Hrishikesh Mukherjee’s Anand (1971) is unabashed about demise, not in an insensitive manner however extra as a seed of considerate transcendence. The irrevocable future of protagonist Anand is revealed inside minutes into the movie. Mukherjee makes use of the hero’s finality as the principle plot level to subvert the story of an premature demise, to a story of optimism, interfaith and concord.
For Mukherjee in all this, there lies an even bigger story and that is about life itself, its pleasure de vivre.
Uncomplicatedly structured, Anand is a straightforward story of a namesake man; Anand Sehgal identified with a uncommon type of most cancers, going through an irrevocable future. He is conscious that his days are numbered and but exhibits no signal of giving up on life.
On the opposite, Anand rapidly befriends everybody round him, together with his oncologist Bhaskar Banerjee, well-known for his no-nonsense character, from his medical school days. Soon they develop an unprecedented attachment, till demise abruptly terminates their friendship.
Rajesh Khanna and Amitabh Bachchan in Anand. (Express Archive Photo)
In this unassuming however intense storytelling that in any other case gels completely with the Indian cultural context, the place one’s family and mohalla are handled equally expensive, what’s so distinct about Anand, a movie that was produced fifty years in the past?
The reply lies within the characterization of the protagonist Anand Sehgal, co-written by Hrishikesh Mukherjee and Gulzar, Gulzar additionally wrote the dialogues for the movie.
At the core of this characterization, there’s a subversion. Unlike the depiction of heroes about to fulfill demise, Anand shouldn’t be overwhelmed by his skulking future. Neither is he grim nor melancholic however abounds with vitality and pleasure. Amidst his depleting well being, he can take a look at the lighter aspect of life, unshaken by any scenario that life randomly throws at him.
Such is his vivacity, that within the later a part of the story, Anand even accuses Bhaskar of creating him morose. He exasperatingly says, “None have ever witnessed one’s personal demise however I’m actually unlucky that I see it each minute in your eyes (Aaj tak kisi ne apne maut nehi dekhi ho, par mai woh abhaga hoon jo har pal, har lamha who dekh raha hai, tumhari aankhon mein,
Anand, the movie, is a life-affirming story and the writer-filmmaker duo by no means retreats from this notion. This cinematic humanism inevitably stems from Hrishikesh Mukherjee’s coaching beneath the legendary Bimal Roy. By the time he acquired into directing Anand, Mukherjee had already directed Anupama (1966) and Satyakam (1969) each recognized for his or her nuanced depiction of relationships.
Gulzar provides to this universe stuffed with characters with advanced lives.
When he co-wrote Anand, Gulzar had already penned the lyrics of pathbreaking Bandini (1963) a movie that talks in regards to the reformation of jail inmateslabored with Hrishikesh Mukherjee in his Ashirwad (1968) and had acquired seen for tender lyrics of Khamoshi (1969), directed by Asit Sen.
The camaraderie amongst these Bimal Roy protegees was evident and acquired solely enhanced by their widespread worldviews formed by bigger realities of the then India like wars, insolvency, scholar actions. With such a cinematic method, Anand couldn’t have been something however what it stands for.
Pertinently in Musafir (1957), Mukherjee’s first directorial, he broke the stereotype of a cheerful ending. His hero dies on the finish, and that demise is portrayed subtly, innocuously onscreen. Fourteen years later when he directed Anand, Mukherjee continued on the identical path, scripting a severe storyline of life vs demise, championing life all via. His and Gulzar’s Anand Sehgal emerges as an egalitarian at coronary heart, at all times bemused with the concept of assembly and loving full strangers on the street, who he refers to as Muralilal, a long-lost good friend.
Rajesh Khanna in Anand.
The strangers are not offended by Anand’s peculiar antics of befriending them. On the opposite, they too are keen about Anand. He manages to win the center of essentially the most unlikely, the motherly however regimental Mrs Disa, matron of the nursing house the place he’s being handled.
In these buddy acts, Anand is oblivious of any spiritual affiliations, caste or social standing of others. He is equally cordial with Raghu Kaka (the cook dinner at Bhaskar’s house) and Mrs Disa and even Dr Bhaskar, the oncologist.
Anand’s obliviousness is proven in multiple scene. In one occasion, Anand meets Raghu Kaka for the primary time and immediately reveals his love for good meals. Soon he begins treating the aged cook dinner as his personal, ignoring his home assist standing. In one other scenario, over a poignant dialog, Anand wishes to be Mrs Disa’s son on rebirth.
In his signature spontaneity, he even remarks, “I will convince Lord Shiva (Main Shivji ko mana lunga),,” clearly upholding the concept of communal concord.
Neither Mukherjee nor Gulzar had been hesitant in utilizing such dialogues. The dialogues by no means sound placed on however fairly unprompted, mixing nicely with the character of Anand. Further within the story, his seek for Murarilal – (a superb script system to focus on Anand’s nature, his love for associates and urge for food for all times), makes him by chance meet Issabhai Suratwala (Johnny Walker), a Muslim man and an beginner, theater director of Gujarati origin. They immediately hit it off over theater rehearsals, banters and hilarious moments. Anand begins addressing him as Guru (mentor) and Issabhai reciprocates by calling him, Chela (disciple)
As the script results in its climax, a sequence of tense scenes is crafted. By then audiences are empathising with Anand and rooting for his miraculous restoration.
Like his onscreen well-wishers who reduce throughout religion, caste, creed, the viewers too is undivided in commiserating with Anand as if he’s their very own — a good friend, a brother, and even an estranged lover, expensive to anybody who has ever been in love with life.
Hrishikesh Mukherjee’s Anand was launched 51 years in the past on this date.
This is the magic of the movie made fifty-one years in the past. It had unified the viewers throughout the nation.
In these totally divisive occasions, Anand stands its floor for egalitarian storytelling, glowing in its classes of interfaith and pleasure de Vivre!
Nilosree Biswas is a filmmaker, writer most just lately of Banaras Of Gods, Humans And Stories.
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With inputs from TheIndianEXPRESS
