Friday, October 2, 2009

KOSHISH (1972)

I can’t resist my tears every time I watched Gulzar films. There is something so pure and subtle about purgation of emotions he portrayed in his films. Along with his writing and directing artistic expression, the actors he used and explored portray the refreshing natural acts highlighting simple yet moving cinema.

Sanjeev Kumar was an actor of brilliant caliber and no other Director explored his versatile acting talents as Gulzar. Like Smita Patil, he also died at very early age but what he had done in that limited duration is learning lessons for rising actors. The timeless classics like ‘Aandhi’, ‘Mausam’, ‘Angoor’ and “Namkeen’ are worth proof of this fine director-actor combination. ‘Koshish’ is one step ahead among all above mentioned acts of Sanjeev Kumar and as per my opinion the career best act of Sanjeev Kumar.

Sanjeev and Jaya Bhaduri played deaf-mute couple in this touching tale of Gulzar fighting against their ill fated odds of life and rise as everyday hero left unnoticed in commercial Hindi cinema. Sanjeev captures the essence and depth of his role the way no other actor can justify. Hari Charan Mathur is a gentleman character we rarely see in Hindi films, who knows that he never lose hope of better life for his family in spite of his disability. Playing deaf-mute character limits the acting skills for any actor and so it’s challenging task to carry. But the way Sanjeev Kumar had used his eyes and facial expressions to convey every possible emotion just requires standing ovation. His pairing with Jaya is most natural one and she was really a gifted natural actress much before she married to Amitabh and lost in oblivion. Asrani is product of Pune’s Film Institute and has done some fine supporting roles in meaningful cinemas of Gulzar and Hrishikesh Mukherjee. As good for nothing ticket blacker brother of mute sister, his act here is one you would like to notice. Same can be said about Dina Pathak.

Compared to other films there are few flaws in this Gulzar film. The second half of the film is too stretching and tedious with two unnecessary songs and abrupt screenplay. Father’s emotional blackmailing or compulsion to let his son marry mute girl even when son is not handicap seems most improbable part of the film. The end of the film is too idealistic and far removed from reality. Even the progression of Sanjeev’s life from boot-polishwala to print supervisor also portrayed with smooth execution without much conflict. Even the pace and grip of the film become quite ordinary. It’s hard to bear the last half an hour if Sanjeev was not there. Yet sidelining these faults if we think that- How many directors can even think about a visual metaphorical scene where a deaf-mute lady helps a blind man to cross the road and communicate with each other? And we all agree that there is sensible yet subtle and poetic emotion running in Gulzar films which uplifts the humanity in all of us.


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