Balraj Sahni – Understated Realism

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PROJEKT iVIEW   | Talking-Points | January 2, 2009 at 9:39 am

iView Author: Satyendra Jha (Pune, India)
Email: satyendrajha30(at)gmail(dot)com

Balraj Sahni – Understated Realism

There comes an actor in decades who we love to watch for the simplistic portrayal of the most layered nuances. Balraj Sahni (born Yudhisthir Sahni) was one such gem on Indian cinema.

Those who have seen him in two of his arguably best roles, Do Bigha Zameen and Garam Hawa, would have no doubt that Balraj Sahni was the main pioneer of neo-realistic movement in Indian Cinema, that was later carried forward by the likes of Shyam Benegal, Govind Nihlani, Naseerudding Shah, Om Puri, Shabana Azmi, Smita Patil etc.

Not surprisingly, the two movies mentioned above are not only the highlight of his illustrious film-career but also encompass the entire arc of his acting life. Do Bigha Zameen came in 1953, when he had just started getting recognised in the industry. The film, and the awards that followed, brought him recognition both at national and international level. To win the National Award and the Prix Internationale at Cannes was no mean feat, and even Satyajit Ray, the maker of Pather Panchali and already hailed in international film fraternity praised the film and Balraj Sahni as probably the best thing to have happened to Indian Cinema. For many, Balraj Sahni’s life begins with Do Bigha Zameen.

Garam Hawa released in 1973, and is the last well-known film Balraj Sahni acted in. prior to its release, the movie was much discussed for its anti-communal overtones, and the censor board was in two minds about the likely impact the film might create on the Indian Diaspora. Also, considering the fact that India had just come out of another war with Pakistan, the feelings between the two communities were rather sensitive even then. However, the director M.S. Sathyu’s persistence and perseverance with the film paid off, and upon release, the movie didn’t disappoint anyone, and went onto become a critically-acclaimed as well as a commercially successful film, a rare achievement on its own. The movie won major awards in India, including the National Integration Award, and was nominated for major international awards like Academy and Palm D’ Or at Cannes.

The fact of these two movies completing his circle of professional life, and both bringing him laurels at an international level in almost a similar fashion, though being separated by almost two decades speaks volumes of the command over his vocation that Balraj Sahni enjoyed throughout his career. However, for the majority of the cine-going public, probably the first image that comes instantly to mind is that of a wealthy man in his forties crooning love-ballads to his wife with three children in Waqt. The song ‘Aye Meri Zohra Zabeen’ is considered a cult even today, and is the introduction reference of many young cinegoers who naively ask – Balraj Sahni who? To share the screen space in Wqat with the big stars of that time – Sunil Dutt, Raj Kumar and Sadhna, not to forget the talented new-kids-on-the-block Shashi Kapoor and Sharmila Tagore – and still steal the show from right under their nose and emerge as the most talked-about performance is a proof in itself of his acting prowess and professional standing.

He also worked in many other memorable movies of that era, like Seema, Bhabhi, Kabuliwala, Haqueeqat, Ek Phool Do Maali, Hanste Zakhm etc., but most of his movies saw him playing him an integral part in the movie as a patriarchal character. His sensibilities didn’t allow him to do the typical running-around-the-trees and wooing-the-heroine roles. However, to be fair, his age was also not conducive to engage in such frivolities.

Few would even expect the actor portraying such rustic and ‘earthy’ roles to be a highly sophisticated, westernised and well-read in real life that Balraj Sahni was. He was the typical Indian intellectual, having studied abroad, and had a stint at Tagore’s Shantiniketan as the English teacher. He had also worked with Mahatma Gandhi for the independence-movement, and later in life, channelized his leadership qualities to revitalise the Indian People’s Theatre Organisation (IPTA), which used to be patronised by the likes of Prithviraj Kapoor, Ritwik Ghatak, KA Abbas and Utpal Dutt. He felt the need of addressing the plight of the common man through his profession, and brought out the suffering of the masses through stark and vivid portrayal of his plays and “nukkad-naataks”.

He died of a massive heart-stroke in 1973, and gave us not only some of the most memorable realistic character-portrayals on Indian cinema but also an awakened sense of realism through his sensibilities and social-awareness. His shoes have still not been filled by any worthy successor, and we await the day when a ‘Yugandhar’ like him will bless us once again.

