WTS : How the hell Shyam Benegal could make this vast socio-political cinematic collage
How Shyam Benegal has managed to handle such a vast and loosely scattered subject and presented such a fine piece of cinema? How he has managed to present so many differently looking and behaving characters in a single film? How he has managed to give so different physical gestures and psychological understandings to different characters?
As its known he was born in Hyderabad then how he managed to take that kind of performance from Ila Arun, which could be completely alien for a non-hindi speaking person? Vijay Tendulkar was not present in his team, Pt Satyadev Dube was not writing dialogues for this film and still he has managed so well in characterization department. From where comes, his deep and vast understanding about the people?
Socio-political commentary has been an integral part of almost all the films of Shyam Benegal since the time of Ankur. His films could have some relationship based story also but he always has been making comments on the society’s social, economical and political happenings.
It has not changed a bit, only he changes the nature of his filmmaking in Welcome to Sajjanpur and this time he touches the ear other way round but he is presenting same thing which he has been presenting through Ankur, Nishant and Mandi etc. Then he was making socio-political comments in a dark manner and now he is taking resort of humour and satire but he is still doing same job. Earlier he was making films for bit thinking audience and it was not easy for ordinary audience to understand those dark subjects at that level as they were presented and now he is talking in the language and manners of common people and there should not be any surprise if common audiences feel newly born attraction for this film. This time he does not hit directly but goes through the route which earlier he had touched in Mandi. He handles things in a satirical way here. Even Mandi was not for an average audience and subject and handling of the film was not suitable for masses. WTS breaks that reservation.
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Poem 1
——-
Jee rahe ho jis kala ka naam le le
kuch pata bhee hai ki wah kaise bachee hai?
sabhyata ki jis ataree par khade ho,
vahee hum badnaam logon ne rachee hai
Poem 2
——–
Samajhte rahe hum jise apnee kaveeta
wo to nikali kalu pahalwan kee bahan saveeta
aisa ghuma ke mara saale ne hamare
din mein dikha diye chaand aur taare
Welcome to Sajjanpur swings between the mood and atmosphere of two abovementioned poems. On one side it flies high in sky and on other side it travels on ground level.
In the beginning of the film, camera shows us the topography of the village and then narrator gives an overview of the village Sajjanpur. His voice tells us that its old name was Dujjanpur but Pt Nehru visited this place once and instructed collector to change the name and hence name Sajjanpur came in to existence.
Tone of the film is established in the very first minute and if anybody still wants to see some other kind of film then perhaps his critical mind will not be able to get the film in right manner.
Then he is not enjoying the time. Director has invited him to a party and it is an invitation in a true old manner where people w’d sit in a pangat (on the floor) and different dishes w’d be offered to them.
There may be some dishes which one does not like but a food party brings an over all impression in the end.
Sajjanpur is a fantasy land and where events would be superimposed to say what director wishes to say.
Its not like Omkara where one can object what an eastern UPian mafia is doing in a western UP village?
Sajjanpur is a village, situated near Riva, Satna, Allahabad and Chitrakoot. Its characters are going to Jaunpur also. People belonging to UP and MP and Bihar can live there. A teacher belonging to western UP can work there in the school. Sajjanpur is a village where people are talking about every thing happening in the country or elsewhere. Nuclear power, Pakistan dictatorship, ISI agent issue etc etc are discussed there.
Welcome to Sajjanpur is Shyam Benegal’s comedy and satirical film made strictly for adult audiences as his all the past films were made for adult audience only.
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ManMohan Desai etc were lucky that Shyam Benegal did not opt before this kind of filmmaking else it could have been difficult for those filmmakers because Shyam Benegal’s comedy skills are better and higher and deeper than other filmmakers. It was very much visible by his 1983 film Mandi also. If we have to strictly search a genre then WTS falls loosly in the genre of Mandi as far as Shyam Benegal’s old films are concerned.
Through WTS, first time Shyam Benegal tries to use that common man approach which was reflected in the cartoon corner, “You said it” of RK Laxman.
If one has paid enough attention then can see that most of the time an old man is sitting at tea stall situated just near the place where Mahadev sits.
That man is the observer of happenings of that place and once he gives his opinion also.
People can search even on whom this character has been created. This character could be the common man seen in RK Laxman’s cartoon corner or a social observer cum commentator or a writer or a playwright as we have been seeing in the form of Vijay Tendulkar.
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This is funny that some people are finding it difficult to digest that Shyam Benegal could make such an unabashed film but then they have only heard about Shyam Benegal’s films and even if they have watched few of them they have seen them later and their watching might have based on his reputation or fame of his old films and they did not watch them in right perspective. Rest assured all the people panning WTS on some ridiculous bases would have behaved same with Mandi if they were into this business of writing about cinema in 1982-83 when Mandi was released.
They have not seen Ankur, Nishant and Mandi else they could not have objected the crude humour present in the WTS.
Mardangi, Shilajit, Veerya etc have been old ingredients used in the Shyam Benegal’s films. If one objects now then surely one does not know him and his kind of films.
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Shyam Benegal’s films of 70s and early 80s had actors like Shabana Azmi, Smita Patil, Naseerudin Shah, Amrish Puri and Om Puri and these are such strong actors that any film industry anywhere in the world would have felt lucky with their mere presence.
WTS does not boast upon the presence of such high calibre star cast. Still WTS presents some of the best scenes ever appeared in hindi cinema and film can boast upon the fact that many actors have given their career best performances in this film.
It will be interesting to know if some day Shyam Benegal reveals the seceret behind his ability to take out such fine performances from the actors doing small roles in WTS.
Like Sholay, film presents its characters as items in every 15 minutes or so.
Leave apart less effective monologue of Mahadev (Shreyas Talpade) in the begining of the film, film gets an energy through the song Sitaram and when Mahadev reaches to his desk under the tree, film starts presenting items.
Mahadev says,” Ram Ram Durlabh Darjee kaise ho“, and Durlabh raises his hand and replies,” Raji khushi, Mahadev Raji khushi”.
Two Saperas (Snake Charmers) are waiting for Mahadev to come there under the tree at his open air office. Screen is filled with energy as soon as one Sapera gets up and says, rather he almost shouts,” Aaj Somwar hai, Bholenath bhala karenge, ek postcard likh do”. The way he starts his saying is absolutely a treat to watch.
And the way he reacts when Mahadev says he does not need Shilajeet. He says in astonishment,” Achcha” and says “ tumharee mardangi salamat rahe”.
The actor, who played this snake charmer is simply brilliant in his portrayal. Not only his bengali toned dialogue delivery but his performance was also quite good.
