a shot where Achcha's moustache and hair are shaved off, and he is left alone in silence while water droplets - one drop at a time - keep falling on his acting, folly sound of the water dropping on his head, and the BGM slowly creeping up to establish the void and the agony - all add a lot of emotional weight. Finally, the set design and lighting made the scene cement in the hearts of the viewer. Forever. The blues in the background, with glasses of different shades, and the saturated orange/red colour on Achcha's face seamlessly communicate his anger, pride, and agony at the same time. Mind-blowing! Stills from the torture scene (PC: Youtube/SRS Media Vision) Director Rajendra Singh Babu chose not to take the conventional approach and give the film a 'happily ever after' climax. Nor did he choose to tone down the intensity of the film to make it more commercially appealing. He bravely stuck to his core idea and did not compromise his vision for commercial an established superstar like Vishnuvardhan and a sought-after actor like Suhasini did not have to put themselves in risky areas like the conflict zones in Kashmir - but they did! And so did the rest of the crew along with them. This level of dedication, although it might not have paid off as expected upon release, earned its due over the course of you want to watch a Kannada cinema classic, get introduced to a great director and some excellent actors, this film is for you. If you are a sucker for high-on-emotion tragedies that leave an after-effect that takes a moment to heal, this film is definitely for you! Also, 'for research purposes' or otherwise, if you want to know who the Kodavas are, this film is for you!
India Today
18-05-2025
- Entertainment
- India Today
Haqeeqat, a war film forged in India's steely defiance in defeat
As part of our Retro Review series on Hindi films from the past, we revisit 'Haqeeqat', the epic that soothed India's pain of the 1962 Haqeeqat (1964)Cast: Balraj Sahni, Dharmendra, Priya Rajvansh, Jayant, Vijay Anand, Sanjay Khan, SudhirDirector: Chetan AnandMusic/Lyrics: Madan Mohan, Kaifi AzmiBox-office status: HitWhere to watch: YouTubeWhy to watch: For expansive, gritty war scenes shot in Ladakh, capturing both beauty and painMoral of the story: In every defeat there is a victory, even if moraladvertisement'Haqeeqat' isn't a movie. It is the template for almost every war film made in Bollywood since 1964. 'Border' is 'Haqeeqat', 'LoC-Kargil' is 'Haqeeqat', even the recent Tamil biographical film 'Amaran' (2024) is 'Haqeeqat'. Like the beginning of an era that defines everything before and after it, 'Haqeeqat' is a pivotal moment in Indian cinematic epic Indian war films follow a simple stylesheet. They introduce an ensemble, mostly young men - because war is primarily a tragedy where the old cremate their young. The narrative builds with the backstories of these men, full of dreams and hopes. Songs of love, separation and military-camp camaraderie follow as a war looms. And then there is the inevitable death. In eyeball-to-eyeball conflict with a ruthless enemy. As Chetan Anand, the director of 'Haqeeqat', told Satyajit Ray, a war film is a mosaic - of life, love, hate and death. Photo credit: IMDb advertisementIn 'Haqeeqat', Chetan Anand crafts this mosaic with philosophical beauty, creating poetry in the middle of mayhem. He layers it with poignant moments of valour and loss, lyrical songs that epitomise pain and sacrifice. And two hours of raw, intense war. With sweeping shots in black and white of Ladakh, its monstrous deserts, imposing hills and daunting streams, he captures both its horror and magnificence. If not for the inherent tragedy, 'Haqeeqat' would have made you fall in love with war. All's fair, beautiful and horrifying in SCRIPTA lost war, like personal grief, is impossible to revisit. Its humiliation cuts like a shard. Its pain haunts like a silent ghost. So, it was bold of Chetan Anand, the eldest of the Anand brothers, to make a film on India's loss in the 1962 Sino-Indian war. And that too, when the wound was so raw that it was tantamount to sprinkling salt over Anand picks up the defiant resolution of a handful of soldiers to showcase bravery, underlining valour even in retreat, defeat and death. Loosely