Kaajal / Meena Kumari & Ram Maheshwari :: Maachis / Tabu & Gulzar
Ram Maheshwari made four films, namely Kaajal, Neelkamal, Karmayogi and Chambal Ki kasam, having Raaj Kumar, either in lead roles or in a substantial role and Kaajal was his first directorial venture and for any new and that too first time director, star cast consisting of big names like Meena Kumari, Raaj Kumar, Padmini, Durga Khote and Mehmood should have been a matter of proud. Dharmendra too had become a rising star by then, riding over the success of films like Anpadh, Bandini, Neela Akash, Ayi Milan Ki bela and Haqiqat. Thoughh he had not played there main lead but a side hero but in all the films he had got open praises from audience and critics alike.
Kaajal’s story written by famous novelist Gulshan Nanda and it was quite a circular story and plot consisted of many rounded twists.
Song - Tora man darpan kahlaye
Durga Khote lives with her son Dharmendra. Meena Kumari and her brother are children of Munim of Durga Khote. After Munim’s death, Durga Khote has raised his children also as her own children. Meena Kumari ties rakhee to Dharmendra also. Dharmendra is also very fond of Meena Kumari and her brother and they live like a closed family.
Song - Mere bhaiya
Dharmendra and Meena’s brother go to a lake and there accidently Meena’s brother is plunged and Dharmendra thinks he is the culprit as he could not save his brother like friend.
Now Meena Kumari is his responsibility.
Enters Padmini and Dharmendra falls in love with her.
Song - Aap ke paas jo ayega pighal jayega
Soon, Dharmendra marries Padmini but Padmini does not like Meena Kumari and she accuses that Meena Kumari and Dharmendra have affair also. Meena Kumari leaves the home and tries to do suicide but she is saved by a man standing near the river.
The man is Raaj Kumar. He brings Meena Kumari back to Dharmendra’s home. Dharmendra becomes very happy and he likes Raaj Kumar and soon he marries Meena Kumari with Raaj Kumar.
After marrying Meena Kumari, Raaj Kumar’s grey shades come in to existence and he shows his true colour. He deliberately enters in to the life of Meena Kumari because he is working on a plan. He compels Meena Kumari to fetch money from Dharmendra.
Song - Chhoo lene do Najuk hothon ko
He drinks heavily, visits courtesan and often beats and exploits Meena Kumari. Meena Kumari’s life becomes hell again.
Song - Ye zulf agar khul ke
Dharmendra too is sad seeing all these things.
Another twist comes in the story when Tiwari, an old servant of Durga Khote comes there as father of Raaj Kumar but reveals that years ago Durga Khote’s son was abducted by him and Dharmendra is not real son of Durga Khote. He proves that Raaj Kumar is the real son of Durga Khote.
Now situations have taken turn and Raaj Kumar becomes the owner of the house and all the property while Dharmendra has become nothing in the same house, where he was raised as owner of the house. Raaj Kumar insults Dharmendra on every step and Dharmendra wants to leave the house.
Rest film is the story, how Raaj Kumar is reformed.
Film has wonderful music composed by Ravi and lyrics are penned by Sahir Ludhiyanvi.
Meena Kuamri , Raaj Kumar, Dharmendra, Durga Khote all the four actors have acted very well and Raaj Kumar over powers everybody in his negative character.
Padmini is average.
Mehmood and Mumtaj in the roles of servants of the home also give good support to the film.
It was first film for Director Ram Maheshwari and he made a good film.
Now problem comes in the very last scene of the film.
Raaj Kumar plays a real cruel and villaneous character and he is not reformed before the climax. He plays a completely tyrant husband to Meena Kumari.
In the very last scene, Raaj Kumar apologise to Meena Kumari. Raaj Kumar is sitting on the bed and Meena Kumari falls on his feet and says,” Mujhe har janam mein apke jaisa pati hee mile”. She was a great actor but given the story of the film this scene looked superimposed just because of that dialogue.
She forgives Raaj Kumar and its all fine as her motive was to reform her husband but that single dialogue ruins the effect of all the film. That single dialogue is like a stone particle comes under the teeth while eating some good food. Very odd. That’s a patch on an otherwise good film. That dialogue was not needed.