Conversations of Mahdev with different characters are classic. Their standard is very high and film totally lies on the shoulders of such conversations.
Another item is conversation between Mahadev and Gaya Raam, the shopkeeper whose shop is situated opposite the place where Mahadev sits.
After giving us a very good scene where Mahadev is handling snake charmer, Director takes us to the shop of Gaya Ram where Mahadev asks him to give him Ink.
Gaya Ram,” Mahadev, admi jakar chaand par naak chheenak ayaa, humhu bhee 5-6 saal mein wahan dukan khol lenge aur tum ho ki Ink pe atke pade ho”.
And energy is still floating in a higher level when motorcycle of Ram Singh (Yashpal Sharma) stops there and Ram Singh says,” Collector saab ko ek chithi likh, chithi likh ke—-“ and again this conversation is fine example of filmmaking craft of Shyam Benegal.
Camera moves between Mahadev and Ram Singh, to show the action and reaction and whoever and whatever is strong at a given time has been shown. If Ram Singh’s dialogues and expressions are heavier then camera is focussed on his face and when its time to see reactions of Mahadev then it shows us his face.
This swift switching is fantastic and could teach the technique to capture conversation to new directors and cameramen.
Again when Mahdev is busy with Kamla (Amrita Rao), Ram Singh comes again there and shows his anger on Mahadev. Another amazing conversation happens there.
And the MamaJi’s character, who has spoken only two dialogues in the film, says here in so funny way, when Ram Singh, out of his habit, says, “Baithiye Mama Ji”, “Hum to pehle hee baithe huye hain”.
Yashpal Sharma is very good here in this film.
Before that in flashback scenes Vallabh Vyas plays the role of a primary school teacher in quite a fine manner and maintains a different dialect. The way he shows happiness on the good hand writing of Mahadev and says,” Aha Aha kya likhawat hai, kamal ghar chal”.
Same happiness can be shown by the audience also on many beautiful scenes present in the film and such beautiful scenes are plenty in number.
Another item appears when Durlabh tailor watches the street play written by Mahadev.
This actor, who played Durlabh Tailor, is so brilliant when he tries to scare Mahdev. The expressions of cunningness and naughtiness in his eyes, when he says,” Prachaar to apki har baat ka ho raha hai Mahadev Babu——“ are amazing.
How Shyam Benegal gave instructions to this actor? What he explained to him? Actors playing small roles dont act at such a higher level.
It should be the effect of midas touch of Shyam Benegal.
Another item is Lalit Mohan Tiwari’s Subedar. Even in a small role he has got full attention of the director and he did not miss the opportunity.
Ravi Kishan also brings a different characterization and portrayal and follows a different dialect and dialogue delivery. Conversational scenes between his Character, Ram Kumar, and Mahadev are again very good.
Ravi Kishan has got a good voice. He acts in a good manner. The way he recites the incident of Subedar following him to Mahadev is very good. When he says, “are nahin, wahan se to khela badal gaya”. is quite interesting. The way he brings a nasal tone, when he says,” Tumko kahen batyen, agar kunch kiya bhee hai to, ahamara private matter hai” is good.
Or when he shouts, “are baah, ek gandhi the aur ek tum ho”, he seems very good.
Afterall actors have to be judged on the basis of characteristics of their characters and he does full justice to his type of character.
Ravi Jhankal had never come out with such a force as he has appeared in WTS. His portrayal of the eunuch Munni Bai has sent all the other actors in the back ground whoever has ever played the eunuch in any film in the past. Such carefree performance is seldom seen.
And he has given a powerful performance though he has got few scenes only but he has portrayed a range of emotions using those few scenes only and even his lying there in the field as a dead body creates such a heavy impact.
Its not his carefree behaviour only that attracts the attention but in the scene where he comes to home of Mahadev in the night, RJ shows what a great acting he has done in this film.
Open minded filmmakers and audiences and reviewers will remember this scene for many years because of the powerful impact of this scene.
This is rich in performances by Shreyas Talpade, Ravi Jhankal and actress who has played role of mother of Mahadev.
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Mahadev is watching the TV. He hears the knocking on the door and he goes to open the door and he sees Munni Bai there. He is bit puzzled why Munni has come there?
Audience may feel that scene is becoming very impressive as soon as Munni Bai asks Mahadev,” Humko bahut jaruri baat kare ka hai tumse, hum andar aa sakat hain?”.
An eunuch, who is seen as dancing, teasing and even exploiting the simple man whenever there is some happy occasion in the home, is standing there at the door in the hours of night and asking if s/he can come inside?
Mahadev sees here and there and towards his mother and asks Munni to come inside.
Munni Bai comes inside and they both sit on the floor. We hear the sound of barking of dogs in the background.
Camera captures both Mahadev and Munni Bai in a single frame from the side and Munni Bai starts saying that Ram Singh and his paternal and maternal Uncles have destroyed his hut and threatened him to back out from the election. Munni Bai says ,” Tum abhee Collector saab ko chithi likho hamaree vyavastha kee jaye suraksha ki. Likho, tumko gori bahuriya milegee, tumhare angna mein lalna khelenge Raja”.
Munni blesses Mahadev. Mahadev brings pen and paper and camera moves slowly towards the back of Mahdev and focuses on the face of Munni Bai.
Muuni Bai says the matter of the letter to Collector,” Manniya Collector Saab, ab hindustan men soche ka bakhat aa gaya hai…….”.
The dialogues given to Muuni Bai here are very effective and Ravi Jhankal has acted in this scene as an actor of very high calibre could have acted. For years people will quote this scene. This scene will find the place in cinematic history.
Director, screen play and dialogue writer/s, camera man and both the actors, all the factors have made this scene as a memorable scene. Flute is so effectively played in the background now and it enhances the impact of the scene.
This is the choice of a director what he wishes to show in a scene to make it more effective and every single second of this scene leaves a deep impact on audience. When Munni Bai addresses Collector as Hon’ble Collector Saab or when s/he says ok give me the paper now so that I can sign, — what to say more this is unforgettable scene. Scene exploits the emotions and awareness in the best form. Muuni Bai says,” Apki aur sabki, Muni Bai”. Munni Bai is emotionally touched by the help of Mahadev and with tearful eyes throws a flying kiss to bless him.
An ex Sarpanch does not know how to write and he boasts on his lack of literacy as he finds that there is no merit in knowing how to read and write and on other hand an eunuch who has no support from any sector of society, knows how to write his/her name. S/he wants to contest the election because s/he thinks good people should be in power and not hooligans and criminals like Ram Singh and his family. Such is the deplorable condition of the politics in our country at present.
