The way Pushpa is in the film as the epitome of womanhood irks, but that was how Hindi cinema dealt with the so-called ‘fallen women’ in that era. However, the cinematic layering around the Nandu-Pushpa story remains problematic. After Dilip Kumar’s turn in Devdas, this is another memorable role of a gentleman alcoholic. He used his style memorably in scenes like the one where he shows Madan Puri, the pimp who sold Pushpa into the flesh trade, out of her room. Khanna’s gentle nod and magical blink were enough to arouse the masses. A man who is emotionally scarred but hates tears, he expresses the duality with charming precision in a role that was played by Uttam Kumar in the Bangla version.
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In ‘Chingari’, the lighting and the silhouette of Howrah Bridge in the background cast an enchanting spell few people know that the song was shot inside Mumbai’s Natraj Studios like the rest of the film.Īnand is slotted into a side act, but Khanna knows how to leave a lasting impression. It reflects in Sharmila Tagore’s eyes, which unleash a seductive storm in ‘Chingari Koi Bhadke,’ and in Rajesh Khanna’s gaze that is always playful, sometimes rakish. This chaste approach to the prostitute’s character permeates the love story as well, the pyara rishta (beautiful relationship), as Anand describes the platonic bond between him and Pushpa. Rajesh Khanna and Om Prakash in a scene from the Hindi film Amar Prem. And Lata too sang it with intense emotionality. Burman asked him to redo the tune to reflect the prostitute’s sorrow that she cannot be a mother. The bond between Pushpa and Nandu finds expression in ‘Bada natkhat hai re Krishna kanhaiyya’, composed in raag Khamaj, a song that made a mark only after Pancham’s father S.D. Later, he asks Pushpa, the golded-hearted courtesan, what kind of people come to meet her: “Are they your brothers?” For me, the abiding image of the film is when Nandu, in search of his football, crouches on his knees and peeks from beneath a curtain into a room where a courtesan is honing her dance moves for the evening.
We see a forbidden space from the eyes of a child. We still quote ‘Kuchh toh log kahenge’ every time we do something unconventional, and we hum ‘Ye kya hua’ when life springs its surprises on us.īased on a Bibhutibhushan Bandopadhyay story ‘Heeng Kochuri’ and adapted from Arabinda Mukherjee’s Bengali film Nishi Padma (1970), the innocence that marks the Bangla version remains intact in the Hindi film, as Shakti Samanta asked Arabinda to write the screenplay for it. Young women still wait for the elusive Shyam as a dreamy night uncoils. Burman stoked a spark that continues to light a million hearts. It has been 50 years since Anand Bakshi and R.D. ‘Who can make flowers bloom in a garden that’s destroyed by spring?’ This reflective line written by Anand Bakshi for a song in Shakti Samanta’s Amar Prem (1972) truly makes the song and the film immortal.
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