Shocked to silence (Gazal)

Everything was running just about fine. A charming romance set in old-world Agra nourished by the beauty of Taj Mahal, sublime songs that connect to your heart directly, able actors who know what exactly to do on screen and a very likeable plot. But suddenly out of nowhere, a stray incident that Ved Madan considers imperative to take his story forward completely throws everything out of control. Especially when the event appears forced and uncalled for. Till then Gazal was doing fine. And the songs were seriously soothing the senses.

What do I say about this 1964 romance? It stars some of my favourite actors. Meena Kumari may be bloated and nearing her 'downward' phase, but she delivers a sweetly naughty performance. Sunil is dapper and dashing as the atheist poet. Rehman is cunning and opportunistic, like always, Prithviraj Kapoor hollers but is otherwise a flamboyant old nawab. Nazima is chirpy and cute. And interestingly, Rajindernath dons a likeable and matured role of a doctor, devoid of his usual nonsensical histrionics. In terms of casting I must give credit to the makers.
Though the story is a tad slow and jumpy in parts, every blooper is balanced with the help of the splendid ghazals set to tune by Madan Mohan. The story by Agha Jani Kashmiri however, should have had more meat.

Ejaz (Sunil Dutt) is the editor of Inquilaab, a modern day youth pamphlet that popularises modern day issues, politics and tales of bravado. Ejaz is an atheist and carries himself with a hearty swagger not bothering that his non-religiousness might upset the fundamentalists in Agra's conservative Islamic society. He does what he believes in and also enjoys his kind of poetry when he is not editing write-ups for his pamphlet.
One day while on a sojourn he overhears a ghazal rendition by the most sweetest voice he has ever heard and is struck by the mellifluous quality of the voice. Seriously, Naghma o sehar ki saughaat kise pesh karoon pierces the soul with its ethereal charm. The beautiful poetry by Sahir Ludhianvi is brought to live my Madan Mohan's music and Lata Mangeshkar's rendition. And to top that you have the gorgeous Meena Kumari brightening up the screen lip-syncing the song. Like us, Ejaz is also affected by the song and its singer. He launches a hunt to learn whoever is the singer and publishes the couplets in his pamphlet to grab the attention of the singer.

He also sings the same song in an informal poetry convention where the original singer is present and takes note of this. Her curiosity is piqued and she wants to know who is this man who has the gall to sing her poetry in front of so many people and the indecency to call them his own. It happens that this singer is Naaz Ara Begum (Meena Kumari), the daughter of Nawab Bakar Ali Khan (Prithviraj Kapoor), a rich and respected gentleman in Agra. He also has a son called Dr Mehmood Ali Khan.
Initially incensed at her poetry being published in Inquilaab, Naaz plans to teach Ejaz a lesson. She plays a naughty trick on him, he is hurt but keeps quiet and vows to love her forever. Naaz is touched by his sensitivity and falls in love with him in turn. In the meantime we have some stunning ghazals like Dil khush hain aaj unse (Mohd Rafi's romantic interludes are tingling for sure) and Unse nazrein mili (Asha Bhonsle's rendition is so frothy and bright). But the best one is Mujhey yeh phool na de (a killer duet by Rafi and Suman Kalyanpur). It's sensitive, emotional, picturesque and excruciatingly romantic. Meena Kumari and Sunil Dutt look so much in love with each other here. They are acknowledging their love for each other. When they look into each other's eyes, you know that this is true love. This ghazal is top class sweet seduction.

But the halcyon ambiance ends when Bakar Ali Khan stumbles across his daughter romancing Ejaz in his own garden. He vows to kill Ejaz and goes to do it with two loaded rifles. Hyperventilating at her father's thundering rage, Naaz goes to stop her father but the shock muffles her voice and we do not get to hear Naaz's intoxicating voice anymore. This is where the film starts falling.
After a funny deciding round that features the old, somewhat eccentric, nawab, Ejaz, and Akhtar Nawab (Naaz's cousin who wants to get hitched to her), Bakar Ali decides that Ejaz is the best bet for his darling daughter. But lo! Now Naaz doesn't want to marry Ejaz. She does not want to be a subject of pity for Ejaz and most importantly doesn't want to marry him as a mute woman because she believes it was her voice that first pulled him towards her. Wonder whether they ever heard of medical practitioners!!
Naaz writes a letter to her devastated father that such attacks have been happening to her since childhood but she just kept mum about it. WHY??? If she has reported it, such a deplorable situation would not have arrived today, I say.
Ejaz is crushed when he learns that Naaz doesn't want to marry him and a twisted move convinces him that she wants to marry Akhtar Nawab. On the day of the said marriage, Ejaz cries out his sorrows with a lyrical Rang aur noor ki baarat and as expected Naaz gets her voice back!! So, you can guess now what happens...

Sunil Dutt is remarkable in the film as a young and handsome poet who has a no-holds barred approach to life. He makes it quite known that instead of spending days in fasts and rituals it's better to go about doing your work and 'eating'. And when it comes to romance, he wears his heart on his sleeves. He is passionate, sensitive and oh-so-romantic. Those sherwanis just heighten his manliness. And Mohd Rafi's voice adds oodles to his charm.

Meena Kumari is no more the Meena Kumari of yore but she has her moments. Her eyes are still magical and her histrionics are wonderful. Only if they gave her a more author-backed role. I loved her pranks in the film. And when she sings those songs, she sings them with her heart. Especially in the song, Mujhey yeh phool na de, whoever wouldn't believe that these two are not in love. Bur sadly, the bloated Meena Kumari looks a tad older than Sunil Dutt. Sadly...
I wonder why Agha Jani Kashmiri twisted the story to such a melodramatic level. Wonder why he didn't use the wicked wizardry of Rehman to give the plot a more convincing twist? I guess instead of taking Naaz's voice away, if he would have toyed with the idea of Rehman playing dirty tricks to get the woman it would have been more plausible. However, laurels to him for giving us a movie where chaste Urdu is glorified. What a gorgeous language! Anyways, watch Gazal. This is one film that demands celebration for its sublime music, its heart-stopping songs. And do have a splendid New Year...