And Shyam Benegal’s film makes a bold statement through Munni Bai and Shyam Benegal is quite successful in making many such statements against social and political evils of this country.
When villagers are gathered around Munni Bai’s dead body, Mahdev sees that Ram Singh and his uncle are going on motorcycle. Scene reminded one such scene in Nishant where Amrish Puri and other villagers are beating Sadhu Mehar and Anant Nag and Mohan Agashe going to city on bike. They are the real thieves there and here Ram Singh and his uncle are the killers.
——————————————————————————————
Ila Arun appears as another item in the film and her entry scene is so brilliant. She is appeared suddenly on the turn near the Mahadev’s desk and she is coming by looking here and there.
Shyam Benegal manages to extract subtle gestures out of her to express many emotions.
Ila Arun looks at Mahdev with a desire that he can be a good groom for her daughter.
The way she sees Kamla with her big and widened eyes and asks,” Kya Bitiya tum kya inke lifafa ki chithiya ho?. Mera matlab hai, tum hamesha yaheen baithee miltee ho?
and the way she says with a sigh,” are hum hee kahan samajh rahe hain” when Mahadev says, kukur se byah, baat kuch samajh nahin aa rahee.
Each and every second she is present on screen is an example of amazing performance.
Divya Dutta also appears as an item and justifies her selection in this small role.
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Mahadev and Kamla’s story is a separate story in the film and first time this kind of love story comes in a Shyam Benegal film.
Mahadev tries two times to touch Kamla (Amrita Rao) on her shoulder but she shrugs off her shoulder both the time. But later when she is weak by continuous struggle and waiting for her husband and in one such vulnerable moment she is sitting sad when her mother in law (Vinita Malik) says her to cheer up and put on some make up to feel good or to go out and meet Mahadev as he will give good suggestion. She is putting on Bindi on her forehead when Mahdev reaches there and she sees his image in the mirror.
Kamla is very sad inside and finds a support in Mahadev and as soon as she sees him, she is happy but his arrival forces her to shed her hitherto restrained emotions also and she embraces him and starts crying.
Before that in one scene, Mahadev is reading Romeo Juliet and at same time Kamla reaches there. These small things have made the cinematic version of their relationship a beautiful thing to see.
Mahadev’s efforts to get Kamla have dragged him down and he realises that he has been doing very bad with Kamla and Banshi. He has to atone for his evil deeds and he has to stop Banshi. He mortgages his fields and borrows money on high interest so that he may save Banshi from selling his kidney. Use of Sarangi in the background music is beautiful in this scene and in next scene where Mahdev is lying in his home and opens his eyes to say.
Maine to sar diya, magar Jallad kiski garden pe ye bawal pada.
The last scene between Mahadev and Kamla, where she and Banshi are coming back to village in a rikshaw and Banshi sees Mahadev and tries to stop him and tells Kamla that this was the person who had come to Bombay to give him money.
She looks back and finds Mahadev going on his bicycle. Tow pairs of eyes communicate with each other. Female eyes are filled with gratitude and male eyes are filled with happiness and satisfaction after seeing his love interest living happily with her husband.
Love knows giving and his love also gets height once he becomes ready to give and leaves his lust to get her.
Shreyas Talpade has given a good performance in many scenes and his best performance comes when he takes the letter to Kamla and he reads it first himself and finds the true realities of Banshi. Now he is shattered after knowing the truth. He is not able to react after knowing that his lies, which he has been writing on his own in the letters to Banshi, have brought up Banshi before the situations where he is ready to sell the kidney so that he can buy a hut in Bombay.
Shreyas Talpade has got maximum number of scenes so naturally his limitations as an actor will appear on surface more than any other actor but he has managed to pull out more than 80% scenes with high competency.
Certainly he has not developed his craft of acting at that level where he may lift a monologue of more than 5 minutes and hence in beginning it looks bit odd when he acts as a narrator also.
He works better in emotional scene and expressions come on his face rather easily and more than any other actor of his generation. In comedy also he has performed at more than satisfactory level in many scenes and the he way he has handled the scenes with Durlabh tailor when he says he has only written the street play is good example of acting.
Shreyas Talpade is not Naseeruddin Shah, Om Puri and Pankaj Kapoor but he seems hard working and its reflected in his performance and he definitely will surpass actors like Farookh Sheikh and Amol Palekar as he has got more range than these actors. He must try not to fall in the fascination of looking so young all the time. He needs to grow more hair on his face. He has to get some matured looks and doors of different kind of roles will be opened to him.
Film goes consistent with his characterization.
Amrita Rao also manages to do very good in some scenes and in some scenes she remains average but nevertheless she gives a good performance. She is given a consistency in dialogues and she uses word Apan, which is used mostly by people of MP. In the scene where Ila Arun is describing about a dog, Amrita Rao, interferes and talks about her dog and asks approval from Mahadev,”Hamar Kukur”.
Before that when she says to Mahdev,” Tum hee to kahe rahe us din, ki koi kaam na bhee ho to bhe ayo”. her gestures are good.
Shyam Benegal has given her different method of saying the dialogues and her gestures come first and she takes a pause before she starts saying anything. She will use her hands first and will start saying later.
Kunal Kapoor appears as Banshi in very ordinary way and its rather quite difficult to identify him as the actor Kunal Kapoor. This is the benefit of working with a director like Shyam Benegal, as he can change the overall outlook of an actor towards a character and he can approach the character differently and which is most suitable way to play that character.
Another item scene is where a boy comes to Mahadev to send SMS to a bank employee.
Rajit Kapoor in a small role of the collector brings the authority of that post and he has only two scenes.
His expressions while calling his subordiante,” Yadav Ji—” are sufficient to say about his capabilities as an actor.
Rajeshwari is good in the scene when in the check up scene Ravi Kishan says,”kshama chahte hain” and starts looking in to her eyes and she says,” Pet ma dard hai, aankh kahe dekh rahe hain”.
Piano in the background keeps grounded this scene.
WTS strongly reflects the connection of a director with his actors. Shyam Benegal has used each and every actor in a different way.
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Background music is very good and after a long time such a nice background music has been heard in a film where its present when its needed and where it can enhance the impact of the scenes else its absent and we can hear only the sound of birds, insects and animals etc in the background.
Music is just above average.
Romantic songs have been given slow orchestra and that is very good thing to hear in this present days fashion of noisy music.
Munni Bai jeetegi and Jan Jan Janta ka Raj may get instant popularity. While two other romantic songs will find their position slowly.
Ek meetha marz dene
Bheeni bheeni mehaki mehaki hawayen sun lo kya gaye
Man ki gali mein chor chupa hai
Nis din chahe hai kya kaise bataye
Such lyrics should come under a good category. Political songs are written in a very good manner.
