Daily Times

For the film ‘Fashion’, she sang the romantic “Madbhari Hai Pyar Ki Palkein” and “Aayi Re Ghir Ghir Pehli Pehli Badariya” for the film ‘Miss Mary’. However, ‘Kitna Badal Gaya Insan’ has her lending her voice to the sorrowful “Jab Tum Nahin Tau Chaand Sitaare” and the simple “Kaahe Tarpaaye Kaahe Sataaye”, the mood of these two songs in sharp contrast to the other numbers that she sang for singer and music director Hemant Kumar that year. I had also not thought that this pair’s score would be a decent one but from details, one can decipher a decent output, the best however remains that is the film ‘Saheb Bibi Aur Ghulam’.

Movie Jogan is a 1950 Bollywoodromantic drama film directed by Kidar Nath Sharma, starring Dilip Kumar and Nargis. Its salient feature was the Bhajan, “Ghungat Kei Pat Khol” sung by Geeta Dutt. Rajinder Kumar in his film debut played a small role. Before writing the details of the beautiful Bhajans rendered by Geeta Dutt for this film, I must explain the uniqueness of the story plot and excellent direction by Kidar Sharma and acting by Dilip Kumar and Nargis. I shall borrow write-up from the site rediffMOVIES in this regard”Whether their romance is realized or not, there’s a surety in the manner most man-woman relationships emerge in films. But in Kidar Sharma’s Jogan, it’s the unlikelihood of alliance right from the onset that both defines and dignifies their connection. A complex love story, the 1950 black and white drama is an exploration of an atheist’s encounter with a divine monastic and how it tests one’s will and another’s commitment.Sharma, one of the most eminent filmmakers of his time and, sadly, most unsung too (he did not get the credit that he deserved), got this idea from his prolific producer Chandulal Shah of Ranjit Movietone Studios. Amusingly enough, the opening credits display a conspicuous question mark under the writing accreditation. Years later, in his autobiography The One and Lonely Kidar Sharma, the director revealed the mystery behind it. Apparently, Shah was inspired after watching an English film where a man develops feelings for a nun (Black Narcissus perhaps?). ‘It was his dream to produce this movie and he gave me the special honour of directing it, in spite of all the directors (Nitin Bose, Mahesh Kaul) he had on his staff.’Half of the screenplay’s job is done the minute Dilip Kumar’s hypnotizing gaze falls on Nargis. The screen bubbles with intense chemistry every time this incredibly handsome pair converse from a distance.Dilip Kumar plays Mumbai-based Vijay who’s visiting his native place for some property settlement; his occupation is neither mentioned nor of much significance to the plot.What is notable though is how instantly he is attracted to a trance-inducing rendition of the Meerabai bhajan,’Ghungat Kei Pat Khol Tohe Piay Milenge’ coming from the local temple. The symbolism in those words is hard to miss. Vijay scorns at the concept of God and idol worship. Yet one glimpse of that beatific face (Nargis) behind the sound is enough to start shaking those beliefs.An enamoured Vijay is both disturbed and drawn in by his inappropriate lust. While he still doesn’t step foot into the temple, he cannot resist studying the melancholy in her eyes and the pining intensity of her devotional bhajans -‘Ghayal Ki Gat Ghayal Jaane Aur Na Jaane Koi’. No wonder when he finally speaks to her, his foremost inquiry is why she (he addresses her as Devi) decided to renounce the world at such young age. Her austere temperament doesn’t entertain interaction, however gracious, but the increasing frequency of his appearances disturbs the inner peace she went through great degrees of perseverance to achieve. Eventually, she lets her guard down and shares details of her carefree life before turning sadhvi. This facet of Nargis brims with colour, mischief and vivacity. A dreamer, a poetess, her Surabhi’s life is full of songs, games and a book of handwritten verses before her alcoholic brother and bankrupt father resolve to marry her off to a wealthy old bloke for money. The spirited girl runs away and takes shelter in an enlightened soul’s ashram. Between compromise and celibacy, she opts for the latter convinced she’s past worldly desires. Only the fluttering passions of her heart, denoted in the imagery of wing-beating dove against her, prove otherwise. As does Vijay’s analysis, “Aapki Aankhon Mein Yeh Jo Dard Hai, Ghor Niraasha Hai, Meethe Sapnon Ki Aik Samadhi Hai, Aik Sehmi Hui Fariyaad Hai.” Profound attraction at first sight is a far-fetched idea but flawlessly conveyed in Jogan because of its remarkably insightful leads and their engaging debates around moh and prem. Continued