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Directed by: Hrishikesh Mukherjee
Music: Hemant Kumar
Lyrics: Kaifi Azmi
Starring: Sharmila Tagore, Tarun Bose,
Dharmendra, Deven Varma,
Shashikala, David,
Brahm Bhardwaj,
Durga Khote, Dulari,
Naina
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December
8 marks the birthdays of two of my favourite actors – Dharmendra and Sharmila
Tagore. They made a gorgeous couple. To celebrate their joint birthdays, I decided
to review one of my favourite films of all time.
The
story of a young girl who breaks off not only from the shackles of her own personal
trauma, but learns how to make her own choices, free from coercion – benign or
otherwise.
The
story of a young man, who loving the girl, cannot, will not, take decisions for
her, because he doesn’t want her to trade a father who rules her for a husband
who will.
The
story of a man, who torn apart by personal tragedy, cannot love his daughter
except through an alcoholic haze. And who feels guilty because he cannot accept
her when he’s sober.
As
always, there aren’t ‘bad’ people in Hrishida’s universe. Painfully flawed,
perhaps, but human in their flaws. That doesn’t lessen the hurt they inflict on
the ones they love dearly, however.
Anupama opens
with a different kind of love story – that of an older man, Mohan Sharma (Tarun
Bose) married late, who dotes on his new bride, Aruna (Surekha Pandit). They
are deliriously happy, and soon Aruna is expecting a baby.
Mohan is quite
satisfied with his life but is swept away by Aruna’s happiness. Alas,
complications arise during the pregnancy, and Aruna dies in childbirth.
Inconsolable,
and blaming his little daughter for Aruna’s death, Mohan banishes her into the
keeping of a nurse, Sarla (Dulari). Mohan turns to his work for solace. That takes
care of the days, but the nights are a different matter. Soon, Mohan is seeking
solace in alcohol. And his little daughter, Uma, is growing under the shadow of
neglect and utter dislike.
It’s
as if Mohan is torn – sober, he doesn’t want to even see his daughter’s face.
Drunk, he’s remorseful, and showers her with love and gifts. Internalising his
dislike and blaming herself for her mother’s death, Uma grows up into a shy,
retiring young woman (Sharmila Tagore).
Uma is socially inept and faced with
her father’s vacillation between rage and lachrymose affection, is terrified of
meeting anyone, or indeed of voicing an opinion at all. She finds her comfort in her writing, her books, and in Nature.
But
Mohan’s alcoholism is beginning to affect his health. And his family doctor
advises him to take a break from work and alcohol if he wants to live. So, Mohan,
with Sarla and Uma in tow, decides to accept his friend, Suresh Bakshi’s (Brahm
Bharadwaj) invitation to visit him at Mahabaleshwar.
There,
Uma is introduced to Anita (Shashikala) – ‘Annie’ – a preternaturally cheerful
young woman her age. Anita, too, had lost her mother at an early age. Unlike
Uma, however, Anita is a lovingly spoilt, confident young woman, the apple of her father's eye. Visiting
Mahabaleshwar is Arun (Deven Varma), the son of Mohan’s late friend, who Mohan hopes,
will marry Uma. With Arun comes his best friend Ashok (Dharmendra), a
principled teacher, and the latter’s mother (Durga Khote) and sister, Gauri (Naina).
Annie, who is of the ‘Hail fellow, well met’ well-meaning but overbearing type, harangues Arun
and rides roughshod over Arun's mother and sister, forcing everyone to come and stays at the family guest house adjoining their spacious villa.
Setting a chain
of events which will eventually lead to Uma’s emancipation.Ashok,
a teacher by profession, is also a poet and writer. He’s drawn to the quiet
Uma, and his sensitivity does much to draw her out of her shell. His mother’s
affection is balm to the love-starved young woman; for the first time in her
life, she has found someone who accepts her whole-heartedly.
Watching
her bloom under their warmth, both Sarla and Annie encourage the friendship
that continues even after the families return to Bombay. Ashok’s feelings
towards Uma are deepening and it is clear that she reciprocates his quiet
affection. It is a romance that grows slowly, organically, and is all the more
realistic because of that.
Unbeknownst
to them, another romance is flourishing. Arun is finding the talkative, chirpy
Annie more to his liking than the proposed match with Uma. And Annie, despite
teasing him mercilessly, finds herself falling in love with this gentle man. Waiting
in the wings is Uncle Moses (David), who is happily encouraging both couples to
discover their own hearts. But poor Arun, ‘promised’ to Uma, is frightened
stiff of letting Mohan know that he’s changed his mind. And Mohan detests Ashok
– for not being rich; for not using his education to get ahead; for not being ‘worthy’
of his daughter. He even forbids Uma to meet Ashok. And Uma is terrified of her
father. How
will these tangled relationships be resolved?
Hrishikesh
Mukherjee’s Anupama was poetry on celluloid. In this, he was aided by
Jaywant Pathare’s cinematography, that delicately framed shades of black and
white.
Hemant Kumar composed some lovely melodies for this film, even lending
his voice to Dharmendra for Ya dil ki suno. Dheere dheere machal (Lata
Mangeshkar), picturised on Surekha Pandit is a perennial favourite. Kuch
dil ne kaha, also sung by Lata, Bheegi bheegi faza and Kyun mujhe itni khushi de di (both rendered by Asha Bhosle), complete the soundtrack. Kaifi
Azmi, who wrote the lyrics for all the songs, excelled in expressing the turmoil
in a young girl’s mind in Kuch dil ne kaha:
Dil ki tasalli ke liye jhoothi chamak jhootha nikhaar
Jeevan to soona hii raha sab samjhe aayi hai bahaar
Kaliyon se koi poochta hasti hai ya roti hai
Kuch aisi bhi baatein hoti hai
Kuch dil ne kaha kuch bhi nahiin
Kuch dil ne suna kuch bhi nahiin
Sharmila
Tagore plays Uma. Shy, withdrawn, afraid of her own shadow. Deeply hurt by her
father’s neglect and shouldering the blame for her mother’s death on her frail
shoulders. Sharmila barely got to speak until halfway through the film, and
even then, her silences held more eloquence than the most eloquent dialogues.