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Film has weaknesses but we have been loving Sholay inspite of its flaws and that is power of cinema.
As an audience and student of cinema, I feel that few things could have been handled differently and in more effective manner.
(1) Initial monologue, given to Shreyas Talpade, could have been given to a baritone like Om Puri who could have narrated the begning and ending of the film.
(2) Editor could/should have deleted the scene of Ravi Kishan and Rajeshwari from the song Sitaram in the begining of the film. Either Ravi Kishan could have shown watching Rajeshwari from a distance because at that point in the film, they are not fallen in love or they both could have deleted from the song.
(3) Ravi Kishan should enter in the film, when he comes to meet Mahadev at his desk to request him to write a love letter on his behalf. Because most of other characters meet Mahadev at his desk and then their stories are shown. Ravi Kishan should also come there first and he tells about Shobha Rani and then gagari incident and hospital scene, both are shown through flashbacks. And again when Mahadev finds him injured then Ravi Kishan should recite the story how he threw the love letter and what happened. His part could have become more effective if shown through flashbacks.
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What are the essential ingredients to make a film as a good film?
Good story or an appealing story, good script, good dialogues, good performances, good use of camera to serve the tone of the film and not to present camera work as some outstanding and which may look alien to the subject, good use of background music and when so many things are good then certainly direction is good because he has used all these department to solve his purpose.
Camera work can not shine differently than the nature of a film and if camera is visible so much then it is not a good camera work at all. Thank god camera is used to present this simple story in a simple manner and cameraman does not follow weird angles and places as its seen in every third film these days.
Music comes later and as an additional factor and it is not a necessary element to make a film.
Actors have given their career best performances.
There is no other film in recent time which can boast upon so many good scenes in a single film.
Shyam Benegal has made this film by entering into the commercial mould and his film actually shows how to maintain the performance level and how to handle a subject where multiple issues are raised.
Repetitive watching of the film will surely help the students learning the art of directing a film.
Everything is shown in such a simple and yet entertaining manner.
And why to make such a noise against a good effort?
In Divya Dutta’s words,” Shyam Benegal ka life kauno life nahin hai ka”
Filed Under
Movies, Review, Thoughts , amol palekar, Amrita Rao, Anant Nag, Ankur, Divya Dutta, Farookh Sheikh, Ila Arun, Lalit Mohan Tiwari, Mandi, Mohan Agashe, Nishant, Ravi Jhankal, Ravi Kishan, Satyadev Dube, shantanu moitra, shreyas talpade, shyam benegal, Vijay Tendulkar, Yashpal Sharma
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56 Responses to “WTS : How the hell Shyam Benegal could make this vast socio-political cinematic collage”
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Well RK, only some one like you could have grasped the essence of this movie so wonderfully. I have experienced rural life at close quarters, when i spent my holidays as a kid at my Grandma’s place. But there is a world of difference between a village in Andhra Pradesh(my home state) and a village in Eastern UP( which i presume is the location of Sajjanpur). While i am familiar with the various rural dialects in North, and can make out the difference between Rajasthani, Haryanvi and Bhojpuri, i really never have experienced life in a village in UP.
Shyam Benegal coincidentally hails from my home state, though he is a Kannadiga by origin. Both Ankur and Nishant, are set in the village of Pochampally in Andhra Pradesh. Incidentally this was the place where Vinobha Bhave started his Bhoodan movement. But the rural atmosphere in both those movies, is of the Telangana villages. The concept of Police Patel, bonded labor is pretty much prevalent there, and not much in the coastal side of Andhra Pradesh, from where i hail. In Telangana villages, it is very much common for landlords to have a mistress usually from the lower castes, which is what Shyam Benegal has depicted in Ankur. Even to date, the Telangana region is still as feudal and backward, as shown.
Movies based on rural themes are quite common down in South. In fact some of the best movies in recent times in South like Virumandi, Paruthiveeran, Pithamagan are all shot against a predominantly rural backdrop. But i was finding this missing a lot in Bollywood, with its obsession of NRI or urban themes. There have been sporadic attempts like Dor, Omkara, Manorama Six Feet Under which capture the rural and small town atmosphere, but very few. And that is sad. Comming from a small town myself, i can vouch for the fact, that there is so much diversity in our small towns and rural areas, that is waiting to be captured. I really feel that in our quest to become sophisticated, liberal we are really missing out on the joys of experiencing an entirely different sub culture and genre.
I really find it amusing, i see people on Orkut or Facebook, trying to be more Indian than each other, abusing those who dont believe in their notion of Indiannness. But many of them have no clue about the real Indian tradition and culture, or the composite nature of the Indian rural or small town life.
RK: Thanks for the post. I have found myself liking almost everything that people haven’t liked in the movie (yes, including the music). Benegal takes a plethora of issues but he isn’t here to solve them through his story. The idea is to engage people in discussing them and in this he succeeds quite effortlessly. The language wasn’t a constraint (some accents weren’t consistent) even in Bangalore since contextually you could get the humour. I found that many of the theatres were almost full over this weekend, even here, so I am glad that the film is finding its audience.
The sapera (though well disguised), I think, was Daya Shankar Pandey (Mela Ram of Swades and Goli of Lagaan). And it was a wonderful turn by him
@Ratnakar,
Thanks for informative comment. Except Sarees of Shabana Ji, everything was so authentic in Ankur:).
Whoever was the actor who had played the Patel in Ankur, I always recall him whenever there is a mention of Ankur.
His conversation with the shopkeeper where he boasts that he scolded chhote malik, is amazing and then after some time he asks shopkeeper to fill his bag with food items.
He was very good in the film.
This is true, geographical depictions in Ankur and Nishant is similar. Nishant additionally shows those big rocks also in hill side.
This is absolutely true that villages and rural areas have more interesting happenings to capture in cinema because first they have more time in day to day life to say, think and do something and city based life has become monotonous so how long different stories can be found in cities?
When people dont meet with each other then how stories will take birth. Almost everybody is following similar life.
Cinema, like multinationals and big companies will have to turn towards rural areas. Willingly or under economic pressure, it has to happen.
@Ratnakar(2),
Internet works as a place to do catharsis for many people. people remain at a distance so they dont worry what kind of things they are throwing in the arena. They will not do these things when talking face to face.
Moreover there is no restriction like in real life.
Here a completely immature mind can enter in a group of specialists discussing something substantial and he may create disorder there atleast for few minutes.
Reactions are coming in the form of published words so everything looks authentic in the begining.
Here a non-cinematic mind can trash geniuses of cinema.
Nothing is unusual these days.
Cynical views are plenty all over.
