Gulzar :: A Midasian touch to mainstream actors
Gulzar Saab worked like a Midas to many actors and changed their life as actors forever. Many actors have phases in their acting career and many filmographies can be classified as Pre Gulzar and post Gulzar phase and many have their other films and then they have their films with Gulzar.
Gulzar Saab made his debut as director with the film Mere Apne and it can be said as a signature marked debut as it was different from the films being made during that time. It was a declaration that now a different director has entered the hindi film industry. Treatment of Mere Apne was different and Gulzar used his actors in a different way. He used Meena Kumari in a very unusual way, which she did not do before and she gave a wonderful performance of an aged widow who has no relative and thus is compelled by situations to take shelter in the home of Ramesh Dev, who wants her at his home because he has found a free care taker for his kids. Vinod Khanna and Shatrughan Sinha were different in the film. Danny made a different debut.
Gulzar repeated only Vinod Khanna later in three of his films Achanak, Meera and Lekin and all four films, Vinod Khanna did with Gulzar, are different and important films of his film career and bring out a better actor out of him. Gulzar has been having a deep observation and a keen eye to capture certain specific histrionics of a particular actor and that’s why he could give different format to the actors who have been known to work successfully in mainstream hindi films and often repeat the roles they do in several films. Jeetendra, Vinod Khanna, Sanjeev Kumar, Jaya Bachchan, Sharmila Tagore, Hema Malini and Tabbu have many films in their credit in mainstream category and then they have their few films with Gulzar, which shine differently as landmark and different films, in their filmography.
Then there is list of actors like Shatrughan Sinha, Danny, Meena Kumari (unfortunately she died young), Suchitra Sen, Shashi Kapoor, Naseeruddin Shah, Rekha, Nana Patekar, Uttam Kumar, Vida Sinha, Sunil Shetty, Shabana Azami and Waheeda Rehman, who worked once with Gulzar and this single film looks different in the crowd of their other films. Naseer and Shabana though did one more film Libaas with Gulzar but film is not released. Naseer also worked in a wonderful tele serial, called Mirza Ghalib, which is another master stroke by Gulzar.
Gulzar can be credited to bring out acting skills of so many stars who were not given respect as good actors. Gulzar presented them in new format and proved that these actors can be liked in non-glamorous roles also.
First Gulzar did it with Jeetendra who had become popular star in late 60s and had earned status of a saleable star at box office with several hit films like Farz, Humjoli, Karvan etc. But Aradhana released and changed the scenario of hindi film industry and for 3-4 years it was Rajesh Khanna everywhere. Rajesh Khanna was not only enjoying box office success but he was able to create many good quality oriented films and many Bengali talented masters were working with him only and were busy in creating their best films. Jeetendra was almost childhood friend of Rajesh Khanna. But while Rajesh Khanna was able to get critical and mass applause, Jeetendra was known as Jumping jack, busy on screen in eve teasing his heroines with his good looks and energetic dances on foot tapping songs.
Other popular star of that era Dharmendra was also enjoying critical acclaim as a fine actor by doing films like, Anupama, Satyakam etc with Hrishikesh Mukherjee. Rajendra Kumar, Manoj Kumar, Biswajeet, Joy Mukherjee etc were unfortunate that they had no Gulzar to use them in his films but Jeetendra was a lucky star.
Gulzar not only signed him for his three films but gave him, his own get up with bespectacled histrionics. Jeetendra plays Gulzar’s alter ego in all the three films. He looks like Gulzar of those years and act differently. Gulzar’s triology – Parichaya, Khusbhoo and Kinara are milestone films in the entire career of Jeetendra and he got respect of serious actor because of these three films. Sensitive part of Jeetendra’s acting persona is visible through the characters he has portrayed in these films. And Gulzar’s direction with a commercially successful star resulted in the good films which got Box office acceptance also. Combination worked very well.
Hema Malini was immensely popular actress in early years of 70s as she was having several hit films in her basket but Gulzar did with her same thing which he did with Jeetendra, that brought her recognition of a good actress. With her also Gulzar made three films – Khushboo, Kinara and Meera and Hema surprises everyone in first two films. She is there, what the character is given to her, in these two films. Though Meera did not get much success and this factor may reduce the importance of the film but film is a good one and Hema Malini did good in the film. Concept was good. Hema Malini is a good dancer and she befitted the role. This is a film which needs retrospection.
Suchitra Sen, Uttam Kumar, Jaya Bachchan, Sanjeev Kumar, Naseeruddin Shah, Shabana Azami have been respected as very nice actors of India and even if Gulzar was not there they would have got same degree of applause for their acting skills but Gulzar’s films with them don’t present them in their usual format. Gulzar’s connection with Jaya Bachchan and Sanjeev Kumar is well known and their films are ably discussed many times.
