In the Land of Silence. Review on Koshish - Bollywood

What can be decreed as ‘Normal’? What is “abnormal”?

It has been the constant attempt of races, religions, civilizations and nations down the ages of history to consider themselves as normal and condemn all diversity to abnormality. The said prejudice still exists – in our collective psyche – yes, maybe the terms of reference have changed but the malady still exists. This delineation of us as opposed to them, this xenophobia – the cause of all conflicts – not only engulfs us but also comes out in our daily chores. One of the worst of these xenophobic elements amongst us is the condescending attitude our ‘normal’ brethren feel for those not as endowed as them – the ones who are politically referred to as the ‘challenged’ ones.

The attitude of the majority to these ‘abnormals’ remain the same – one of superiority, pity and self-pride, almost to the point of being vulgar and offensive. How conveniently do we, the paragons of humanity forget the human qualities of those who are a little different from us! This hypocrisy in our day-to-day dealings with them, does not say a lot about our humane nature but it does say a lot about our own upbringing and moral bankruptcy.

Few people down the ages have ever contemplated on the miseries we heap on our brethren in the guise of sympathy and pity, and it took a beautiful movie from a great director to highlight this unfortunate fact. Koshish (1972) is a valiant attempt by the poet-director Gulzar to bring to the fore the life of those whom we consider sub-normal and to flesh out in detail their own thoughts, aims, aspirations and ambitions, thus proving for once and all the unity within diversity without sermonizing on the same. Koshish on the superficial level is the story of a deaf and dumb couple, their struggle to live a life of dignity in a biased and prejudiced society and their undying and unswerving commitment to their own selves.

Sanjeev Kumar as the deaf and dumb Haricharan is excellence personified. The actor effectively shuts off his modes of communication and appears to be completely at peace with his character. As Haricharan, Sanjeev delivers a gem of a performance and his absolute nonchalance to the environment around him makes for interesting viewing. Of great artistic interest is the scene wherein Jaya rebuts his marriage proposal and also the climax scene wherein he admonishes his ‘normal’ son for his insensitivity. The actor proves his thespian skills once again beyond doubt and not even for a single instant can one remember in the course of the movie that the actor could definitely speak and hear. The performance is all gold and deserving of the ‘National Award’ that was bestowed on the great thespian for this great performance. Indeed, every aspirant to the great art of acting would do well to observe the ‘effortlessness’ of the performance to understand why Sanjeev will always be sorely missed in the industry.

Jaya Bhaduri as his deaf and dumb wife is equally efficient in her performance. The role required Jaya to exude a blend of innocence and maturity, a frustration at her own inability and a silently positive attitude that endears you to this mild character. As a woman, not ready to accept her limitations and one to constantly challenge the frontiers of her abilities, Jaya stands out as different from the run-of-the-mill actresses of modern cinema. Her performance in Koshish shines though the gloom of the canvas as the proverbial silver lining behind the dark clouds. Observe her frigid nervousness after giving birth to her firstborn as she silently wishes to confirm whether the firstborn is normal’ like her brother or ‘abnormal’ like her and her relief on being communicated that the child does not have her ‘abnormality’. Tears flow out of our eyes again in the scene where she sits on the floor of her house, feeling guilty and agonized on the death of her son. No words to praise the scene – there is no need too- it’s the sign of an actor at work.

Om Shiv Puri as the blind friend of the couple plays his role to perfection. His role depicts the perfect mix of maturity and sagacity of a man who has seen all and done all and still does not play to the gallery. In a role that was a cameo compared to the lead actors, Om Shiv Puri manages to keep his dignity intact and is neither overawed nor overshadowed by the thespians.

Asrani in a rare negative role impresses beyond compare. As a good-for-nothing street ruffian who can think of robbing his sister without a single twitch of conscience, Asrani is formidable. No wonder, every movie worth it’s salt in the 70’s employed Asrani to bring a dash of realism to the role. The Asrani of Koshish is not the comic figure of Sholay or the many action clones it spawned, it’s the Asrani of the middle path cinema that not only endears you to the role but also makes you feel compassionate for a despicable character.

Dina Pathak again impresses as a mother with a deaf and dumb child. The scene where she hears Jaya speak out sounds for the first time is one of the best emotional scenes in the movie performed in a very understated manner. However, the actor who plays the son fails to impress with a role that could have been dynamite in the hands of another actor. Neither does his fury seem natural nor does his penance seem true.

Madan Mohan, a great composer in his own right fails to give us any brilliant ditties in this movie of silence. Although both the songs in the film are sweet and easy on the ears, none of them stands out as excellent or equal to what one expects from one of the greatest composers in Indian cinema.

Gulzar, once again shines with his sensitive direction. Each and every scene in the movie depicts the normalcy of a life irrespective of the handicap and never does your heart feel with sympathy for the lead actors. It’s to the credit of the director that the film does not become a paean to a handicap but a bible to a faith – a faith in one’s own abilities.

One of the most enduring scenes in the movie stars the great Dilip Kumar and Sanjeev Kumar in an animated telephone conversation. Being deaf and dumb, the protagonist does not understand the language of sound and out of curiosity calls up a number that happens to be Dilip’s number. Dilip picks up the phone, cannot hear anything and keeps repeating hello – a grim remainder of the sound of silence. Sanjeev then calls up two more people, each giving out their own versions of frustration and anger at being unable to hear. The scene is comic but the reflection tragic. An instant of silence was enough to frustrate them – think of those forced to live in them.

In addition, Gulzar comes up with one of the best romantic scenes in the movie when Sanjeev woos Jaya with silent speeches. Another scene that deserves special mention is the sunset scene with each and every one’s involved in his or her own little worlds and still bound together by silence. Indeed, it required a director of the calibre of Gulzar to bring a dash of voice in the land of silence and to bequeath on us the connoisseurs of good cinema, a beautiful movie which will remain for ever a legacy of what good direction is all about.

A beautiful movie on the unspoken, unseen and unheard sons and daughters of humanity. Please do not try to sympathize with them. They do not need it. They are perfectly ‘normal’ you see.