The father-son discord has been treated so poignantly in this story conjured by Hrishikesh Mukherjee, strung together with some compelling performances. Music forms the background that dominates this conflict between a father who asserts his dominance in the family at every step, and a son who rebels keeping his postures within respectable limits. Om Prakash and Amitabh Bachchan are pitted against each other in this tale that floats on a melancholic cloud that begins to clear only after the father relents late into the recounting.
There is a brief encounter with some lively banter in the initial phase of the movie. Slowly, the sequences drift into a world of despondency as the protagonist struggles to hang on to his principles that lead him into a pit of gloom. It is a world where existence becomes the sole aim, poverty and pain mocking at his affluent past, memories no more fond, the future as bleak as the present. The highlight of the movie is the director’s firm grip on the subject. It is mostly morose but engrossing as the actors produce a scintillating show.
Advocate Triloki Prasad (Om Prakash) is a wealthy widower with two sons, the elder, also an advocate, is Ashok (Vijay Sharma), who has a doting wife in Geeta (Lily Chakraborty). The younger son is Alok (Amitabh Bachchan), who looks for a vocation other than law. His interest is in music which he learns at the instance of Pandit Jamuna Prasad (A. K. Hangal).
The father insists Alok follow in his footsteps. The son, however, has other ideas. The two brothers conspire and Alok’s association with music is kept a secret. Alok becomes the beneficiary of musical guidance of Sarjubai Banaraswali (Chhaya Devi). It is a sweet relationship where Alok meets childhood friend Ganesh (Asrani), now a tongawallah (coachman) and his sister Radhiya (Rekha). For Alok, there is peace and purpose in seeking the blessings of Sarjubai, once a courtesan.
Triloki Prasad, a sort of tyrant at home, is eager to link his family with that of his friend Gupta (Yunus Parvez). Triloki Prasad proposes an alliance between Alok and Gupta’s ebullient daughter Sulakshana (Farida Jalal) but there is a hitch here. Sulakshana loves Kishan (Benjamin Gilani) and receives unstinted support from Alok, who is in no hurry to settle down in life.
When Triloki Prasad discovers Alok’s love for music and his association with the elderly courtesan and the tongawallah, he uses his influence to render them homeless. When Alok stumbles upon his father’s involvement in the demolition of the homes of the poor, he rebels, walks out of the house and embraces a tough but upright life. It is his way of protesting against an unrelenting father, who cannot accept Alok plying a tonga to make his living.
Circumstances lead Alok to marry Radhiya but the two run into hardships to the extent that they part ways. Radhiya seeks refuge with Sarjubai, who later succumbs to her ailment. The story ends with father reconciling with Alok’s family.
There is not a moment of ennui as Hrishikesh Mukherjee, drawing upon the story idea from Harindranath Chattopadhyaya, delivers yet another classic. Bachchan is at his best even when not portraying the image of an angry man. The role gave him ample scope to emote and make an impact, as a singer and then as a self-respecting and uncompromising individual. There are some engrossing scenes involving Bachchan and Om Prakash but there are fine cameos by Lily Chakraborty as Alok’s sister-in-law. A coy and unglamorous Rekha makes a strong case for her acting repertoire.
Jaidev’s score was a standout feature with the mellifluous Yesudas contributing two evergreen renditions, “Chaand Akelaa Jaaye Sakhi Ri” and “Koi Gaata Mai So Jaata”. The film did not receive appreciation of the audience and sank at the box office but it is counted among Bachchan’s best, depressing in nature but rich in range.
Published - July 24, 2014 05:20 pm IST
