A superlative endeavour (Koshish)

Whenever I see a film about complex human emotions and end up being disappointed, I mull over the idea of how Gulzar would have treated the subject. Yes, I'm  partial to the man and his art. For me, he is the sole creator of those films that have the power of extracting the last drop of tears from your eyes. But his brand of movie making is not loud, melodramatic or heart-wrenching. He is a magician with a very subtle flamboyance. He comes, narrates a simple story and goes. And even before you realise it, the story casts such an indelible impression on you that you keep thinking about the beauty, or the surprises, that life has in store for everyone. Like how Gulzar does in Koshish. A saga that could have very well be one tearjerker is not so because of the finesse and restraint that the director exhibits. Hope and survival, the two main qualities in this film, layered with a stunning picture of love and togetherness, could not be better depicted.

For those who haven't seen Koshish, I suggest you stop reading. Go on, see the 1972 drama and then come and tell me how you felt. You might be overwhelmed at first. Like how I was. I kept being stunned at every scene, at how deftly the director etches every incident, how precise is every frame, how superlative are the performances, how reassuring is the ending. But then, after a few watches I realised that Koshish could well be called the best film ever made by Gulzar if not for the ending. For, according to me Gulzar almost coerces a union of sorts to depict that magnanimity of both Hari and his son. To make the denouement rather pragmatic, maybe he could have made Hari let his son decide for himself rather than pressing upon the 'normal' human to accept the 'abnormal' human as a life partner. True, it reinstates the already known qualities of hope and love but somehow I find the ending a tad too conventional. I'd have loved to see Amit deliberating on the subject and then taking a decision on his own. That would have even bettered the experience of Koshish. But then, what is a good film without it's minuscule glitches...

But nothing can take away from the wonders of this spectacular film. Two dumb and mute persons fall in love and pledge to be together. How romantic can that be? I'd say very, if the people so concerned are Haricharan  and Arti. Despite their handicap, there is never a moment when you do not feel their feelings and hear their heartfelt desires. There love story is as romantic and as touching. Sample the scene where Hari proposes to Arti and she declines because of what her mother (Dina Pathak is a subtly wonderful role) had told her. Saddened by her rejection, Hari moves on with dejection. His altercation with some giggling onlookers is only a manifestation of his sorrow. But when Arti neglects her mother's caution and accepts him, he is over the moon and his eyes start smiling immediately. The wedding night scene is another raw sentiment. Still getting acquainted with each other, the two merely exchange sweet letters to let each other know that they are special to each other. Give me another scene as brilliant as this.
Though the film becomes a tad too depressing after the birth of Arti's son, it quickly balances back to reality with Hari securing a job in a factory. Good times show up when Arti has her second child and the couple's only dream is to see their son hale, hearty and successful. Gruelling work, non-stop dedication and honesty leads Hari to be promoted. His strength to face the world, conviction and resolve see him find a firm footing in a whole that can be very cruel to mediocrity. And here, Hari is below mediocre. He is crippled and fighting all the time. What reassures him is the stable support from his better half who has seen bad times herself. But it is their vow of togetherness that hold strong throughout.
No wonder, when Arti is no more Hari is visibly breaking upset and sad. But he is survivor. With his head held high, he knows that Arti would not have him lose the race so easily. So, he marches on.

This is perhaps one of the very few films where I loved Jaya Bhaduri. She is au naturale here. Sans makeup and looking her part, she just slips into the role of Arti with utmost ease and precision. I love the scene where she whistles away to her baby on learning that he is a normal human, able to hear and talk. But, the scene before that is exemplary, where she clutches on to her baby when Hari mistakingly declares that the baby is also dumb and mute. Imagine the mother's feelings. Here is a woman who has been dreaming big about her child. At one fell sweep all those dreams come crashing down! Then there is the scene where Om Shivpuri sings a lullaby to the baby. What a mother should have done, is now done by a blind man. Arti will never know the peace in putting her infant to bed with a sweet lullaby. But here is a woman who has come to terms with the truth. Hats off Jaya...

What is to be said about Sanjeev Kumar in Koshish that has not been said before?! He is the best part of the film. His range of expressions, emotions and actions simply belie definition. He is an actor par-excellence, perhaps tapped best by Gulzar. There are far too many scenes in this film that stand out just because of Kumar's depiction of sentiments. His act stabs you right in the center of your heart, extracting gasps and sighs every time of an actor who passed away far too early. He is an actor who needs to be lauded every day, every hour, every moment...

Gulzar had the uncanny ability of making actors play parts that was so very unlike their popular image. Here he toys with Asrani. Who would have thought that the bumbling sweet comedian could essay the role of a selfish brother so immaculately. Well, Gulzar did and we have Kanu, the lax and mean brother of Arti who looks for every opportunity to live life the easy way. What he does is odious. But, I believe it is the scene where Kanu's eyes moisten when he sees the aged Hari and his son take a taxi takes the cake. It almost looks Asrani is serious about those glycerine-induced tears. You really feel the pain of Kanu and his remorse at being such a villain in the past. Now tell me of another director who made Asrani extract such a response from the audience...