@Subrat,
Thats good SB’s experiment is gaining success. Good for him and for cinema also.
I also suspected that same actor had acted in Swades also but here he was so different and he resembled so much with few Saperas I have met in past years that I remained in bit doubt and moreover I did not know his real name.
and to more surprises from where they brought the old man who played the father of this Sapera?
What a Sapera team, film unit had gathered.
Maneka Gandhi should watch the film.
I find two kinds of critics of WTS. One who find the movie average on its own without the burden of its famed director. This I understand (to each his/her own).
The other is the ‘can’t believe what’s wrong with Benegal’ kind of critic. Reading their comments, I get a feeling that this group hasn’t watched his films organically over the years ie say 20 films over 20 years. They have possibly gone through his entire oeuvre over a 6-12 month period. This leads to you miss the nuances or to unable to appreciate the social mileu of the time when the Director filmed it. As you have rightly written, Benegal’s commentary on social issues, bringing a plethora of social issues in a single film, understated humor et al have been present in most of his good works. And they take their rightful place in WTS
Music is going to stay for longer.
Surely film has so many merits that it does not deserve such mayhem as its done by few people.
This happens all the time people dont recognise good efforts at a time when they are released and later they meekly cover these films as classics when write articles after few years.
Many famous reviewers have done this practise in the past, leave alone non-professional blogger kind of reviewers.
@Subrat(7)
Thats true and I am fully agree to this hypothesis.
I am afraid to include that a large number of non-cinematic kind of people are engaged on net blogging writing about cinema and it makes a difference.
They may not have that serious inclination towards cinema and it can be only time pass activity for them (to watch cinema and to write about it) and they have al the time in the world to defend their writings so everything looks out of proportion. and moreover it harms cinema when no valid reasons are given why film is bad or films are bad, except excuses like It did not work for me, or it was bad bad bad.
Viewing can be faulty in some cases.
Audience of 80s did not have this collective place and even bad cinema was not cricised so harshly as good cinema is criticised these days.
People finding astonishment on WTS have not seen Shabana Azami’s gestures in mandi.
RK, i have no idea about the actor who played the Patel in Ankur, but in Nishant it was Kulbhushan Kharbanda.
Interestingly the Police Patel, was a creation of the British Raj. Basically a kinda two in one job,where he had to take care of village administration as also maintain law and order. During the Nizam rule, it turned into an instrument of oppression, collaborating with the dreaded Razakars, to oppress the poor peasants. Even after the end of the Nizam rule, the feudal oppression did not end in Telangana. Many Telangana songs refer to the Police Patel in a very unflattering manner.
Actually I am stumped by Welcome to Sajjanpur. The structure, story, the dialogues, performances are so seamless that it’s difficult to break it down its impact.
wonderful analysis RK…
i saw the movie on the first day and i liked it but i think i would have liked it much more had i not got a seat right next to the speaker…
ur absolutely right about the performances…
some of the characters seemed to be straight out of my village…….
Ravi Jhankal’s performance is easily amongst the best of the year..
the scene where Munni goes to Mahadev’s house is one of the most poignant scenes……
WTS is doing well commercially as well which is a great thing..
contrary to many..i feel the trailers were very good..
which is why there was decent occupancy on the first day itself….
and the film didnt disappoint…
i am yet to watch Shyam babu’s illustrious work..
and i definitely wish to do that soon…
Wonderful analysis of a magnificient film. I would like to have opinions, takes or simply answers to my two queries..
1) At the end of film why Mahadev and his wife has been shown in attires of middle class people from a town? Its the first novel and the first check of Mahadev. He admits that he has to free his land. There is not much change in his life than what it used to be in the village.
2) Was the running scene of Divya Dutta from the pandal a spoof on climaxes of current comedy films? Since, Mahadev has been already invited over the party but he meets the marriage attendees on street..
Finally someone relates Mahadev to RK Laxmans ‘common man’!!
Bang on RK
i have one problem with the character of kamala
.
this bholi bhali gaon ki gori concept is so imaginary
it is all imagination about the chastity
.
the original kamala would have slew of lover affairs
RK, first of all let me congratulate you for a wonderful post. I agree with you, 100%, on the positive sides of the film, WORD BY WORD. But whatever are weaknesses according to you, I could not find any. For me the film was flawless. Shreyas’s monologue was good enough for me to bring in simplicity in the film. Rajeshwari and Ravi seemed to be lovers from scene no 1 ( they were having eye contacts only, because they were in general public in the initial scenes ). Ravi’s entrance was ok for me. Also most of the places, where you said that this was average or below average or just above average, were “excellent” for me. Yes the music was simply superb. PERFECT for the tone of the film.
As Ratnakar says, I have also experienced village life for the initial 15 years of my life. Fortunately for me the day time (school) I was in one of the best cities of India and evenings and nights in a small village/town. The only thing in WTS, I cannot vouch is the authenticity of the Nort-eastern set-up of the village ( language-clothes, etc ). Else I can safely say that the film was just superb. I am tired of the sick and idiotic humour that has crept and grown in our film industry. I AM SICK OF IT YAAR. Thanks to Benegal saab for the enjoyment given to me through WTS. I heard that the film is a hit ? If its true, I am one of the happiest persons for Indian cinema. I happened to read Medha’s topic title and did not want to respond before seeing the movie. After seeing the movie I dont want to sling my hands in the SHIT that must have followed in the article and the responses from her like-minded friends :-). DAMN the critics, just enjoy the movie once again
@ Gourav
Vis a vis your point no 1, generally when people move from one environment to another, they usually adapt and change to that environment, and that includes attire. People generally change their attire to fit in to that environment. And its not just from village to town, its the same that happens when they go from town to city, or from India to another country.
I do have many friends of mine who come from a rural background, and i did observe, that when they come into the town or city, they generally change or adapt to the environment. So i guess nothing odd in what the director depicted.
“As its known he was born in Hyderabad then how he managed to take that kind of performance from Ila Arun, which could be completely alien for a non-hindi speaking person”
Rk, Hyderabad has a large Hindi speaking population. Many working in the numerous Central Govt organizations, research institutions and now in the various IT companies and MNC’s. Even during my childhood days, Hindi was more commonly spoken in Hyderabad than Telugu. And matter of fact, a large number of the Hindi speaking populace in Hyderabad hail from UP. In addition to that, you also have a number of Marathi, Gujju and Marwari people settled there. So a person born and bought up in Hyderabad, has a fairly good knowledge of Hindi.
@ Ratnakar..17 & 18
good points….
was not much aware of the hindi presence in Andhra….
