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“Ji Dhoondhta Hai Phir Wohi Fursat Ke Raat Din,
Baithe Rahen Hum Yunhi Tassavur-e-Jaana Kiye Huye”
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Mirza Ghalib
Tell me, do you reminisce about those days of yore when you would move around in school buses with a water bottle around your neck, a heavy school bag hanging like an albatross from your slender shoulders, a ‘genuine’ smile on your face and a lollipop in your hand – sucking and licking it - all the way to your classroom? Do you reminisce about the half tickets you paid to the confused conductor while he desperately and unsuccessfully tried to count your unruly and rudderless numbers, while managing the more childish adults and the infectious enthusiasm you displayed while playing football in the rains with pebbles and stones? Do you reminisce about those fairy tales from old grandmothers and those cosy nights in warm blankets? Do you remember those cycle races, those sunshine fights over who batted first in a friendly cricket match (that often ended in everything not distantly friendly) and the invariable punishments and remarks both in school and at home?
It sometimes takes a child to be able to observe and find happiness in small things; things that may not even seem extant to an adult mind but ones that can definitely ensure content and satisfaction in most stressed out of men. It’s as if a child instinctively understands the futility of power games, the truth behind the rat race of success and ambition and the fundamentality of human existence. No wonder William Wordsworth declared, “The Child is the Father of Man”. Strange as it may seem, maybe that also explains the popularity of the “Peter Pan” cult and his “Neverland” in adult subconscious.
It takes infinite efforts and a dosage of luck for us mere unfortunates to be brought in direct contact with our forgotten, although cherished childhood. Trust the mercurial and eccentric Kishore Kumar to remind us mere mortals of the joys of childhood once again through the roaring slapstick laugh-riot of all times – Half Ticket – undoubtedly one of the best comedies of all times. Unlike the other major classic comedies of Hindi Cinema that are considered as gems due to their treatment of fantastic storylines or common incidents in a humourous vein, Half Ticket is an out and out slapstick comedy – one that uses even the storyline as a pretext for comedy and wherein comedy is not incidental to the plot but the plot is itself incidental to the comedy track.
Kishore Kumar as the eccentric Munna who somehow always manages to be at odds with the world due to his eccentric ways and thoughts is “Comedy” personified. His enthusiasm is not only infectious but also completely contagious and he appears completely at ease with the characterization. The role of Munna is loud and over-the-hill but Kishore in his own inimitable style manages to bring a dash of realism and perfection to the role. Each and every scene is a gem but the scene wherein he dissuades a priest from a marriage proposal intended for him (this scene was later performed in Sholay by the great Amitabh) is a perfect example of comic timing. Kishore proves his brilliant skills as an actor by his expert portrayal of an overgrown child-man. Had this great actor been a little more serious about his acting career, we would have definitely seen many more such astounding and astonishing pieces of inspired performance.
Pran as his counterpart, a cunning and conniving jewel thief pulls all stops out in his exceptionally well-toned performance. Although pitted against one of the greatest comedians, one bestowed with an extra-ordinary sense of comic timing, Pran proves himself completely equal to the task and all his scenes with Kishore are absolutely a treat to watch. One of his best scenes is the introduction scene wherein he has slipped a diamond in Munna’s rear pocket and is desperately trying to regain the same. Also, a special mention should be made of the scene wherein they face-off in front of a band of gypsies. Undoubtedly Pran was a great actor and also had a comic timing to boot.
Madhubala as Munna’s love interest plays a perfect counterfoil to Kishore’s performance. To keep a straight face while Kishore is in full flow is not difficult…it’s nigh impossible but Madhubala not only accomplishes the same but also matches him stride to stride in their scenes together.
Shammi as Pran’s partner-in-crime plays her role to perfection. Although, compared to others, her role is slight; she still does manage to do justice to her role. Manorama as Madhubala’s aunt is wasted in an inconsequential role, however the actress manages to hold her own against her accomplished co-stars.
Salil Chowdhary comes up with some excellent Kishore Kumar ditties. In resonance with the comic narrative, Salil infuses a large number of comedy songs in the movie… each of which is a class apart in it’s own right. This is vintage Kishore, before the days of Aradhana and Kati Patang, and each song in this movie is sung in the carefree and funny style that was his trademark in the 50’s and the 60’s. “Chil Chill Chilake Gajri Sunaye” and “Le lo… Aji Le Lo” both point to the greatness and extraordinary power of Kishore’s voice while “Woh Ek Nigaah Kya Mili” and “Aankhon Mein Tum” are some of the best Kishore Kumar-Asha Bhosle comedy songs ever. However the song that catches and rivets your imagination is “Aankhen Siddhi Lagi” sung by Kishore in both the male and female tone, an unbelievable but true feat of genius and talent. Shailendra proves once again why he’s among the best lyricists of Hindi Cinema by composing light-hearted songs as these, a further proof of his extraordinary talent and repertoire.
Kalidas was never a front-line director of Hindi Cinema but he still manages to immortalize himself in Hindi cinema by this laugh-riot … one that will wash away all blues…. however deep and however bad. To hold an eccentric like Kishore in rein when he is full flow is not an easy job even for veteran directors but Kalidas managed to do the utterly impossible and therein lies his greatness.
Please see this film, as a tribute not only to the greatest entertainer and arguably the only complete entertainer of Hindi cinema, Kishore Kumar but as a tribute to a child that is still hidden somewhere within you.
This film is not a film, it’s a toast to something sacred within us, something we have lost and something that makes us sleepless – our childhood. It’s our passport back to Neverland and Peter Pan – the only difference being the fact that we are all Peter Pan and the Neverland is our childhood.
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Pros: |
Kishore Kumar, Pran, Music
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Cons: |
Editing, Production Values
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