inspired by the battle of Rezzang La, 'Haqeeqat' shows the heroic last stand of Indian soldiers outnumbered by the Chinese at forward posts in Ladakh. (Much like the battle of Longewala immortalised in JP Dutta's 'Border').advertisementThe battle of Rezzang La was fought by 13 Kumaon, led by Major Shaitan Singh, on November 18, 1962 at 16,000 feet in freezing conditions. On being confronted by the Chinese, who crept up on them before dawn, the 120-140 Indian soldiers fought for five hours, literally to the last man. Major Singh, who sustained multiple gunshots, refused to fall back. For his bravery, Major Singh was awarded the Param Vir Chakra, India's highest military employs the flashforward-flashack narrative that has become the hallmark of such movies. He traces the 1962 tragedy through several sub-plots that finally converge. The film's main arc follows Major Ranjit Singh (Balraj Sahni), whose soldiers have been forced to retreat. To help him evacuate, Captain Bahadur Singh (Dharmendra) fights a heroic battle. In the climactic moments, a local girl - Anand's lifelong muse Priya Rajvansh - joins Bahadur Singh in a till-do-us-part pact. Photo credit: IMDb But 'Haqeeqat' is also a political film. It captures India's disgust with China for the unexpected, brutal war. In one scene, Balraj Sahni rails against Chinese treachery. 'We lobbied for them on international platforms. We followed the five principles of peace. We rolled out the red carpets for their visiting leaders (Chinese premier Zhou Enlai); we even asked them to decorate our soldiers for bravery. And, they put bullets in the chest of the same soldier.' His diatribe is amplified by real footage, lending a docudrama edge to the another, Sahni's character spits disdainfully as a Chinese soldier repeats ad nauseam, 'Hindi-Chini bhai-bhai.' To show his rage against the back-stabbing Chinese, a soldier thrusts his bayonet into Mao Zedong's Little Red Book, the ideological Bible of Communist pride was hurt by the defeat in the two-theatre war in Ladakh and NEFA (now Arunachal Pradesh). Unprepared for high-terrain battles, soldiers were cut down by the Chinese, forcing a retreat and surrender. 'Haqeeqat' stands out because it is cathartic. Its central message of defiance in defeat still AS DEFIANCEIn his epic 'Dr Zhivago', Boris Pasternek describes art as spiritual defiance. India's humiliating loss in 1962 produced two of the greatest calls for defiance in Indian music's history. Lata Mangeshkar's 'Ae Mere Watan Ke Logon,' and Mohammad Rafi's 'Kar Chale Hum Fida' - 'Haqeeqat's' swan lot has been written about Lata Mangeshkar's 'Ae Mere Watan Ke Logon'- a song that starts like a dirge and roars like a revolution. Some day we will revisit the legacy of its writer Kavi Pradeep and composer C now, watan ke logon, remember Rafi, Madan Mohan and Kaifi Azmi for their greatest contribution to cinema.'Haqeeqat' ends with the defiant words of Kaifi Azmi, 'Kar Chale Hum Fida'. Its patriotic fervour rivals 'Mera Rang De Basanti'- the song Bhagat Singh sings to the gallows in 'Shaheed' (1965). Each line is steeped in sacrifice and valour - stirring thamti gayi, nabz jamti gayiPhir bhi badhte kadam ko na rukne diyaKat gaye sar hamare to kuchh gham nahinSar himalay ka humne na jhukne diyaMarte marte raha baankpan saathiyon Kaifi's words soar like the Himalayas in Mohammad Rafi's voice, lifting the spirit like an anthem of the undefeated. In the background, Madan Mohan arranges a feast of light strings that start on a sombre note and then explode with violins and brass instruments that go to war. A fitting requiem for the brave, a symphony of resilience, a daring invite to the embrace of like 'Haqeeqat', this isn't just a song. It is a declaration of India's steely resolve - bent but not broken. Photo credit: IMDb PS: In 1965, after the war with Pakistan, Kaifi Azmi wrote a poem inspired by the Bhagavad Gita. It appears in Chetan Anand's 'Hindustan Ki Kasam' (worth watching, but for the poor print), as an ode to the role of the Indian Air Force in the 1971 India is in the throes of a conflict, Kaifi Azmi's lines are worth remembering:Whether a war is a blessing or a curse,Don't ask this question now,Now that it has been thrust upon usA war can only be a blessing!
