Why does the poet or a writer in Hindi cinema appear perpetually forlorn? His haggard countenance reflects poorly on his vocation, his poems don’t sell, his lady love often deserts him and his life remains a world of solitude. The poet in Hindi cinema often departs a dejected soul after a life spent in penury.
The Vijay of “Pyaasa” was a struggling figure, the quintessential poet of Indian cinema so poignantly portrayed by Guru Dutt. With lyricist Sahir Ludhianvi the real-life contributor to the success of “Pyaasa”, it was not hard to fathom the reasons for such themes to appeal to the Indian audience. Songs and, of course, the narrative of “Pyaasa” have continued to appeal to fans of Hindi cinema; of good and purposeful Hindi cinema.
In “Namak Haraam”, a film known more for Rajesh Khanna and Amitabh Bachchan’s excellent performances as friends who fall out, Raza Murad made a mark as Alam, the poet who succumbs to the misery that accompanies his love for poetry. He dies unsung and heartbroken with Rajesh Khanna giving voice to one of his favourite poems that emphasises his failure as a poet.
In a memorable depiction of the travails of an idealistic writer, Avinash, played by Farooq Shaikh, compromises with the demands of a vicious industry that compels him to look at the world differently in “Saath Saath”. He reforms towards the end and returns to his ideology in writing.
Devendra Goel’s “Ek Mahal Ho Sapno Ka” (EMHSK) is the story of a poet, who is upright in his ways, uncompromising in his ethics but again, like the poet of Hindi cinema, unable to reach out to the masses. His writings don’t find a buyer and lead to a situation where he is forced to ‘sell’ his works to Ramu ‘Shola’ Makhichandani, brilliantly enacted by Deven Verma.
Vishal (Dharmendra) and Aruna (Sharmila Tagore) form the lead pair with Sonia (Leena Chandavarkar) entering the frame as a fan of the poet. Vishal, with an ailing mother to look after, and Aruna dream of a married life but the poet is unable to find a settled job. Aruna is employed in a publishing house but deeply concerned at Vishal constantly changing jobs. And then, one fine day, she walks out on Vishal, who is transformed by circumstances into a misogynist.
Saddened and shattered, the poet looks to drown his woes in alcohol. He earns by selling his poems to ‘Shola’ and finds a passionate admirer in Sonia, who is the daughter of Anand Kumar (Ashok Kumar), owner of the publishing house where Aruna works. When Sonia returns to her father’s house, she finds he has Aruna as his new wife. Little realising the background that led Aruna to ‘marry’ Anand, Sonia gives vent to her anger, only to repent later.
Anand reveals the background of marriage to Aruna, who learns that she is fast losing eyesight. Her love for Vishal compels her to plot their parting. The marriage to Anand is just an eyewash to keep Vishal away. She manages to do so but at a heavy price as Vishal goes astray. Sonia, meanwhile, is attracted to Vishal since she comes to know his past as a poet. Sonia also learns the truth behind Aruna working to earn the displeasure of Vishal but there comes a twist in the narrative when an eye surgeon tells her that an erroneous diagnosis had created a false report. Aruna’s eyesight was perfect as ever. But the discovery comes too late for Aruna since Vishal is now looking to settle down with Sonia.
Further twists keep the viewer engrossed as Dharmendra, Tagore and Chandavarkar come up with decent portrayal of their respective characters. The one who steals the show is Deven Verma while Ashok Kumar, David and Ramesh Deo have forgettable cameos.
Sadly, it is Sahir, the lovable poet that is missing from the tale. Composed by Ravi, “Dil Mein Kisi Ke Pyaar Ka Jalta Hua Diya”, solos by Kishore Kumar and Lata Mangeshkar, and a Kishore number “Dekha Hai Zindagi Ko Kuch Itna Kareeb Se”, live up to his reputation but Sahir is not at all close to the legendary stature he attained through “Baazi”, “Pyaasa”, “Phir Subah Hogi”, “Naya Daur”, “Hum Dono”, “Jaagte Raho”....
