Oct 31, 2005 12:42 AM
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(Updated Oct 31, 2005 12:42 AM)
Adaptation of a literary work is no easy task. The Waterloo of many an accomplished producers and directors is met when trying to adapt a literary work of repute on celluloid for as any avid reader of literature will concur, these do not easily give themselves to adaptation.
This is more so with the classics. And if the classic is based on a period of Indian history that’s known for the unmitigated tyranny of a privileged class over the teeming millions, it becomes even more difficult. And if the intent of the classic is to capture vividly their decline, it’s almost a difficult task. Such was Bimal Mitra’ brilliant exposition of the turbulent times that an adaptation of the novel would be hara-kiri even for seasoned campaigners but it’s to the credit of the cast & crew that this adaptation was an out and out classic – a worthy adaptation of a worthy work. In fact, Sahib Bibi Aur Ghulam is one of the few adaptations that can be considered to have actually outshone the classic – the rare case where an adaptation has actually managed to outshine the original.
The highlight of the movie lies in the fact that the movie not only captures the decline of the feudal powers of Bengal but also presents a searing account of the plight of womenfolk in those prestigious houses. On another level, it also portrays the platonic relationship between a woman of the royal household and a poor rustic in shades that are still a pipedream for today’s audiences. Last but not the least, the movie is a brilliant portrayal of the life of different people caught in the whirlpool of destiny and how they adjust to the changing times and to each other.
As Bhootnath (the Ghulam), a rustic who migrates to Calcutta and is completely bewildered by the life in the great city, Guru Dutt delivers a performance extraordinaire. Considering the fact that Guru Dutt had to enact a rustic in the late 19th century and then build up on it for a time period encompassing two to three decades, his performance is a chiseled masterpiece. From the initial stages of innocence when Bholenath enters Calcutta to the later stages of maturity as he surveys the ruins of the once mighty Zamindars, the role demanded a large amount of perseverance and dedication and to his credit, Guru not only manages to stand true to the story but also to stand tall and dignified in the ruins of a destroyed past. His deep affection for Chhoti Bahu is not only well displayed but so is his frustration on his own inability to help her out of her predicaments.
Rehman as Chhote Zamindar (the Sahib) is aptly and perfectly cast as the aristocratic scion of a royal family and stands tall in his perfect portrayal of a man who is arrogant, egoistic, pompous and worthless. Watching his role unfold, you feel a quite sense of revulsion for the Zamindars but the actor also manages to engage your empathy in the final scene wherein he is lying on the bed as a paraplegic, highly repentant but also aware of his impending doom and the irreversible destruction of his dynasty. Watch his eyes as he observes Choti Bahu in her drunken stupor and observe it wincing with disgust and frustration as he recalls how responsible he is for her destruction. A scene that could only have been accomplished by an extra-ordinary actor – a silent reminder of Rehman’s calibre and finesse
Waheeda Rehman as Jabba, the spitfire daughter of a city businessman proves her mettle in a role that is a compliment on her performance. This is one of the few challenging roles that came Waheeda’s way and the actress not only grabs it with both her hands but also uses it to demonstrate her grasp of the nuances of acting. If you look closely, the character of Jabba is not incidental to the plot but it’s the presence of her character that adds a sort of deep melancholy to the lead role of Meena Kumari since both in conception and execution, Jabba is all that Meena would have been had Fate so dictated whereas Chhoti Bahu is all that Waheeda would be in circumstances such as the ones encountered by Chhoti Bahu.
The supporting cast also stands true to its mettle. Nasir Hussein is brilliant in his portrayal of Subhinay Babu. Dhumal brings life to his portrayal of a servant while Sapru conveys the regal elegance of a Zamindar effortlessly. Hridaynath Chattopadhyay impresses as Ghadi Babu - a mad man who is used as a metaphor for changing times
Although each and every one of the actors mentioned above are brilliant, the movie scores mainly because of a tour-de-performance by the greatest actress of Hindi Cinema, the tragedy queen – Meena Kumari who as Chhoti Bahu (the Bibi), the flawed but spirit bahu of a feudal household delivers one of the greatest performances by an actress ever. The role of Chhoti Bahu is not a caricature of the times, but one that requires a deep understanding of the period, the customs and traditions of the time, the inner feelings of a woman of that bygone era, the pining of a woman thirsting for her husband’s attention and the deep sense of anguish and gloom that drives a woman into acts much against her ingrained nature. In one such scene as she screams to her consciousness, “ Hindu Ghar ki bahu hokar, kya sharab pee hai kissine?” one is bound to feel and cry in unison with her on her deep sense of loss.
Hemant Kumar wields the baton impressively, creating in the process some of the best Geeta Dutt & Asha Bhosle ditties. Whether it’s the haunting “Koi Door Se Aawaz De”, the mischievous “Bhavra Bada Nadan”, the passionate “Naa Jao Saiyan”, the sad “Meri Baat Rahi” or the hopeful “Piya Aiso Jiya Mein” the maestro ensures that each and every song remains deeply etched in your hearts. It goes without saying that Shakeel Badayuni has penned in some of the best songs of his glittering career in this movie.
Abrar Alvi in his maiden directorial debut creates a fascinating spectacle of grandeur and debauchery, exaltation and meanness. He effortlessly portrays the relationship of Meena and Guru Dutt and etches out the deep respect and love the two hold for each other. Although, at times the film displays the famous style of Guru Dutt, it would be unfair to say that Guru Dutt directed the movie. Some of the scenes in the movie such as the pigeon competition, the murder sequence and the bomb blast are not the sorts of scenes Guru Dutt would be comfortable doing. However, the picturisations of songs and the close-ins are definitely reminiscent of the master. Special mention should be made of V K Murthy, whose cinematography is one of the highlights of the movie.
This movie is a wake-up call for those who think Indian literature is shallow and does not have enough stories for those who would dare to adapt them.
