Dec 25, 2005 11:06 PM
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(Updated Dec 25, 2005 11:06 PM)
Some films are made for entertainment, some to satisfy the artistic urges of the maker, some are made with an eye primarily on the box office and still some for an ego massage of the artisans. And then there are others that are made for sending across a social message. But there are very few films that give out innovative solutions to social problems and still lesser are those that are blessed enough to see their solutions implemented. Jis Desh Mein Ganga Behti Hai is one of those rare movies that have actually managed to not only provide a solution to a vexed problem but also be witness to its successful implementation across the country.
Society is indeed an unforgiving mistress, one that rarely forgives the transgressor for his past crimes. The road to redemption is often more difficult to take than the road to perdition and hence, many a criminals are forced to live a life of crime much against their will and aspirations. This has been the plight of many a dacoits in India in the early half of the last century. Born in the wilderness to a family of dacoits, shunned by the society, hunted by the police, many of them were forced to take up the gun only to ensure survival.
Jis Desh Mein Ganga Behti Hai was the first Hindi movie to address the problem of these wayward sons of India and hence stands in a class of it’s own, among the many films made on dacoits that includes some of the greatest classics of Hindi Cinema. The movie can be considered as one of the best examples of the socio-idealistic movies that were made by Raj in his youthful days and as such, is indeed a landmark in Hindi Cinema.
Raj Kapoor, a highly underrated actor has once again proved with this movie that when it comes to portraying innocence he has left the competition leagues behind. As a simpleton Raju who aims to see even dacoits living a life of dignity on par with their brethren on the other side of the law, Raj Kapoor is outstanding in one of his last avatars of the Chaplinesque tramp. In a role as clinched as Raju, it was very much possible for the actor to play to the gallery but the actor gives credence to his immense potential by ensuring that the performance is flawless. The actor has used his eyes commendably to portray emotions as varied as pain, loss, sadness and hope.
Pran as his nemesis and adversary, Rakka literally sets the stage on fire. As a dacoit who is on the fast track to perdition, the actor transcends all barriers in what can be considered as arguably his best negative performance of all times. The actor proves his excellent command over the medium when he portrays terror with a twitch of his eyebrow. A similarly brilliant piece of acting that confirms his command over the role is his sub-conscious tracing of his hands around the neck, as if gauging the presence of the noose. He also gives vent to his subliminal good when he spares the life of Raj in the climax although he’s in striking distance of killing him.
Padmini in her first major role in Hindi Cinema plays her role with utmost conviction. As Kammo who is attracted to Raju but wooed by Rakka, the actress is impressive and stands up tall in her scenes with both the stalwarts Raj Kapoor and Pran. The buxom belle literally sizzles in her displays of passion and one can literally feel the heat when she goes into overdrive singing ‘Ho… Maine Pyar Kiya’. The actress also proves her credentials as a dancer in ‘O Basanti’. A mind-blowing performance
Raj Mehra as the Superintendent of Police essays his role with complete ease. The way his temper flares on reading Pran’s mails (signed ‘Tumhara Baap Rakka’) will have you rolling in the aisles. Lalita Pawar impresses in her role as a sympathetic wife of a hardened dacoit. Chanchal, S B Nayampalli, Nana Palsikar and Tiwari also play their roles with consummate ease.
Music by Shankar Jaikishen is easily the highlight of the movie. Each and every song of the movie is a gem and it’s difficult to leave behind any of the songs. Never in the history of Hindi Music has the Dafli been used to such brilliant impact as can be seen in this movie. Shailendra and Hasrat Jaipuri combine to give words to one of the most inspirational music heard under the baton of SJ. Arguably, the best music composition by the duo
Mukesh is absolutely divine in each and every track right from the semi-patriotic title song, to the philosophical ‘Mera Naam Raju’ to the prophetic ‘Pyaar Kar Le’ to the climactic ‘Aa Ab Laut Chalen’. Lata Mangeshkar impresses with her brilliant rendition of love and longing in ‘O Basanti Pawan Paagal’. All the duets, whether it be ‘Begaani Shaadi Mein’ by Mukesh and Lata or the passionate ‘Kya Hua’ or ‘Ho Maine Pyar Kiya’ by Lata and Asha are all gems in their own right. To add to the party, we have Manna, Asha, Mukesh and Lata in their finest elements singing ‘Hai Aag Hamare Seene Mein’.
Radhu Karmarkar in his only tryst with direction is not only effective but also brilliant in his own inimitable style. He not only is able to establish the lead actors early on but also is able to effectively provide for their personal clashes. Having successfully done that, the director manages to take them all on the flow and never once does the film deviate from it’s focus, neither does the movie fall flat due to it’s various actors and characters. The movie is also well adapted and moves on to heighten the eagerness quotient of the movie. The climax scene is also effectively handled and this maybe the sole instance where non-violence is shown to win the day outside the depiction in independence struggles.
The movie is actually the forerunner of the amnesty scheme brought out by the local police that proved to be a major success and went a long way in lessening the rate of dacoity in the country.
A great film … a film that actually gave results, in addition to entertainment.
