Hail Khairoo (Noorie)

Even as the camera pans across the verdant valleys of Kashmir with the beautiful Noorie and attractive Yusuf serenading to Aaja rey o mere dilbur aaja, there is a sense of foreboding that all shall not be well. Blame it on the opening scene of the old storyteller giving out that the innocent Noorie is missing for a long time or the dejected face of Yusuf pining for his lost love, the entire mood of Manmohan Krishna's Noorie is one of sorrow and dejection. The halcyon setting, generally associated with a Yash Chopra production, is conspicuous by its absence.
Everytime I looked at Poonam Dhillon, I felt that it is her pristine beauty that would be her nemesis. Everytime I smiled at the innocent romance of Noorie and Yusuf, I was scared that their love would never experience the joy of marital bliss.
But, I kept expecting miracles to happen. Even when the debauched Bashir Khan spots Noorie and wants to conquer her, I pray that the devil will not ravage his prey. But something about this 1979 film screams tragedy. When you have director Manmohan Krishna at the helm (the one who plays the storyteller), I think that is what you can expect. He turns a perfectly romantic drama into a tragedy without steam. He makes the film look like himself. Sad and sorry, just like his depressing eyes!

The film starts well. Noorie (Poonam Dhillon), the beautiful daughter of Ghulam Nabi (Iftekhar), loves Yusuf (Farooq Shaikh). She just dreams of setting up a happy home with her charming lover. Living a modest life at a lumbering village in Kashmir, with her caring father and Khairoo, their faithful dog, she eggs Yusuf on to talk to her father about the marriage. Though Yusuf is a bit jittery at first, situations so unfold that soon Noorie and Yusuf are ready to tie the knot.

But, fate has other things in store. Yusuf's employer, Bashir Khan (Bharat Kapoor) has his eyes set on Noorie. Khan is a promiscuous and wicked man who preys on the helpless village girls to satiate his lust. He gives a hint to Ghulam Nabi, who works as a tree-cutter for him, but the latter defends his honour and his child, from the lecherous eyes of Khan. Khan's cronies, comprising Faulad Khan (who is himself lusting after Noorie) and some other louts, give him ideas as to how to conquer Noorie. The odious man plans Nabi's death so that Noorie is left alone and desolate. He also sends Yusuf away for a job so that he can have Noorie to himself. One rainy night, when Noorie is weaving happy dreams about her marriage with Yusuf, Khan storms into her hut and rapes her brutally (this scene is shot fabulously). Unable to bear the shock and scared to withstand the stigma raised against her tainted character, Noorie commits suicide by drowning herself. All this is witnessed by Khairoo, who later hunts Khan downs and extracts sweet revenge.

What happens to Yusuf then, who is near death after Noorie dies? Grief-stricken to the core, he wanders about in the valley weeping for his beloved. His is a sad plight. Listless and distraught, we can just wait and watch as to what befalls him.

I had heard so much about this film that I was, I'm afraid, expecting a lot. But apart from a few poignant moments, the film failed to excite me. The script was tight though and apart from two superfluous songs (Qadar tune na jaani by Asha Bhonsle and Aashiq ho to aisa ho ) there was hardly any stretching. The landscape was breathtaking...thick mountain forests clouded by the haze, with brooks and streams gurgling by. The film perfectly depicts the peaceful life of mountain villagers, their little hopes and small aspirations. The costumes are well-matched to the setting and nothing is over the top. Poonam Dhillon looks  immaculate as Noorie. She is fresh, pretty, soft and sensitive. Appropriately shy and refreshingly spontaneous, Dhillon actually makes you feel sorry for her when tradegy strikes the poor girl.

Iftekhar is good as Noorie's father. His friendship with Lala (Madan Puri) speaks volumes about the amicable relation between villagers. Though he is poor, he maintains a dignified stand towards life and is not ready to sell his soul. He is great in the scene where he buys a pair of anklets for his daughter and accidentally drops them. A group of dogs run over them. An ominous sign that something dreadful is about to happen, Iftekhar's disturbing expression says it all. Madan Puri was different as the benevolent Lala, who appears warmhearted yet childish when he picks up banal fights with his friend. Bharat Kapoor looks absolutely diabolical as Bashir Khan. His eyes are mean and his swagger speaks volumes about his debauched character.
I thought Farooq Shaikh was a miscast. After having reveled in this talented actor's performances in Chashme Buddoor, Kisise na Kehna and Katha, I was expecting a lot from him. But apart from a few pleasant romantic sequences, some tragic scenes and the climactic action, Shaikh didn't have much to do. Yes, he looked charming as Yusuf, but that was about it. His character was not developed much. I wonder how Vijay Anand or Raj Khosla would have dealt with Yusuf's persona?
And, I wonder what these two directors, so well adept in handling thrillers, would have done with the denouement? For, Krishna's ending is too tepid and predictable. Devoid of twists, turns and excitement.

Talking about lacklustre, I'm reminded of Khayyam's score. Apart from the title track (sung well by Lata Mangeshkar and Nitin Mukesh) and Chori chori koi aaye (Mangeshkar), none of the songs are memorable.
The best source of entertainment I believe, is Khairoo, the smart dog. Watch his antics and be floored. He drinks tea, goes to work with his master and protects Noorie responsibly. Note the scene where Ghulam Nabi is being buried and your heart will melt seeing the canine's reactions. I'd say this simple story gets its high points when Khairoo gets into action mode and ensures justice. Little wonder then that he is shown as the hero who plots revenge so that the evil Bashir Khan gets his rightful due...