Hope they dont have a Raj thackerey coming up there…
@Ratnakar(17)
Mahadev is getting his first cheque of his first novel. I dont think he has moved to a town. The whole situaution is allright if many years have passed.
@Ratnakar(10),
Thanks for more information on Patel system.
Ya in Nishant its Kulbhushan Kharbanda.
As I can recall there seems a difference between two patels shown in two different films , Ankur and Nishant.
Ankur’s Patel is more like a personal servant or we can say a Munshi type employee of Landlord, i.e. Father of Anant Nag, while Kulbhushan Kharbanda’s Patel is associated with or appointed by Police department in Nishant and though he takes favour of Lanlords, Amrish Puri’s family but he is not there direct employee.
Such Posts were created in almost all the villages and even in modern times also there was such a post called Chowkidar and who used to serve multiple purposes from informing police and administration about any crime and wrong things happened in the village to natural calamities.
Have no idea if it still exists but till few years ago such post was there.
@John Lucius (11),
People may take time to assess it in a right manner but film is going to find its right place.
@Ashwin(12),
It will be good if you get DVDs of Shyam Benegal’s films as few films may demand multiple viewing.
Either you may start from Ankur and walk with the chronology of his filmography or it can be done backwards also or in other case whatever is available to you.
And he has been having association with different teams, so you have to take his films in that way only.
@Gourav(13)
Though film is a film and it can not have everything associated with real life but still Your first question can be guessed on the basis of the facts present in the film.
(1) If you remember Divya Dutta works and she says at one place, shadi kar lo kaam chhod do, koi majak hai kya, hamara life kauno ——”.
so if we really have to push to find an answer then this is the fact of their combined life. While Mahadev wrote his first book, Divya Dutta was working and as Mahadev also tells to publisher Chaturvedi that his vegetable shop also saw growth.
Middle class clothes should not be a big deal. Every kind (style) of clothes are available at all the affordable prices. and he is not wearing costly branded clothes just ordinary shirt and pant. As you can recall he has done his graduation from Satna so there also he might have bene wearing such clothes. In village it was not needed all the time so he wore Kurta Paijama.
(2) May be just a funny scene like many other without much meaning in to it.
@DPac,
“You Said It”
approach
@Vishrant Babu (15),
From where you are bringing this concept that all living human beings behave similarly or they should behave in similar manner?
Films and all the arts are products of imagination and whatever you have not seen or realised yourself may fall under imagination.
But will come on this point later.
First to satisfy your cinematic quest.
(1) WTS is not documentary on Kamla’s life
(2) WTS is not a film with title “Kamla ki kali kartutien”.
(3) as you are wise enough to read between the lines and hear what is not heard and see what is not supported by dialogues, you can see,
She is very much in love with her husband. 4 Years are not that big deal at that young age and there are scenes where slowly she has shown inclination towards Mahadev also. So you can not say there can not be any love affair, It can happen if Banshi is not coming in to the picture. But it has not gone that deep also where she has to sideline Banshi. These inclinations are due to manipulations of Mahadev.
and love, affection and gratitude etc are clearly reflected in the scenes where she is going for Bombay by train and Mahadev and her MIL have come to see her off. and again when she comes back to village with her husband and he shows her Mahadev and she sees back.
If you dont want to see then nothing can be seen.
RK,
Fantastic read as always!
You hit the right spot with so detailed description but you missed to name one of the core contributors “Ashok Mishra” the screenplay and dialog writer of the film.. Kudos to him as he deserves the credit as much as any other cast or crew of the film..
DPac,
Somehow I feel Mahadev was not the “common man” of RK Laxman.. but was the bridge between the illiterate villagers and the system (collector, administration)… and for me the core issue of the film was literacy… without education and literacy, this middle layer (of power hungry people, bureaucrats, agents) will continue to exploit the illiterates and manipulate the interface between public and the system as they want and will not allow the bridge to be built for the personal benefits.. Infact his common man is not an actor but merely a watcher like the old man which RK pointed out at the tea stall (Benegal saab used him brilliantly)
and those comparing W2S with David Dhawan’s, have neither seen or studied Benegal’s cinema nor Dhawan’s
@Kcp(16),
Music will take lead slowly in coming days.
I have not covered music in this post but on second thought I find even picturisation of song Ek Meetha marz dene is quite good and full of imagination.
Shreyas and Ravi are interchanged few times and same happens with Amrita and Rajeshwari and that particular scene where Shreas is whistling by assuming hand of Amrita as a flute and flute is played in the background.
and more over first time Shyam Benegal has attemped such a soft romantic track.
In another romantic song, also imaginations are within the reach of character of Mahadev and thats honest approach as far as psychological status of a character is concerned.
Rest about authenticity of village etc.
Documentaries ae always made to show the realities and films are something different than documentaries so I am not bothered while watching a film whether Village is shown as dirty as we see in reality. An average level works quite well there. Film should bring an authentic more than average feelings in the end. Thats all.
and I have a firm believe that no film ever can be flawless because its not simply possible when different people are working on a project.
If everything is just perfect then performance in a scene will be faulty or there will be clear room for improvement.
Its not only director, who can have best of the visions but several other people are also performing at different level of individual understanding and hence if films touch the level of more than 90% then they are very good films. 100% is simply impossible in film medium.
Focus on the main theme is so good that these village points etc dont become effective. atleast did not bring any objection for me.
@Ratnakar(18),
True about Hindi status in Hyderabad. I have been having few Hyderabad based (born and brought up there) friends and Through their hindi speaking and understaning ability I have some idea about hindi skills of people living there.
@Pavan(27),
I had not missed his name but I left the space so that this name come as a force among comments. While I was writing about past associations of Shyam Benegal with Vijay Tendulkar and Satyadev Dube then I left the space for Ashok Mishra: How he (SB) managed it in the absence of VT and SD? Certainly Ashok Mishra fills the space.
You have read it completely so you have mentioned it. Many dont read the posts and join the discussion through comments only so they will not recognise that another biggest contributer in the film is not mentioned directly. ( I often leave such things)
Now you have mentioned it and it will come into more focus.
Through WTS His past association with SB in Samar will also become matter of discussion for the people.
—–
Your observation is so true about education being the main theme of WTS.
Another is proper use of voting power.
That whole Munni Bai sequence and that song Jan Jan Janta ka raj and continuation of this song and participation of common public in the song and dance emphasise the importance of active participation of common people. If they want they can change the political situations for the benefit of common people.
Real power lies in their hands and not in the hands of hooligans like Ram Singh.
If they decide and come out of party based confined politics then they can change the scenario.
Its all about their awareness. and here lies the brilliance of Shyam Benegal and Ashok Mishra that they tackled things indirectly and in an entrtaining manner.
