My eyes and ears were riveted for close to half of the movie… Beautiful music (Shankar Jaikishan’s best, and one of Lata’s best), beautiful scenes and settings, real quality acting (Nargis was outstanding), and incredible chemistry between Raj and Nargis. (I’ve also been watching Mela (1948) on and off the past few days, which pairs Nargis with Dilip Kumar. Dilip is great and Nargis is great here also, but the chemistry between them doesn’t come close to this!)
So, I wanted to love this movie, I wanted to say that it was Raj Kapoor’s first masterpiece. But there were a couple of problems for me, such as the plot. The plot just wasn’t very interesting to me, and it ended in completely predictable fashion (which must have been predictable even in 1949, I think).
It basically revolves around two guys roaming around the mountains and various related vacation spots, seeking or finding love with very different approaches. One guy, Gopal, played by Prem Nath, is a big cad, thinking that he can be casual about love, being unfaithful and very neglectful to the pretty and obviously rather vulnerable girl Neela, played by Nimmi. (By the way, I was reminded of her role in Aan, which came out two years later, where she played another love-obsessed and obviously doomed character. I guess Nimmi did well with such roles.) Then there’s the character whom Raj plays, named Pran (probably not a choice that would have been made a couple of years later), who’s a big romantic waiting for the true love to whom he will devote himself wholly, eternally, etc. And that, of course, happens when he meets the Nargis character, Reshma.
Meanwhile, Pran has been giving a few speeches to Gopal about how he’ll get what’s coming to him if he continues his careless behavior, and there are many references to how he’s playing with fire. But Gopal refuses to return to Neela in a timely fashion because he’s having too much fun travelling around, enjoying the night life, dancing with Cuckoo and that sort of thing, while Neela is apparently getting increasingly miserable…
And as the movie progresses, we hear more and more poetic lines being exchanged by everyone with everyone about love. There’s pretty much nothing else that the main characters talk about, and that is the biggest disappointment. Personally, I found myself longing for the social content of Raj Kapoor’s slightly later movies. Maybe it’s just a matter of opinion whether you take to the big questions being raised in movies like Shree 420 and Jis Desh Mein Ganga Behti Hai regarding capitalism and socialism, practicality versus idealism, the nature of the outlaw culture, etc., but let me tell you, I love that stuff! Here, there’s some stuff about romanticism versus modernity (with maybe an insight on the brutality of true backwardness), and I think there’s some stuff about the plight of woman(?), but the big questions that make Raj’s ’50s films so interesting to me just don’t arise (yet) - or let’s say arise only barely.
Also, very much unlike in Raj’s somewhat later films, there is no real discussion of how the main male characters must earn a living, what they in fact must do to earn a living, and whether that living can be honest or not. There is a rather moving scene involving a prostitute who is selling herself in order to feed her sick child (a scene that reminded me a lot of a scene from Guru Dutt’s Pyaasa – though Barsaat came out close to a decade earlier), but there seems to be no discussion about how the need to earn a living affects either Gopal or Pran.
Could it be that these two guys are just too independently wealthy to have such concerns? As Philip of Philip’sfil-ums notes, this film seems to be “centered around the adventures of two city boys who apparently have no worldly obligations beyond roaming the Vale of Kashmir in an enormous foreign car, hiring ostentatious bungalows, composing poetry, and breaking hearts.”
As I’ve said, there’s some weirdness in the middle, which I suppose comprises the most suspenseful part of the plot, but it didn’t hold my interest all that much. Mainly, this part revolves around the perils of Reshma. To sum it up quickly, we see Reshma nearly drowned due to a murderous act by her father, who is concerned that her romantic liaisons with Pran will endanger an arranged marriage and, worse, cause insult to the family’s honor. (Could this be one of the earlier films to go in that direction? Certainly, there were a whole lot that did so later…) Then Reshma ends up being rescued from the river by some bullying imbecilic fisherman/woodsman/mountain man(?) who believes that now he has the right to own her and force her to marry him. (And he can get pretty scary - after all, it is K.N. Singh!)
Additionally, there’s some odd Buddhist monk-type “doctor” who seems to enable and facilitate the bullying imbecile’s worst tendencies, mainly because he’s afraid of the guy, and also – at least in the case of the impending wedding – he might get a little money out of the deal. (Not a flattering comment on the spiritual men of the mountains, I guess.) And poor Reshma almost does get bullied into marrying the fisherman/mountain man, but just in the nick of time, Pran and Gopal end up literally crashing her wedding, trashing their expensive car and putting Pran’s life in danger (before it is further endangered by that big bully groom, who really gives a go at finishing him off before the police arrive). After that, there are some dramatic scenes in the hospital where the undying faith of Reshma’s love saves Pran’s life, followed by a joyous reunion.
