We, The Nation. Review on Mere Apne

The youth of a nation - any nation - are the vehicle through which the nation finds self-expression and glory. It’s through the agency of the youth that a nation can aspire to greatness and prosperity. What would the nation do then, if the youth take upon themselves the task of destroying the nation rather than making it?

Cut back to the 70s. The 70s was an era of ferment and deep churning of widely held beliefs, dreams and ideals. It was an era of the midnight children – arising out of the slumber of childhood, coming into it’s own and finding nothing to call it’s own. An era of youngsters, brought up on the staple diet of idealism, old-age moralities and non-violence suddenly thrown into the midst of chaos, corruption and hypocrisy and forced to witness their beloved nation as a poor shadow of it’s former self - unable to even provide for the basic dreams and aspirations of it’s children, forced to see a nation that claimed to be the conscience of the world, unable to come to terms with the brutal rape of it’s own conscience.

It was an era of people shattered by the delusions of idealism and trying to come to terms with the realities of life. Disillusionment was in the air. And, so was anger at the helplessness and frustration of the individual and angst against the social and political infrastructure of the times. Nothing is more destructive than the confused mind and there was nothing but confusion everywhere. Every face was a mirror of angst and anger roamed the streets freely.

It was in this scenario that Gulzar decided to direct a movie on the simmering discontent and cold rage lurking behind every silent mind. The film - Mere Apne- today is considered the most potent expression of the angst of a nation gone weary due to the destruction of a dream and the impotency of a society, pawned to the economics of power and wealth.

Although the film on the whole appears to be a mindless portrayal of the enmity and hatred between two rival street gangs, it does not take a lot for a man to scratch beyond the surface and find out the reason for an anger which is as meaningless as it is rudderless.

Meena Kumari as an old-timer thrust into the rough of life at an old age is brilliant. As a woman, who is not comfortable with the changing times but who is unable to come to terms with the changing milieu, Meena comes up with a first rate performance. As one who believes in the power of love and peace, she sticks out as the voice of rationality in an environment of madness. Not surprisingly, even in a supporting role, she has the power to hold our attention with a performance that moves one to tears. This film was one of her highlights towards the end of an illustrious career and Meena proves that unlike other actresses, even old age could not be an impediment to one so well endowed with talent and finesse. As a woman, who has lived through two major violent eras, one of the late 40s and the other of the late 60s and lost her husband to one of them (the partition riots), Meena is just perfect.

Vinod Khanna as Shyam gives the best performance of his career. The tall, lanky actor is in his elements while portraying a character who has been forced to take up violence since peace has lost its sting in the current scenario. As Shyam, the man who lost everything in life but who desperately wants to cling to the past in a valiant effort to justify his present and redeem his future Vinod is exceptional. Like the Grecian heroes of yore, he has taken upon himself; the punishment for being alive and this silence and restraint adds a dimension of vulnerability to his performance that attracts one like a moth to a flame.

Danny Dengzongpa impresses in the role of a puppeteer forced to make bombs. In his cameo role, wherein he does not have a lot to say and express, Danny still manages to impress with a twinkle that speaks more than words ever will. The climax scene, where he observes the effects of his home-made bombs on his own favourite puppet (a scene done entirely in a fleeting shot and expressed with eyes only) shows the calibre of this great actor who never got his due from Hindi Cinema.

Among the formidable supporting cast, Asrani, Paintal, Mehmood, Dinesh Thakur and Asit Sen all impress in their cameo roles. Special Mention should be made of Mehmood, who infuses life in his role of the wily politician who uses youth fury for personal interests. As a double-dealing politician, Mehmood in his sweet cameo is remarkable, only a testimony to the fact that Mehmood was a great performer who did not get it’s due from the industry. Also, mention must be made of Yogita Bali who performs her cameo with a quiet dignity and understatement.

But the film belongs to the shotgun – Shatrughan Sinha. As the ringleader of the rival gang, Shatrughan Sinha as Chennu, effortlessly steals away the show from his more accomplished performers. In a role that although well sketched is broadly one-dimensional, Shatru infuses life and the character is all the more lovable because of this performer who goes beyond the script and direction to make his role a memorable one. As a street-smart, worldly-wise gangster, who only thinks in terms of money and power, Shatru is unbeatable. His mannerisms, his style all add substance to his performance and it’s unfortunate that an actor as brilliant as Shatrughan was grossly underused in an industry that only looks at stereotypes and formula fare.

Salil Chowdhary comes with a brilliant score that rises above the ordinary and also manages to stay true to the basic plot of the movie. The song “Haal Chaal Theek Thaak Hai”, sung by Kishore Kumar and Mukesh is the best song on the futility of the current educational system and one of the most scathing and scorching comments on the problem of unemployment. Again, the song “Koi Hota” by Kishore Kumar is one of the best songs that describe the emotions of a lonely heart and can easily make it to the top ten songs on loneliness.

This was Gulzar’s directorial debut and very few directors have debuted with a brilliance as observed in the case of Gulzar. The movie was adapted from a novel but the director has taken visible pains to transform the Naxalite milieu of the original and bring it to a North-Indian one. To his credit, the transformation is complete. Like his guru, Bimal Roy, Gulzar also specializes in extracting natural performances from acclaimed non-actors and Mere Apne is no exception. Gulzar manages to make the normally wooden Vinod perform and this is undoubtedly his greatest performance. The way Gulzar uses the medium of silence to depict violence is commendable. Undoubtedly, 1971 will be always remembered as the year Indian Cinema was blessed with a great director.

Watch this movie if only to see how the future can be butchered in the hands of those who do not want to let go of their powers.

In short, an excellent movie about Mere Apne countrymen