RK @30
“I had not missed his name but I left the space so that this name come as a force among comments. While I was writing about past associations of Shyam Benegal with Vijay Tendulkar and Satyadev Dube then I left the space for Ashok Mishra: ”
Yes, I understand and even I do the same some times.. but still I feel when we are taking all the names, he deserved a mention…
Speaking of Samar, it is one of the finest pieces of Cinema made in last 30 years in India.. It was story of a film in a film… and it too had layers of humor and satire with a very strong social and political theme…but the film failed to get screens.. Will write on it some day, one of my favorite films..
Gr8 post Rk. I loved the movie… and as you said i too noticed the old man alwys sipping the tea in front of mahadev’s work place…but couldn’t get the reason of focus on that old man…but after reading your article, i truly salute benegal’s art of portraying the characters…hope that he comes back with one variety next time
@Pavan,
Thats true about Samar. Will wait eargerly for your article on the film.
Till then people can enjoy Shyam Benegal’s interview with Pritish Nandi when Samar had got the award.
http://www.rediff.com/entertai/1999/jul/29shy.htm
@Prashant,
Surely we can have high hopes because of the commercial success of WTS that it will give enough fuel to Shyam Benegal’s film making desires and he will give us many more gems.
If his films had got proper commercial success during 70s and early 80s also then hindi cinema’s face should have been different today.
Naseeruddin Shahs did not need to leave the camps making good cinema to go to take commercial shelter in the films which he would like to forget and actor residing inside him might have felt more happines and satisfaction today.
Then Amitabh Bachchan et al could have worked with SB and to utilize their true potential.
This did not happen but better late than never and it can happen in near future also.
@Rk
Surely will be waiting for the next one..UTV should be planning already…by the by did you read the contrasting article on WTS from Medha Dutt on PFC??…looking for your view on that article
Pavan, while I dont deny that literacuy is an issue very well projected in the film through Mahadeo, I do not think that Mahadeo was a manipulating kind. I found him utterly innocent and a very good person at heart ( I mean jawaani mein bhool ho jaati hai, with regards to deceiving Kamla ). His change of heart when he reads the letter of Banshi, helping in 50000, goes to show how clean he was. In fact his innocence won me more than anything else in the film.
UTV seems to be turning out to be the Miramax-New Line Cinema of Bollywood. This year itself Aamir, Mumbai Meri Jaan, A Wednesday, Welcome to Sajjanpur point to a really impressive record.
@Prashant(35),
Will say only in general terms.
Cinema or the medium which is the matter of discussion can be discussed and not the personal thoughts. Thoughts are temporary things and are changed after better exposure and better understanding and patience and openness.
—-
Updating the post with two poems which suitably represent the nature of the film.
Poem 1
————————————————————–
Jee rahe ho jis kala ka naam le le
kuch pata bhee hai ki wah kaise bachee hai?
sabhyata ki jis ataree par khade ho,
vahee hum badnaam logon ne rachee hai
———————————————————–
Poem 2
——–——————————————————–
Samajhte rahe hum jise apnee kaveeta
wo to nikali kalu pahalwan kee bahan saveeta
aisa ghuma ke mara saale ne hamare
din mein dikha diye chaand aur taare
————————————————————
One has to be able to understand first poem and he should be able to enjoy the second also to completely understand and enjoy this film.
Its experimental cinema from Shyam Benegal and audiences are at recieving end. They have to do efforts to understand completely the layered approach.
Some will remain limited to entertainment part only. Some will go little deeper and will get the things flowing underneath.
Some will dismiss it and that will be because of ignorance or inability of audience to get the film in its right perspective.
@Kcp (36),
Dil me mat le yaar. Even manipulations can be done by utterly innocent people and their level of manipulation also remains less harmful. Its more with a desire to get and less to harm other.
sometimes it can be said,
Ab dil pe kisi ka jor chalata hai kya?
@Ratnakar(37),
True,
Approach of UTV to give variety in Cinema will uplift their chances and standard in filmmaking.
That lone factor will make them winner.
awesome post buddy…this is the first time I visited the site which I wanted to for such a long time…I have been encouraging several friends of mine to watch this movie…I guess its a hit but not as big as it deserved to be…somewhere it has been presented too much as a light movie and people(majority) arent appreciating the serious apsect of it…
I enjoyed it,loved it…super cinema…
[...] If Naya Daur was able to wake us up then perhaps Shyam Benegal could not have got the theme and possibility to make a Welcome to Sajjanpur. [...]
Hi RK,
While the film is definitely good and watchable and may have a lot to offer to a cinema student, but certainly there are a couple of things I did not like in the movie. And that to me precludes it from being classified as a classic.
1. The humour at times is certainly bordering on the vulgar. Like when Munnibai says, “Khada ho mere dushmanon ka”. While it is apt for the character, it does get a little vulgar.
2. The bigger problem is with the issues it raises. Illiteracy, kidney mafia, politics, blind-faith religious beliefs, targeting muslims as ISI agents, land acquisition by industries and widow remarriage etc. It spreads some of these too thin. I am not able to understand how a landless labourer will benefit more from working in the fields of a landowner from higher caste than working in a factory on the same land? Other than this one issue which is very contemporary, because of Singur and all, all other issues are pretty dated. There is nothing new about them. Even the entry of a eunuch in politics is not surprising to anyone anymore. All this makes the film seem like a Halla Bol kinda take on current sociopolitical and economic state of the village and country.
Btw, forgot to mention, UTV is doing a great job. Bravo!!!
@P(43),
(1) There was a film made and released in 80s. Perhaps Rajesh Khanna, Smita Patil and Rakesh Roshan acted in it. Smita Patil played a doctor. Rajesh Khanna’s name was some Robert. I cant recall the name of the film.
Scene- Loafer gang of Rakesh Roshan and his friends is wandering in city . They see a lady doctor’s clinic and they enter inside and start saying double meaning dialogues to Smita Patil under the excuse that Rakesh Roshan needs a check up.
Smita Patil recognises their motives and she becomes angry and says to Rakesh Roshan,” Khade ho jao”.
Rakesh Roshan or some of his friend,” Yahee to problem hai Doctor Saab, khada hee nahin hota”.
Smita Patil,” I know you, you are brother of Robert”. Then they leave the place.
All in a U certified social homely film telecasted on DD.
—–
Just few years ago there was a film of one of the todays super star and its song clearly had mother related abuses which can not be approved by any censor board. Film was a comedy. many could get the words rest perhaps still dont know about it.