Gopal also goes through a sort of conversion witnessing all this, but that doesn’t mean he isn’t going to pay dearly for his past sins (though someone else is going to pay even more). And I must admit, the end is certainly sad enough, even though it is also entirely expected. (By the way, if you think there’s any chance you don’t know what’s going to happen at the end, don’t let me spoil that for you. If you have no such concerns, you can see the whole sad ending in this song clip .)
I don’t mean to complain too much about this film because in many ways it is a fine work. I suppose I wouldn’t have been at all disappointed if my expectations near the beginning hadn’t been lifted into the stratosphere. But I think those sorts of expectations could be met more completely with another viewing of Shree 420. (Or maybe, one of these days, if I finally get myself a copy of Awara…)
When I re-watched this with my kids a couple of years back, we didn’t like the film part very much (in my memory it was much better than what I saw 25 years on), but as I loved the songs and music I sat through. the rest of them gave up half-way, my daughter because she kept saying “someone give that girl a hanky” and mu husband ‘cos no fastidious city boy is going to fall for a woman who wipes her nose with the back of her hand, bollywood or no bollywood!
I had to agree, in between singing along to the songs, that it was boring but what glorious music! No wonder Lata/Naushad took the country by storm: this was fine, fine work.
I remember this film more for the songs and i remember loving the Hawa mein udta jaye which you’ve posted at the beginning as one of my favourites but mid way as you’ve pointed out the film left me feeling mediocre and i couldn’t care too much although when i’m watching most of these oldies i try not to question how come this or why this i just watch for what it is but even with that the film just didn’t jar with me, the songs are excellent though
I agree that there was nothing in the story, as I discovered when I sat down with the DVD a couple of years back. I ended up just watching the songs, which were awesome. As far as I can see, most Raj Kapoor movies had great songs, but the story lines were mediocre, at best. Of course, the RK – Nargis movies were worth watching for the chemistry, but that’s all!
Glad to see a few people confirming my opinion about this movie, since I was wondering if I’d simply been missing something. :)
Lalitha, I don’t know which movies you’re thinking about when you refer to “most Raj Kapoor movies.” There are one or two others that I never got through, but I thnk that two which I saw in particular – Shree 420 and Jis Desh Mein Ganga Behti Hai - had fascinating story lines. I also really loved Chori Chori, although it’s a little more difficult to say that the story line there was so fascinating (even if it was based on an American classic); there was just something about that movie that was both compelling and lovable. Additionally, I am very fond of Mera Naam Joker, though I understand why some people might have been annoyed by parts of it. So overall, my opinion of Raj Kapoor movies is pretty good – which is why I was surprised not to be so fond of this one, his first big hit.
I agree with everyone that Barsaat had a very good soundtrack, possibly the best from Shankar Jaikishan. (Bawa, I loved Naushad’s soundtracks from this era even more – but this wasn’t one of them. :)
I know that Lata made two major breakthroughs in playback singing back in 1949 – there was this one and the soundtrack to Mahal, by Khemchand Prakash. Much as I do like the Barsaat soundtrack, I find the Mahal score to be much more profoundly moving – in fact, it still could very well be my favorite Hindi movie soundtrack of all time.
I have really nothing to add to what everybody’s said before – I agree that this is one film I’m not in a hurry to rewatch. Nice songs, but pretty enhhh otherwise.
So here’s the main reason why I had to leave a comment: an uncle of mine was on the sets when the scene where Prem Nath’s character arrives and lies down on the bed, and Nimmi’s character takes off his shoes and sort of touches her face to his feet. They did take after take, and Nimmi just couldn’t get the expression right. Finally, Raj Kapoor figured out what was wrong and told Prem Nath to go wash his feet with lots of soap and water. Next take, they canned it. :-)
I agree with you that the storyline of ‘Barsaat’ have nothing special to write home about.The only notable aspect is the hugely popular music score that catapulted Shankar-Jaikishan to success. The movie has also been hailed as the one to be the turning point in the career of Lata Mangeshkar. But, then 1949 also saw other major releases as ‘Mahal’/'Andaz’/'Dulari’/'Badi Bahen’ which explored Lata’s singing ability in a more profound manner.
