It is not often that the camera settles on the visage of character actors in Hindi cinema. Then we have the likes of Iftekhar and Urmila Bhatt - the former as a doctor, the latter as a nurse who is also the heroine’s mother. She was a gifted artiste blessed with a serene, dulcet clear voice, which, unfortunately, our filmmakers could not use the best way possible. Often his ally in those songs was Hemlata, a classically trained singer, who sang in virtually every Indian language, and whose popularity, though short-lived, at one time challenged that of Lata Mangeshkar. It is filmed as a kind of duet antakshri in a college function on the lead pair - quietly in the bargain, telling us that the new generation need not be removed form the roots of the land.
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Incidentally, he gives a full expression to his thoughts here by penning a song based on the dohas of Kabir and Rahim. Then came “Chitchor” and “Ankhiyon ke…” strengthening his position as the man who gave music steeped in Indian tunes, using Indian instruments, looking for inspiration in Indian traditions, big and small. A latecomer to Bollywood, Jain had spent quite a few years with occasional crumbs of comfort until “Geet Gaata Chal” brought him out of anonymity. The film was part of Ravindra Jain’s tryst with destiny too. All is fair and fine with the world till the dreaded disease strikes, transforming what would have been a simple youthful romance into an abiding tale of true love, appealing to people across generations. Yet here as lovebirds they infuse their characters with such simplicity, such credibility, that one is drawn into the story of Arun and Lily who meet in college, have the customary fights and fall in love in no time at all. Both of them had other hurrahs, notably “Geeta Gaata Chal” and “Nadiya ke Paar” for Sachin and “Laila-Majnu” for Ranjeeta. The film probably marked the high water mark for the lead pair of Sachin and Ranjeeta too. Nag took the risk and reaped the dividends. For most, it is all about the feel-good factor. Yet, Nag’s moment of glory was undoubtedly “Ankhiyon Ke Jharokhon Se”, a typical Rajshri film that encouraged the use of hankies! For some it was a tear-jerker, what with the heroine diagnosed with leukaemia, which itself was a brave thing to do for the director, considering Hindi filmmakers have never been too comfortable handling life-threatening diseases. Nag, incidentally, directed only a dozen or so films in 20-year-long career, “Jeevan Mritya”, “Geeta Gaata Chal” and “Abodh” being the other notable ones. Not much melodrama, for a large part there is barely a ripple, yet Hiren Nag, the director, takes you along. And for viewers, making “Ankhiyon ke Jharonkhon Se” a fine, soothing film.
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Add to that Sachin’s boyish charm and Ranjeeta’s self-effacing demeanour and you could not be faulted if you thought they could not put a foot wrong. It is a long, long song, but so soothing is Jain’s music and Hemlata’s rendition that it seems not a micro-second longer than needed. And it was beautiful too, particularly the way Hemlata rendered it - nobody would have forgotten the film’s title track. For a brief while they sold us a beautiful lie, telling us that happiness was no fleeting visitor but a constant companion.
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Yet Hiren Nag, Ravindra Jain, Sachin and Ranjeeta, yes, each one of them, tickled our senses. In some ways, they probably never quite got their due, sandwiched as their careers were with some of the greatest names ever in Hindi cinema. Here is a film that brought together a host of unsung artists, men and women who had their moment under the sun but did not really experience the high noon of popularity.