Seven day saga (Woh Saat Din)

If Sonam Kapoor were half as talented as her father, Anil Kapoor wouldn't have to tax his brains double time on how to secure a sound future for his pretty-but-plastic offspring. The father was really a thorough entertainer. He acted well, right from his first films, carried some rhythm in his toes and was cute to look at. Look at his flamboyant portrayal of a village bumpkin in Woh Saat Din and you'd know that Anil Kapoor was serious about the trade he was getting into. In his first lead role as Prem Pratap Patialewale, Anil Kapoor leaves an indelible impression on sensitive minds. The film, a funny yet sweet saga about a simpleton struggling it out in the big bad city, is a window to the talent that Anil Kapoor would only unleash in his later films. That he was not just riding the popularity of his producer father Surinder Kapoor, but striving to prove that he deserved reckoning is only too true in Bapu's Woh Saat Din.

The first part is hilarious because Prem shrouds his struggle and his emotions under a thin veil of lightheartedness. Sure, he gets a sound backing from the uber-talented Padmini Kolhapure, who wears her heart on her sleeves in this film, and the subtle yet strong Naseeruddin Shah. But, when it comes to flexing his muscles before a powerhouse of talent or rather bigwigs in the industry, Kapoor chose not to get intimidated and play to the tune given to him. Result: He succeeds with flying colours, his effort laudable for its sheer translucency.

Woh Saat Din is a tender 1983 film that stands out for its offbeat execution. The film starts on a note of suspense where a man is tying the knot with a woman. The atmosphere is heavy with an unnerving silence, amidst which the purohit's chants just clear the air. The bride is awkwardly morose, the groom fulfills all the Vedic dictums religiously. No one is smiling, the cheerful ambiance of a wedding ceremony is missing. But the director makes sure that the final vows are heard and understood when uttered. Every word, every line is almost grated into the head of the couple as well as the audience with their clarity.

When the groom brings the bride home, we learn that he is a widower with a daughter, Chanda (a sweet girl). Anand's (Naseeruddin Shah) mother (Dina Pathak) is bedridden and counting her days. She blesses the bride (Kolhapure) and is visibly happy to see that after a prolonged refusal Anand agreed to heed her insistance. Maya off course is too quiet for comfort. The couple go to their room and Maya faints. Luckily Maya's husband is a doctor and he promptly pumps the poison out of her discreetly. When the girl gains consciousness, Anand implores Maya to reveal everything to him under a pledge of secrecy.
That a girl swallowed poison on the day of her marriage points directly towards her reluctance to get hitched. The doctor is worried and would like to know the root of her grudge from the beginning. It is here that the director takes us on a tour of emotion, passion, love and longing...

What's worthwhile is how the chemistry between Prem and Maya develops. While Maya is the overtly passionate girl who speaks about her love for Prem openly, the latter is the cartoon with a sensible mind and sensitive soul. Innumerable funny snippets contribute to the cementing of their bond. He loves Maya but is aware that her wards will never accept an unemployed and poor individual for their son-in-law. He is honest, hardworking, sturdy and talented. He is loudmouthed but warm, impulsive but rational. And even when Maya allows him to take liberties with her, he is steadfast about his duties and her honour. He does nothing to earn but once he has given her his word, he does not step back when it is time to marry her. But will his hard work, his truth, his honesty, his efforts pay off? Will Prem and Maya be united?

Bapu weaves a unique tale of love and responsibilities between three adults who are bound by traditions yet have to answer the call of their hearts. (The remake, Hum Dil De Chuke Sanam, was nice too. But somehow, I will always favour this one for it's beautiful simplicity.) These three individuals have themselves tied up in knots and it is also up to them on how these knots will be untied. What I admire about Anand is how he never forces his decisions on Maya. In the end, it is Maya who decides her own fate. Anand never implores her for anything. He just requests her to fulfill her responsibilities as his wife for seven days, before he reunites her with Prem.
Naseeruddin is as usual marvellously subtle, sober and restrained as Dr Anand. He downplays his emotions with aplomb. In the scene where his mother passes away, note how he silently weeps as a son who has lost a dear one. It's heartrending...

Padmini Kolhapure plays the passionate young girl to perfection. She is touched by the simplicity and honesty of Prem, the villager and falls in love with him. She tries to seduce him but fails. She plays naughty tricks but fails. But she soon learns that Prem is trying to hide his true feelings from her on the grounds of practicality. Padmini delivers a crackling performance as the girl lost in love. She is compassionate and caring. And even when her heart lies with Prem, it is her innate goodness that makes her care for her in-laws and Chanda. Great show by Padmini.

The music by Laxmikant Pyarelal acts a good filler. In the first scene introducing Prem, the actor speaks of the greatness of the composer-duo. What is remarkable is that when Anil Kapoor sits at his harmonium, it almost appears as if he himself has composed all those tunes! Such is his earnestness, his delivery and his expressions! He is the livewire of this film. He is hilarious without being pushy, he is funny without being loud. He mixes chaste Punjabi with Hindi and makes us all roar with laughter. His speedy banter is basically a trick at hiding his profoundly sensitive soul. Something that leaves us speechless when explored...