Rather ‘Andaz’ and ‘Mahal’ have far better composition compared to ‘Barsaat’.In fact Lata recounts extensively on her ‘Mahal’ song in her authorised biography by Nasreen Munni Kabir.The co-owner of Bombay Talkies Savik Vacha was in doubt regarding the success of ‘Aaeyaga aanewala’ and there was much discussion whether to re-do or delete the song after its recording.However, the song went on to be a classic.The 78 rpm Disc contained the name of Kamini ,the sreen name of Madhubala as singer.Lata then on has to fight with the producers to credit her name on the Disc and Movie in future. ‘Barsaat’ was the first movie to give her credit as a singer both on the Disc and the Movie.
Coming to the ‘Mahal’ classic,here is the link to the beatiful remix done by Paul Riordan discovered via the Blog by Vinayak which I liked immensely.
Veda, it’s good to hear that you agree regarding the superiority of the Mahal soundtrack to Barsaat. You’re probably also right about Andaz and Dulari. I praised Shankar Jaikishan a while back and I still think they did good music, but I like Naushad much more now.
It’s nice to see that you like the Paul Riordan remix too. I discovered that one a few months ago on YouTube, and I put it in the “Favorites” list in my YouTube user site. :)
Dustedoff, that was an amusing story… Poor Nimmi, she had to go through so much! :)
No doubt Shankar-Jaikishan were successful composers, but then Naushad is a genius.The compositions of S-J are like fast food while Naushad offered the full course.The compositions of Naushad grows on the listeners and sounds fresh on its hearing and re-hearing.Throughout my school days I adored S D Burman/S-J for their catchy tunes,until I heard ‘Amar’ and ‘Deedar’.From then on, it was my journey discovering the compositions of Naushad and they have been my favorites.
I came to this film after having seen the Raj Kapoor masterpieces and not surprisingly it disappointed a little. I love the music of Shankar Jaikishan in all the RK films, however. And I was thinking that the great man was able to get the very best music directors available. But reading all the comments above I think I shall have to explore Mahal and and the work of Naushad. If it is your favourite Hindi soundtrack of all time, Richard, it surely is worth looking for! Am enjoying that Paul Riordan remix right now.
Oh and that cutey in the first song, who was she? Both innocent and intelligent, hugely preferable to that little minx Cuckoo!
Hi, Joss. The actress in the “Hawa Mein Udta Jaye” scene is Bimla Kumari. She wasn’t in whole lot of things. My YouTube friend Tom (Tommydan1) pointed out her presence in Sahib Bibi Aur Ghulam (of all places :) …
Richard, stand corrected. However, as my Dad remembers it, this soundtrack did take the country by storm. Especially “hawa mein udta jaye”, although all the songs are lovely.
Mahal is one of my favourite tracks. But in all these movies I find that comparing all my favourite songs is a bit like “oranges vs apples” question: there is simply no way I can make up my mind.
I saw this film long time ago wen I was a kid. I don’t remember much about the film or storyline meaning the film was boring. I fast forwarded most of the film just to see how some of the films songs including my favorite Patli Qamar hai were picturized. Excluding the songs, the film isnt much to see or write about. I found Shree 420 boring too till it dragged to its conclusion, but again the music was exception. Maybe it is because I am more of a “music person”. There are lots of instances where I rented some old Indian or Pakistani movie to record songs from it or see how they were picturized.
Among Raj Kapoor films, I think Awara was his finest work.
Mr. Jinx, I actually loved Shree 420. But I think it had special appeal to me because I saw it early on in my own recession-induced long period of unemployment and underemployment. (As I’ve said before, I could take out my college degree and show it to people, and it wouldn’t do me much good either. :) But I also think this was an excellent film. I really enjoy it when a highly entertaining movie that has real popular appeal also has meaningful social content. That is a combination that is probably very lacking in today’s cinema, whether it’s Hollywood or Bollywood.
From what I’ve seen, most people who loved Awara also loved Shree 420. I’ve seen all the songs from Awara and I saw a little of the film on YouTube without subtitles (before I concluded that I would miss an awful lot from a film like this if I didn’t know what the characters were saying), but strangely enough, I never had a chance to watch the entire movie. But I always assumed it would be kind of like a repeat of Shree 420 (or vice versa if you watch them according to the real chronology). If there’s a big difference between these two films, I’d be interested to know what it is. But maybe it’s time I just found the movie and watched the whole thing.
Anyway, yes, it’s true that the music is a major part of the appeal in old Indian or Pakistani movies, and sometimes there is a discrepancy between the quality of the music and of the movie itself. I guess the most recent example for me was another early Nargis starrer, Mela (1948). That movie has one of the finest soundtracks I’ve heard anywhere (not surprising, since it is Naushad), but the movie itself was kind of a mixed bag, I thought, and I would have been just as happy, if not more so, sticking to the song clips. (By the way, “just as happy” is a funny way to put it, since it was awfully grim also.)