Sharmila lived that role – of a daughter who yearns for her father’s
acceptance.
Her growing fondness for Dharmendra’s Ashok was also in
character – a few furtive glances, a half-smile allowing her dimples to flash.
Hrishida gave Uma room to grow, and Sharmila (bouffant or not) breathed life
into her.
There is one scene which I found heart breaking – the scene
where Mohan, in alcoholic stupor, goes into his daughter’s room. Having
experienced his anger and his hatred, Anupama shuts her eyes and pretends to be
asleep. Mohan gently stoops down and kisses her on her forehead; the pain on
his face, the trepidation on hers – it’s filled with a hint of ‘If only…’
Ashok is not a white knight riding to the fair damsel’s rescue. Ashok has seen
the world; he knows Uma has led a sheltered life until then and that he’s
perhaps the first person who’s truly listened to her silences. So, when Anita
exhorts him to run away with Uma, he demurs. Main
nahin chahta uske baap ki tarah apne khayalat, apne asool uspe thons kar use dimaagi taur par apahij bana doon. Ek
insaan ki aazadi utni hi keemti hai jitni ek desh ki. (I don’t want to impose my thoughts and ideals on her
like her father does; a person’s freedom is as important as that of a
country’s.) He
loves her, but he will not make her choice for her – she has to come to him of
her own free will. Ashok
gives Uma the tools with which to make her decisions. More importantly, he
implies – through his actions – that she has a right to make her own decisions.
He offers her unconditional friendship and unconditional love. When he gives
her a copy of his book, Anupama (The Incomparable One), he confesses
that she’s his muse. “Aap hai meri Anupama.” (You are my Anupama.) An
achingly handsome Dharmendra showed us what a sensitive actor he could be given
the right director. His quietness has its own charm, and even a ‘we are poor
but happy’ speech didn’t sound preachy – it sounded like a self-respecting man standing
up for himself. Films like Anupama and Satyakam makes you wish he had done more
of such roles. We lost a fine actor to the mindless action films he became
known for later.
It
also helped that in Hrishida’s world, the rich are not villainized just for
being rich. And so, we have Anita and her father, who are both rich and
generous, kind and compassionate. Annie fights not only for her own love, but for that of Uma's and Ashok's as well.
Annie is the oak on which the emotionally fragile Uma
leans, the person who vocalises the feelings that Uma cannot bring herself to
express in words. She also has no patience for what she sees as cowardice, as
is seen when she snaps at Ashok for just sitting and waiting. Why can’t he just
elope with Uma?
I
must confess that Hrishida’s mentor (the film is dedicated to 'Bimalda') did better with the stock gregarious
character in Sujata than did Hrishida here – Annie's peppiness grates after a
while. Shashikala is a fabulous actor though, but I do wish she had been reined in a little bit.
They
were supported by a rich ensemble of actors – each competent in their own roles
however big or small, with fully fleshed-out characters – Deven Varma, David, Durga
Khote, Dulari, etc.
Deven Varma as Arun, supposed to marry Uma,
but falling in love with Anita ‘Annie’ is adorably confused; David plays the
stock benign uncle, but he too is charming as Uncle Moses, an older gentleman
who understands the hearts of youngsters better than they do themselves.
Their
inter-relationships are also warm and loving - the loving camaraderie
between Arun and Uncle Moses, Arun's very real friendship with Ashok,
Arun's relationship with Ashok's mother (Durga Khote) and sister are all
relatable and smile-inducing.
But if Sharmila was the soul of Anupama, then the man who
played her father – Tarun Bose – was its flesh and blood and heart.
As
Mohan Sharma, Bose played the role of a man who is so desperately in love with
his wife that her death destroys him. Spiralling out of control in a vortex of
grief, he begins to drown his sorrow in a bottle, leaving his baby daughter to
be brought up by a nurse. Sober, he hates Uma, seeing in her only her dead
mother’s face. Drunk, he is remorseful. “Tera qasoor kya hai? Main tujhse
kyun nafrat karta hoon?” (What’s
your fault? Why do I hate you so much?) he asks, looking at his infant daughter.
As
the alcoholism takes its toll on his health, he is forced to come to terms with
not just his own mortality, but his teetering relationship with his daughter,
who finally finds the courage to make a choice. And voice it. Anupama explores
a rich tapestry of relationships – with all its knots and flaws and human
frailties. In the penultimate scene, Uma, who has fallen asleep reading Ashok’s
novel, wakes up and shuts off the bedroom light. Caught between her own crippling
shyness and the chance of happiness with a man who loves, respects and supports
her, she moves to the window and draws the curtains apart – sunlight greets
her, banishing the darkness from her soul. Her decision is made.
What
follows is one of the most powerful scenes in cinema – a scene that is totally
owned by Bose. His daughter is leaving. And Mohan – repentant,
remorseful, filled with regrets – can only bless her from afar. The ties that bound
Uma to him, that caused her such immense pain, are broken. So is he.
Poetry
on celluloid. That will always be my view of Anupama.
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