* * * * *
Anyway now what Maachis / Gulzar and Tabu have to do with Kaajal /Meena Kumari and Ram Maheshwari?
Unlike the regressive nature inserted by Ram Maheshwari in the climax of the Kaajal , Gulzar has inserted romance in his famous film Maachis.
There is a scene in Maachis where Tabu meets Chandrachurh Singh, after some time and by now he has become a terrorist. They are in a forest and in the evening she is sitting with him on a rock and they are enjoying the memories of their good times when they used to love each other and life was beautiful.
They are again feeling love and in those moments Tabu says,” aisa kehta hain, kudi agar kunwari mar jaye to narak mein jatee hai”. She says it in low voice and Chandrachudh Singh does not get what she has said so he asks her what she was saying.
Tabu feels shy now because she had said in the heat of the moment and after insistence she repeats her saying and now in much louder and audible voice and give stress on the words and hides her face in the chest of Chandrachudh Singh.
Gulzar’s woman also says a dialogue showing importance of marriage for a woman but he makes it a romantic dialogue and scene of course is highly romantic and Tabu has made it a very powerful scene.
Two different times, two different understandings, two different directors!
Filed Under
Movies, Thoughts , Chandrachurh Singh, dharmendra, Durga Khote, gulzar, Kaajal, Maachis, Meena Kumari, mehmood, Mumtaj, Padmini, Raaj Kumar, Ram Maheshwari, Ravi, Sahir Ludhiyanvi, Tabu, Tiwari
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16 Responses to “Kaajal / Meena Kumari & Ram Maheshwari :: Maachis / Tabu & Gulzar”
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dost accha hai,people like u pay attention and time to watch old hindi films.nahin to pfc main baaki log hindi filmo ki maa-baahen karte hai.
RK: hmmm. Gulzarji’s women were always emancipated. In some ways Hind Film heroine has come a long way from Meena Kumari of Dil Ek Mandir and Kaajal to Tabu of Maachis and Astitva
Subrat,
Emanicipated is not the proper word for Gulzar saab’s heroine.. Infact the males (in some of them) can be identified with it.. Be it Sanjeev Kumar in Aandhi or Shivaji Saatam in Hututu…
Pavan,
How do you call Suchitra Sen in Aandhi, Rekha in Ijaazat, Tabu in Maachis (or even Hema in Kinaara and Sharmila in Namkeen). Women with a mind of their own and who did their own thing at the end
wow people talking about emancipated women and men and at the same time somebody saying “maa-baahen karte hai” in his comment on the same post…how interesting!
Subrat,
Please help me improving my understanding of Emanicipated..
To me the word is related to help minors(oppressed) giving equal rights and wikipedia confirms “Emancipation is a term used to describe various efforts to obtain political rights or equality”..
but in gulzar saab’s films women are not emanicipated.. they dominate from the word go.. infact the oppressed ones are bechara heroes be it Sanjeev Kumar in Aandhi, or Naseeruddin in Ijaazat or Shivaji Satam in Hututu..
“Maa-behan” and Gulzar heroines remind me of a beautiful scene in HuTutu..
Tabu asks her mother CM Malti Bai (Suhasini Muley) if she can go back to their village home with his father
SM: Kahaan jaana hai?
T: Gud Chakki Wale Ghar
SM: Wahaan kya rakha hai ab?
T: Deewarein hain, khet hain, unme ghaas hai, unki jade (roots) hain, unme paani doongi..
SM : Ye tere andar Bhau (Nana Patekar) kab se bolne laga
T: Jab se wo mere andar basane laga hai
SM : That Bastard!
T: Are aai, tum meri bhasha kab se bolane lagi ?
Hututu has made up of so many brilliant scenes, unfortunately it didn’t gel together as a brilliant film..
Pavan: Interesting dialogs. I don’t remember Hututu that well.
Regarding emancipation discussion: emancipation is the process while s/he who has gone through it successfully is emancipated. That’s the usage
@Pavan: Emancipated as an adjective literally means “free from any social restraints”. So Subrat’s use of the word is correct. Even if a person is free from these restraints from the word go, he/she is still called emancipated. What you refer from wikipedia is the definition of the ‘verb’ emancipation i.e you emancipate the oppressed. I hope this makes sense.
