How green was this valley (Hariyali aur Rasta)

Of 1962's Hariyali aur Rasta, 1964's Apne Huye Paraye and 1965's Himalay ki God Mein, I am most fond of the first film. All of them star the trio of Manoj Kumar, Mala Sinha and Shashikala. All of them pair Kumar and Sinha with Shashikala playing the third woman out to disturb the happy romance between the couple. And, all these films have a roughly similar plot with a tweak here and a twist there. Manoj Kumar falls for Mala Sinha but has to marry Shashikala (either because he is betrothed to her or because she is cunning enough to trap him). But the man can never forget his past love.
The rest of the story proceeds with how Shashikala, the mean vamp, is obliterated from the scene so that the two lovers can unite again. Simple, short and sweet.

Now to why I like Hariyali aur Rasta the most. Apart from the fact that Manoj Kumar looks delicious (I really liked him as the romantic hero), Mala Sinha is gorgeous and Shashikala is sassy, Vijay Bhatt's film (Himalay ki God Mein was also by him) has a free-flowing storyline with good performances. Shot in picturesque Darjeeling, this is a pleasing love story that is well laid out. The songs are great (courtesy Shankar Jaikishan) and the supporting cast does a good job. There is hardly a moment that is stretched (okay, maybe some scenes featuring Om Prakash) and the execution is not flaky. Enough reasons to enjoy this film, I think.

Shankar's father passes away extracting a promise from Shivnath (Manmohan Krishna) that he will take care of his son. He also makes Shivnath the trustee of his tea estate and makes sure that when the boy grows up he is married to Rita, the daughter of a close friend. In the meantime Shankar befriends Shobna, Shivnath's daughter. Childhood friendship grows into young love and Shankar (Kumar) is seen romancing Shobna (Sinha) on the verdant hills of Darjeeling. They sing beautiful songs, exchange sweet nothings and profess undying love for each other, oblivious to the fact that Shankar is betrothed to Rita (Shashikala), who now has grown into an ultra-modern social butterfly. Soon the news about the lovestruck couple spreads and Shivnath is forced to forbid Shobna from seeing Shankar. Shobna is devastated to find that her love has no future and she leaves with her father to distance herself from her sweetheart. Unfortunately the train, in which Shivnath and Shobna are travelling, gets derailed and there is a terrible accident. On hearing the news, Shankar rushes to the rescue site. Though he is able to find Shivnath (covered to his toe in bandage), Shobna is missing. Shankar is distraught.

Meanwhile a few fishermen discover the unconscious Shobna on a seashore and take her away. Co-incidentally, the desolate Shobna overhears Shivnath and Shankar crying over the fact that she is no more. Shobna takes this as a cue to go away from their life forever (so that Shankar slowly overcomes his grief and settles down with Rita). She begs the doctor of the hospital to employ her as a nurse (she does make a loving and charming one).

Shivnath forces Shankar to marry Rita (to honour his word given to his old friend).

But, though Shankar marries Rita, he cannot quell Shobna's memories. More so because, Rita, an attractive women, is not able to fulfil her responsibilities towards her husband. She is more busy doing her social chores, attending women forums and fancy dress parties. Cooking for her husband and taking care of the house is not her forte. She is vain and rude and hardly loves Shankar. Owing to marital discord Rita shifts to Calcutta to be with her father. There she gives birth to a baby boy, who Shankar loves dearly. You must watch this for the ups and downs that Shankar, Shobna and Rita go through to settle matters in the end.

The earliest of the films starring the same three protagonists, this Vijay Bhatt romance is a much tighter version (albeit being a bit lengthy) than its later cousins. The songs, I repeat, are fabulous. Though I thoroughly missed Mohd Rafi, I could take Mukesh just because the music was so darn melodious. Lata Mangeshkar's Yeh hariyali aur yeh rasta  is superb. It has a kind of resonating quality; Mangeshkar's sweet voice reverberates through the Queen of Hills. Couple that with the attractive Kumar and ebullient Sinha, and you have a classic. The love duets Allah jaaney kya hoga agey and Bol meri taqdeer  are quite melodious (I love Sinha white costume in the second one), though they would've been way, way better in Mohd Rafi's voice. Mahendra Kapoor's Kho gaya hain mera pyar and Dil mera chup chap jala (Mukesh and Lata) are passable. The best dirge in the film is Teri yaad dil se.  Sung quite well (though sometimes he gets a bit prosaic) by Mukesh, this song stands out for its lyrics (Shailendra) and soulful melody. And of course the lovelorn expressions of dashing Kumar.

Oh I forgot Asha Bhonsle's Parwano ki raah mein, picturised of the pretty and lithe Helen. I love the male dancers' butterfly costumes. Innovative and colourful.

Manoj Kumar, I've said before, was quite a tolerable actor in his black and white films. He was tall, attractive and smart. I like him in his romantic films and I love his smile. It has something. And here, he looks very good with Mala Sinha. She is of course the better actor of the two. She portrays joy and sorrow with equal ease and makes for a gorgeous young woman struck by love. In the second half, she is a dutiful nurse (looking neat in her uniform) who is torn between her love and responsibility. A strong performance.

But, despite the two charmers here, I want to cheer more for Shashikala, just for her performance. Sassy and individualistic, yet foolish and cruel, Shashikala plays her part well. She is modern (and hence, has no qualms in making the first move towards her husband on their wedding night) and soaked in self love. She is thoroughly disinterested in her husband's life and wellbeing and has a self-centered approach towards everything. On one hand she lectures people on how to be a good mother and wife and on the other hand she is blissfully unaware of how wrongly she is treating her husband and son. What a contradiction in her personality!

Saying that I feel Shashikala spices things up in the film (like Nadira did in Dil Apna aur Preet Parai) and deserved more screen time. Instead of wasting so many reels on Om Prakash's puerile banter, Bhatt could have used Shashikala more. This talented actor always had surprises up her sleeves. Something definitely worth exploring...