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11 Comments

  1. Shekhar Shimpi Shekhar Shimpi says:
    January 2, 2009 at 10:09 am

    Ashok Babuji from Seema is unforgettable.

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  2. Vikram Vikram says:
    January 2, 2009 at 10:29 am

    I agree,He was among the 1st actors to bridge commercial and alternate cinema :)

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  3. Sethumadhavan Sethumadhavan says:
    January 2, 2009 at 12:03 pm

    Jha- Good to see you write about Balraj Saab.I always felt he was an extremely fine actor who could have gone places but chose not to compromise & be a part of the rat race.Be it Waqt,Haqeeqat,Seema,Garam Hawa etc all the movies in which he appeared were good & he left his mark on them.I in particular cannot forget Do Bigha zameen- the race scene still moves me badly.And he brought alive Kabuliwala so well on screen.It looked like Rabindranath Tagore literally had him in mind while writing Kabuliwala- that showed how well he blended with the character- brilliant no doubt.

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  4. girish girish says:
    January 2, 2009 at 6:56 pm

    Mr Jha..The ‘Great’ Sahani was truly a gem on indian cinema..no doubts!!..He has done brillient job in ‘Do bhiga zamin’..perhaps,one of the greatest peroformances in indian cinama.Thanx for your wonderful article…I feel,we should remember people like balraj sahani,gurudut and ritwik ghatak..they are true legends of indian cinema..

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  5. Ratnakar Sadasyula Ratnakar Sadasyula says:
    January 2, 2009 at 7:06 pm

    One of the greatest Indian actors ever. In an age when OTT acting was a staple, Balraj Sahni, bought a quite dignity, restraint and understatement to his role. Even in total masala flicks like Jawaani Diwani, Do Raaste, he stood out with his dignity.

    Also loved his performance in Haqeeqat, as the army officer. The scene where he walks into a tent on crutches, and salutes Jayant, his superior officer, is just so moving.

    Other great performances of his

    Seema, Bhabi Ki Choodiyan, Kabuliwala, Pavitra Paapi.

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  6. Shekhar Shimpi Shekhar Shimpi says:
    January 2, 2009 at 8:44 pm

    Still remember the song from “Seema” ,
    Where his character singing the prayer song
    ”Tu Pyar ka Saagar hai , Teri ek Boond ke pyaase hum”, in front of orphan kids.
    -
    Anybody know how is “Black Cat”, where Balraj Sahni plays role of Agent Rajan
    -
    Also I used to cast him as a Phileas Fog (with moustache) character from “Around the World in 80 days”, and Johnny Walker as Passepartout

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  7. chavanni chap chavanni chap says:
    January 3, 2009 at 4:25 am

    बलराज साहनी की नज़र में फिल्मों की पंजाबियत
    चवन्नी यह बात जोर-शोर से कहता रहा है कि हिन्दी फिल्मों में पंजाब और पंजाबियत का दबदबा है.कुछ लोग इसे चवन्नी की उत्तर भारतीयता से जोड़ कर देखते हैं.आप खुद गौर करें और गिनती करें कि अभी तक जितने हीरो हिन्दी फिल्मों में दिखे हैं ,वे कहाँ से आये हैं.आप पाएंगे कि ज्यादातर हीरो पंजाब से ही आये हैं.बलराज साहनी भी इस तथ्य को मानते हैं।
    बलराज साहनी की पुस्तक मेरी फिल्मी आत्मकथा के पृष्ठ २४ पर इसका उल्लेख हुआ है.बलराज साहनी के शब्द हैं:

    और यह कोई अनहोनी बात भी नहीं थी. पंजाब प्राचीन काल से ही आर्यों, युनानी, तुर्की और अन्य गोरी हमलावर कौमों के लिए भारत का प्रवेश-द्वार रहा है। यहां कौमों और नस्लों का खूब सम्मिश्रण हुआ है। इसी कारण इस भाग में आश्चर्यचकित कर देने की सीमा तक गोरे, सुन्दर लोग देखने में आते हैं. इसकी पुष्टि करने के लिए केवल इतना ही कहना पर्याप्त है कि पंजाब सदैव से हीरो-हीरोइनों के लिए फिल्म-निर्माताओं की तलाशगाह रहा है. दिलीप कुमार, राजकपूर, राजकुमार, राजिन्दर कुमार, देव आनन्द, धर्मेन्द्र, शशि कपूर, शम्मी कपूर, तथा अन्य कितने ही हीरो इसी ओर के लोग हैं. इस लिहाज से हमारा पिंडी-पिशौर तो और भी ज्यादा मुमताज रहा है.
    इस नाचीज लेखक की भी उसके फिल्मी जीवन में कई बार गैरी कपूर, रोनाल्ड कोलमैन, हम्फरी, एन्थनी क्विन आदि से तुलना की गई है. देव आनन्द के भारतीय ग्रैगरी पैक कहलाने से तो सब परिचित हैं.
    अपने स्वाभिमान की रक्षा के लिए शेष भारत में भारतीयों ने गांधीजी का अनुसरण किया. पर पंजाबियों के लिए नकल की राह पर चलना बहुत लाभदायक रहा, और इसे वे इस स्वतन्त्रता के युग में भी छोड़ने के लिए तैयार नहीं हैं. बल्कि सच तो यह है कि बाकी हिन्दुस्तान भी गांधीजी की राह छोड़कर उन्हीं के रास्ते की ओर खिंचता चला आ रहा है.
    हमारी फिल्म इंडस्ट्री में भी कभी गांधी तथा टैगोर से प्रेरणा लेकर राष्ट्रीय भावनाएं जागी थीं और न्यू थियेटर और प्रभात फिल्म कम्पनी जैसी संस्थाएं बनी थीं. लेकिन आज पंजाबियों के प्रभाव के कारण इस क्षेत्र में भी नकल का झंडा बड़ी मजबूती से गाड़ा जा चुका है.

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  8. Rahul Rahul says:
    January 3, 2009 at 10:26 am

    A Correction..Satyajit Ray was not ‘already hailed in international film fraternity’ at time of release of Do Bigha Zameen(1953). Pather Panchali released two years later in 1955.
    Ray actually regarded Bimal Roy as his Guru.
    And I would say that pioneer of neo-realist movement in India was Bimal Da. Balraj Sahni was one his comrades in the movement.
    Undoubtedly, he was at his best in Bimal Roy movies.

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  9. Satyendra Jha Satyendra Jha says:
    January 4, 2009 at 8:14 pm

    thx a lot all u guys, for the encouraging comments.

    @ Rahul: thx for the correction abt pather panchali.

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  10. Dewi Dewi says:
    January 5, 2009 at 1:22 am

    Chavanni ji –

    Dilip Kumar, Raj Kapoor, Shammi Kapoor, Shashi Kapoor sab Pathan hain, Punjabi nahin. In sab ka talluk Peshawar se hai. (Kapoor khandan Hindu Pathan hain).

    Jahan tak main Balraj Sahni aur unke khandan ke baarey mein jaanti hoon, is tarah ki khokhli Punjabiyat ka dhindora peetna, aur khaas taur par logon ke rang aur shakl ki baat karna bilkul unke swabhav se mel nahin khata.

    Mujhe shaq hai ki kya waqai aisi baat Balraj Sahni likh sakte hain? Dilli mein Bhisham Sahni (Balraj ke bhai) hamaare padosi they. Dono bhai bahot hi pade likhe aur suljhe huye insaan they. Aisi bakwaas ki ummeed unse qatai nahin ho sakti.

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  11. darkndusky darkndusky says:
    January 5, 2009 at 8:55 am

    u missed “Garam coat” another genius of a film with nirupa roy..saw in on DD long time back .

    Its bitter sweet and keeps you on edge throughout the movie.
    NObody ever played the quintessential middle class/ lower class man better than Balraj Sahni.
    kabuliwala still makes me cry…what genuis.

    His “Bhabhi ki choodiyaan “with Meena kumari playing his wife was lovely too with all the lovely songs like “jyoti kaalash chalke”. I thought meena kumari rocked in such roles as well.

    ditto with Anuradha had classical gems like
    “kaise din beete” and “jaane kaise sapnon me ”

    Lataji scored with these ones and haunts me for a lifetime.

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