Gulzar’s Mausam can be said as Sharmila Tagore’s best hindi film. She was very good in Namkeen also. She had worked with Masters like Satyajit Ray before but Mausam presents this actress in full bloom. Comparisons are odious but she can be said as better than Julia Roberts of Pretty Women in almost similar role of a glib prostitute. And here Sharmila had to play double role also. Mausam has more substance in the story and characters played by Sharmila Tagore and Sanjeev Kumar, make it a classic film. Marvellous music of Madan Mohan penetrates deeply the music lover’s heart and contributes to the film to a great extent.
Gulzar used Rekha so wonderfully in his “husband wife’s soured relationship” based film Ijaazat. Anuradha Patel gives her life time performance. Rekha had done role of a estranged or sulky wife in few other films before also but here she is remarkable, thanks to Gulzar’s connection. Shashi Kapoor too, in a small role displays his acting skill of restrained performance which he had already done in an elaborated manner in New Delhi Times.
The fortunate actress, to get Gulzar as an Alchemist in her acting career, is Tabu. Gulzar signed her for Maachis and film changed her from Ruk Ruk girl, to a sensitive actress, who was to win many awards for her acting skill. She was just an ordinary actress and Gulzar’s association changed her outlook as an actress forever. She appeared in Gulzar’s last film as director, Hu Tu Tu.
Given record of Gulzar’s lead actresses in all his films, he can be said as Director of his actresses. He presents them in entirely different manner and extracts out the best from their acting pool.
Nana Patekar has been respected as a powerful actor but his acting and firebrand dialogue delivery where he delivers dialogues with the speed of machine gun was given a new angle when Gulzar signed him for Hu Tu Tu. This film is not regular Nana Patekar film and he acts differently here which he had not done before. He learnt different way of acting through Gulzar’s Hu Tu Tu.
Same happened with Sunil Shetty and Hu Tu Tu can be said his sole film where he has acted in a sensitive and controlled manner.
Dharmendra wanted Gulzar to make Devdas with him but it could not happen. Gulzar started a film based on a famous hindi novel with Amitabh and Jaya Bachchan in lead role but film could not be completed. It’s a pity that Dharmendra and Amitabh could not work with Gulzar, otherwise audience could have got two gems.
Few more dreams are unfulfilled. What if Gulzar might have worked with Dilip Kumar, Kamal Hasan, Smita Patil and Om Puri also during 70s and 80s when he was fully charged as a Director and these actors were also active.
Tags: Acting, Direction
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
RK..thanks for the memory trip.
But honestly just “one” article on Gulzar? Gulzar saab is a saga on India Cinema ….though
this was a good article..it deserved more space…felt as if you rushed up on all the names….will
love to see a detailed post on Gulzar saab one day by you
Anuradha Patel too worked with Gulzar…where is she?
OM:
Right Gulzar saab need much more space. It will be a pleasure to write about him in detail.
But I concentrated on only one aspect of his great contribution to hindi cinema that as a
director he changed image of some mainstream actors. His contribution as script writer,
dialogue writer, short story writer, lyricist and then as Director needs separate posts
dealing all his major areas one by one.
I think I will cover his films one by one. Angoor has been discussed before.
Oz is quite close to Gulzar saab’s cinema and understands him well. He should feel charged
for focussing on few of the aspects of Gulzar saab. Hope he gets time some day for this.:)
Anuradha Patel married to actor Kanwal Jeet Singh (Maachis fame). You might see him last
in Kuch Meetha ho Jaye as retd. army man and in 15th Park Avenue, as a Prof. who wished
to marry Shabana Azami. I think Anuradha did not work in many films after Ijazat.
RK: Thanks for a brilliant well researched article on our most loving film personality GULZAR SAAB.
He is a real jem. He is a great insipiration to the many young and middle age writers, directors.
Once upon a time during 1981 I wanted to become his assistant as I always liked him and his films.
But unfortunately i couldn’t because i was not able to write in Urdu language. But I joined his most
favourite ex chief asisstant Meraj. Through Meraj bhai , I got the many opportunity to go to his
office and study him with very near. I watched his all the films. My favourite films are “Ijaazat”,
Aandhi, Maachis,Mere Apne, Khushbu, Parichay, Angoor. I learned a lot by watchinh his directed
movies and with the movies which he has written also. He has such a wide range of flexibilty in
his writings, lyrics, which has never been seen with any other writer and director. See the glimpse
of a very poius and plutonic love in “Hamne Dekhi hai in aakhom mein mei mahakati khushbu, haath
se chhu kar inhe rishton ka ilzam na do”. You will be surprised that when fell in love with a girl which
is now wife, we followed the this lyric as it is in our affair till we got married. My both daughters are
the serious fan of Gulzar saab. One is 8 years old and other is 15. Since begining they watch very
seriously films of Gulzar saab.See the another view of his range in song” Raja dil maange chavanni
uchhal ke” Kazarare, and latest “Bidi jalayle”. Amazing man amazing talent, seen never before.