—-
and this is not first time such words are used in a Shyam Benegal film. Nishant has similar words and if Nishant can be counted as classy or classic then I dont find any reason why present film can become vulgur because a character has used these words. and still it can be with different meaning also as Munni bai says many double meaning words in that scene. I am noone to justify or accept or reject this scene or these words. But such things are not going to marr the film for me.
(2)film touches many topics and issues and it does not necessarily gives a solution but motive is to generate a debate or efforts where voices of least important people in the society are also listened.
and this particular scene of street play is more related with the characterization of Mahadev.
Man is graduate but has no job. He thinks he has a talent in writing and he wishes to explore it. That street play is one of his writing endeavour which people do at that age and stage. It can be a bad street play with least substance but motive is to raise the issue. If you have seen street plays then you will get this point. they are not always rich in matter, language or performances. They try to make an awareness.
Powerful actors can make a difference in such scenes also. For example consider street play enacted by Pankaj Kapoor in Halla Bol. That is a class act. When we are watching play inside the film then actors affect our viewing.
That street play scene is to establish character of Mahadev.
Moreover we are never sure which scene is from the novel written by Mahadev or from real life Mahadev lived in those years at Sajjan pur.
So we have to go with this interpretation method and here lies the genius of director as film will never be finished and debate will be continued.
and Great films dont die at cinema hall and they come with us and we talk about them.
Negative and positive are immaterial things. we give attention and discss that is their success.
It does not matter eunuch in politics has bene shown earlier. If I am right then a separate film has been made on the life of Shabnam Mausi. But then 100 and 1000s films are made on characters of police officer or landlords or exploited labour.
There is no such clain in the film or through the film that issues are raised first time.
many or all the issues touched in the film might have been covered in other films also but perhaps no film covered them in so broad manner.
Moreover if we go on searching problems with film then we can search.
we can try with any film existing in the world, if its available to us and we can surely tell weakness and mistakes of the film.
No film, is above these mistakes because human beings are making them and mankind can not make perfect things.
—
We have to search things which could have been improved and shown differently as far as cinematical aspects are concerned.
@P,
That is so true. UTV is playing a different game and it will surely fetch them a raised bonus in the future.
Truly a movie, treat to watch …
check this out Making of “Aaayee ab munni ki baari :)”
http://www.bollywoodhungama.com/broadband/video/The-Making-of-the-Movie/ZHgqQp36/3/The-Making-Of-Munni-Ki-Baari-Are-Mandir-Welcome-To-Sajjanpur.html
‘khada ho mere dushmano ka’ vulgar hai
.
had kar di yaar
bachhon ki pitcute bana rahe ho kya
.
i nominate this dialogue for the best dialogue of the year
.
irony
bandit queen was not vulgar
it was realistic
haha
.
it takes a special talent to embarrass the person
without offending him
.
enunch’s specialize in that
.
this kind of figurative speech used to be the characteristic of indian milieu
sadly it is almost gone
.
one lady in my village was notoriously famous for it
the man in my village use to run seeing her
she would embarrass the hell out of them
and not only young men, she would embarrass even the older ones
she spared no body
and
it used to be a treat unless you are at the receiving end
.
i don’t remeber her ever wearing a blouse
she used to cover the upper part of her boddy with the pallu of the saari
there was absolutely no vulgarity
i mean if you are reminded of sexuality seeing her
you are sick in the head
.
one can laugh on this kind of line
when he is free of any inhibitions about sexuality
.
comedy circus on sony has given me a hope
that may be this art is not totally lost
and could be resurrected
.
kahien pe nigahien kahien pe nisana
20 % rediculing 80%
.
i remember an article by anil dharkar
in that he wrote about why the television series ‘kamjor kadi kaun’ failed here in india
this series was based on the concept from american tv
and what hosted by nina gupta
.
anil dharkar said that the show couldn’t get the audience because
according to the format nina gupta ridicules the weaker link out
and we indian didn’t enjoyed that
we do not enjoy ridiculing some one
sabjiwala is sabjiwala bhaiya
we call the autodriver ‘haan bhai’
or if he is older than ‘haan chacha’
.
its just in the air
in the blood
.
even if someone has ridiculed someone
we take it for granted that he will realize his mistake
and will be ashamed of it
.
when someone talks about the danger to our culture from the western culture
i can just smile to that
.
rudyard kipling lived in india for long enough to realize that
if these two cultures come in contact
this ten thousand year old culture is going to gulp down the still enfant western culture
.
when he said that these two shall never meet
an englishman was speaking
he loved his culture and was afraid that if meeting happens his culture will be gone
.
yunan misra roman mit gaye sab jahan se
kuchh baat hai ki hasti mitati nahien hamari
.
and i say that if our culture is so weak that it can be destroyed
than it is better that it is destryoed
what is the point in taking side of something weak
.
main to kahata hoon bhid jaane do
.
ab hawayien hi karengi roshani ka faisal
jis diye main jaan hogi woh diya rah jaayega
RK (45): The film you’re referring to is Anokha Rishta. I think it had Karan Shah (not Rakesh Roshan).
agreed with Vishrant…it was indeed the dialogue of the year but in conjunction with the line “Main to khadi ho rahi hoon”
A recent portrait of Shyam Benegal for his fans - http://www.hayath.com/pointandshoot/index.php?showimage=293. Apologies for the slight unrelated-ness.
@Bhuvan (47),
Making clip was good. it was fun to watch Shyam Benegal showing Ravi Jhankar some steps during dance sequence. and where RJ is having fun with SB.
Thanks for the clip.
@Aditya,
Thanks
Perhaps I mixed two films as there was one akhir kyon also with Rajesh Khanna, Smita Patil and Rakesh Roshan.
@Vishrant (48),
As you find a support from Bandit Queen in liking this particular dialogue, films (mainstream, entertaining and fully commercial and hit films) have been made which will make Ravi Kishan and Rajeshwari’s hospital scene as shudh shakahari bina mirch wala scene.
Ticket costs are so high so wont say that it should be seen again but perhaps scene is mis understood.
Cinematically, If I were associated with the making, I would have suggested, in conjunction with the suggestion that Ravi Kishan and Rajeshwari track should have been shown through flash back when he comes to Mahadev to ask him to write a love letter, that scene should have stopped as soon as Ravi Kishan carries Rajeshwari inside the check up room and turns and says to LMT,” Mahila ka check up hai purush nahin aa sakte”.
and then continuation of Mahadev’s fun with Ravi Kishan to ask more about that incident and Ravi Kishan’s reactions as they are shown now in the film.
But vulgarity in the scene?
No.
Vulgarity and satire is in the fact which Mahadev says to Ram Kumar,” Jante nahin wo bal vidhwa hai”.
BAL Vidhwa? existence of Bal Vidhwa is vulgarity in society.