@animesh,
thanks for your comment.
How you took this wrong impression about Hindi films and PFC? around 8o-85% space and time here is used discussing hindi films only as majority of authors, readers share that common ground.
Out of 14 posts existing on front page at present, atleast 9-10 posts are covering Hindi films or music of hindi films.
and archive is there filled with hindi cinema, just explore a bit more.
@Subrat (2),
In some way woman characters might have come long way from Meena Kumari’s time to Tabu’s time but leave execptions woman characters have been reduced in hindi films. From Nargis, Meena Kumari, Madhubala to Hema Malini they used to have quite substantial roles in the films and their stories.
Now majority of films have female actors mostly to give support to male actor either in dance or they are just side artist. Ofcourse exceptions are there but on an average films revolving around a central female characters are going in to oblivion and if some are made then formula kills the spirit.
Perhaps now woman lead character does not have to live practically weak in life outside of her home and she is shown as strong and doing something but its again producing no attractive character which can be recalled atleast for a year.
we can have a relief, if we want, that now woman characters have become quite ordinary like males and there is no demarcation in black and white between a good one who is sati savitri and a bad one who is always like a vamp and like male characters they have different shades in their.
—-
will have a hitch to bind in one word liberated or emancipated women in Gulzar’s films but its for sure that his films always have lively and strong female characters. People do take notice of Gulzar’s female characters. They live life and not a prototype but each character in different film is belonging to that story and hence lives accordingly.
His women present stories before us through events happening in their lives. They may take faulty decisions at times or may suffer because of events but they are lively characters. They are never extra characters just to fulfil the responsibility of keeping some female actors in the film because they bring glamour etc.
He is basically a story teller showing stories of very lively characters and specially women. He has never taken them for granted in his stories/screen plays and films and even in lyrics.
@Neerja,
different may have different definition of emancipation:)
a chief of some liberation front fighting for so called freedom lives years in underground bunker and seldom comes out and his life is always in danger and even then he can say he is liberated, fighting for liberation while his daily life is nothing but life of a prisoner
@Pavan (6),
while Hu tu tu had many good memorable scenes but overall film was lacking ( in comparison to Gulzar saab’s previously made films).
What was heard that producer did not allow him to decide even editing and once shooting was done, producer captured the film and then it could be said as shah family’s film.
Dont know how much truth was in it. you may say more authentic version.
Film lacked in making wider appeal. Background was maharashtra politics and somewhere story lacked a lot and walked on the pattern of Maachis when Sunil Shetty is disappeared after accident on the bridge and appears again as a terrorist. That was not supported well. Maachis had events behind such incindences but Hu Tu Tu had no such background.
Have less idea about Dalit position in Maharashtra though Dalit literature is quite upfront there but inspite of Nana Patekar’s quite good performances, events in film did not bring synchronized structure so that audiuence could watch a comprhensible story. Convincing factor was missing.
In that election part where they do all gherao etc.
and end showing them as self killing squad was too far from convincing.
In politics GS had done far better work in writing New Delhi Times, there he had grip over the subject and here scenario was fragmented and a coherent picture was missing.
GS could not do with Sunil Shetty what he had done with Jeetendra in the past.
—–
Many Scenes were good.
Tabu was ofcourse scene stealer.
That scene where Tabu coming out of her mother’s CM house while zipping her trouser and she gives her beg to security man and then put on belt in her trouser and policeman is stunned on her behaviour.
She has developed using manly abuses and while touring in village her father’s astonished face stopped her from completing an abuse.
and the scene between her and her father when he tells that her brother is not his son.
—-
please write some day whatever you know about Hu Tu Tu because it looked to me as ruins of a wonderful building or foundation of a would be beautiful building
i like very much songs chhoo lene do nd ye julf agar..
ve not seen kajal film…
story looks gud… ll watch it…
i like rajkumar nd mina kumari together.. last month i saw an old film dil apna prit parayi nd liked it… they acted gud there… in pakija also they acted gud… they make gud pair
machis was very gud… i like very much songs
chappa chappa nd … pani pani re …
[...] Tabu and Gulzar [...]
meena kumari was a good actress as well as poet she is a golden girl of bollywood
beautifully written…it has got me interested in watching this movie