Long live Gulazzar Saab. If God permits, deffinately I would like to meet you sir.”
aghori: thanks! Its a pleasure to know that you
have watched him working closely. In his short
stories a mysterious factor is always present
which is not explainable in words of knowledge we
humanbeing may know. Something like Sufi
tradition and same mysterious factor is present
in all his films in one way or other.
Its not wonder that most of his films cover
atleast few scenes with foggy atmosphere of mountains.
Even his songs in non filmi album like Burhe
paharon par, has that effect. Perhaps this
mysterious factor makes him important and
different though poets deeply affected with
communist ideology like Kaifee Azami never liked
him and called him as emotional poet. But there
is only one Gulzar saab while others can have
competition and similarity but he is unique. He
deals in subtle way and that feminie way makes
his work more appealing and charming. Sweating is
there in his creative writing also and if its not of a
labourer then its of a man in general whose
profession does not affect the basic emotions of
humanbeing. His work is pure, without getting affected by
any revolutionary ideology which are although
have been failed all over the world. His work is
abstract, He allowed once to be affected by others ideology
and he ended up with Hu Tu Tu, his weakest film (Though RDB with similar ending
got super hit success).
A master, when given full independece.
Whoelse can write the below given Nazm?
” Raat bhar sard hawa chalti rahi
Raat bha hamne alaav taapa
Maine maazi se kai khushk see shaakhien kaati
Tumne bhi gujre hue lamhon ke patte tode
Meine jebon se nikali sabhi sukhi nazme
Tumne bhi haathon se murjhaaye hue khat khole
Apnee in aankhon se meine kai maanze tode
Aur haathon se kai baasi lakeeren phenki
Tumne palkon pe nami sookh gayee thee, so gira di
Raat bhar jo bhi mila ugte badan par humko
Kaat ke daal diya jalte alaawon main use
Raat bhar phoonkon se har lau ko jagaye rakha
Aur do zismon ke indhan ko jalaye rakha
Raat bhar bujhte hue rishte ko taapa humne”
Thanks for sharing your experiences with him.:)
Ohhh “Burhe paharon par”, thanks RK, for just mentioning the album …
the song “Naa jaane kya tha” …. kaha gaye woh din !!:):)
Nitin:
Though Gulzar+Vishal Bhardwaj+Suresh Wadekar, combo is not as lethal as Gulzar+RD Burman+Kishor Kumar
was but its best in present scenario.
Though it was Burhe Paharon par, but it had so much youthfulness in it, because its still appealing even
after more than 12 years of its release:)
aadaab! i agree with every word present n absent in this article. im so so so happy someone wrote about Gulzar saab the director n not Gulzar saab the lyricist for a change. Its been such a while.
And as a religious follower of his works, im still waiting for his next film. if stops, it’ll be a big loss to us. Any rumours u’ve heard about any of his next films? please let me know.
Manas:
Hindi cine industry producers, financiers etc
dont have money for a gifted and different
director like Gulzar saab. He has been mostly dependent on film society or any other govt. aided organisation, thats why he could direct
only a TV serial on Premchand’s short stories
in last few years.
I hope its not true but somebody told that
Gulzaar saab was not allowed to treat the post
production of his last film HU Tu Tu, and it was
all Producer’s say.
Yes its a pity that Directors who dont have 20%
of Gulzar Saab’s calibre get finance to direct
films and hindi cine industry keeps its back
towards Gulzar saab. and nobody is tired of
claiming that its multiplex era and people are
ready to watch anything interesting.
Those who cant do campbazi, cant get finance to direct a film and Gulzaar saab is the best
example of that lacking.:(
wish some sensible producer wakes up from sleep and knocks door of Gulzar saab.:)
“Roz sahil pe khade hoke yahi dekha hai
Shaam ka pighla hua surkh-sunhari rogan
Roz matiyale-se paani mein yeh ghul jaata hai
Roz sahil pe khade hoke yahi socha hai
Mein jo pighali huee rangeen shafaq ka rogan
Ponchh loo haathon pe
Aur chupke se ik baar kabhi
Tere gulnaar se rukhsaaron pe chhap se mal doon
Shaam ka pighala hua surkh-sunhari rogan….”
Salaam, RK….Great post! Couldn’t resist the temptation of adding on: The impact of Bengali Literature/Films on Gulzaar Saab’s cinema was noteworthy. Khushboo, Kitaab and Namkeen were adaptions from Sarat Chandra Chattopadhyay/Samaresh Basu’s works. His first film Mere Apne was a remake of Apanjan, a masterpiece by Tapan Sinha. Parichay and Angoor carry impressions of Jay-jayanti and Bhrantibilash respectively.
I beleive the single feature of his poetry that grabs us by the insides and shakes us is his wizardry with words: his bizarre style of putting ordinary words to entirely different uses…
Amby: Thanks for interesting comments. Gulzar saab is Kalptaru tree, creation just falls from his branches in every season:)