Starcast: Rajesh Khanna, Babita, Nazima, Sunder and Prem Chopra Direction: Adurthi Subba Rao Music: Ravi “Doli”, a 1970 Hindi-language...
Starcast: Rajesh Khanna, Babita, Nazima, Sunder and Prem Chopra
Direction: Adurthi Subba
Rao
Music: Ravi
“Doli”, a 1970
Hindi-language film, is a poignant family drama that captures the essence of
societal pressures, love, and redemption against the backdrop of traditional
Indian values. Directed by Adurthi Subba Rao, the film stars Rajesh Khanna and
Babita in their second collaboration after the romantic thriller “Raaz” (1967).
Released during the peak of Rajesh Khanna’s meteoric rise to superstardom, “Doli”
is counted among his 17 consecutive hits between 1969 and 1971. A remake of the
Telugu film “Thene Manasulu”, “Doli” blends melodrama with emotional depth,
offering a narrative that resonates with the family-oriented ethos of Bollywood
cinema in the late 1960s. With a strong supporting cast, including Prem Chopra,
Nazima, and Om Prakash, the film explores themes of dowry, honour, and the
complexities of relationships, making it a noteworthy addition to the era’s
cinematic landscape.
Storyline
The plot revolves around
two college friends, Amar (Rajesh Khanna) and Prem (Prem Chopra), whose lives
intertwine with those of two young women, Asha (Babita) and Shobha (Nazima).
The story begins with the arrangement of their marriages, but a significant
hurdle emerges: the demand for dowry. In Prem’s case, his elder brother,
despite his initial resolve against dowry, succumbs to the need for funds to
support Prem’s education in the United States. Meanwhile, Asha’s father,
Ramprasad, faces a crisis when he fails to deliver the promised dowry on the
wedding day, leading to the abrupt cancellation of Amar and Asha’s marriage.
Remarkably, Amar, an obedient son, has never seen Asha’s face and trusts his
parents’ decision to call off the wedding.
The narrative takes a
dramatic turn when Shobha’s father steals money intended for dowry, and the
blame falls on Ramprasad, forcing him to flee in shame. Years later, Prem
returns from the US a changed man—bitter, alcoholic, and dismissive of his
wife, Shobha. Meanwhile, Amar unknowingly encounters Asha, falls in love with
her, and begins a relationship, unaware that she is the woman he once jilted.
As Asha strives to clear her father’s name, the story unfolds with layers of
deception, heartbreak, and eventual reconciliation. The film’s climax hinges on
Amar’s realization of Asha’s true identity, culminating in a resolution that
underscores forgiveness and the triumph of love over societal constraints.
Direction and Other
Technical Departments
Adurthi Subba Rao’s
direction is competent, if not groundbreaking. Known for his work in Telugu
cinema, he brings a measured pace to the film, allowing the emotional beats to
resonate with the audience. However, the direction occasionally feels
restrained, lacking the flair that could elevate the film’s dramatic moments to
a more gripping level. The screenplay, while rich in sentiment, adheres closely
to the conventions of Bollywood melodrama, with predictable twists that may not
surprise modern viewers but were effective for audiences of the time.
The technical aspects of “Doli”
are functional rather than exceptional. The cinematography captures the essence
of the settings—urban college life and traditional Indian households—but
doesn’t stand out with innovative framing or visuals. The editing is smooth,
maintaining a coherent flow, though some comedic interludes featuring
supporting actors like Sunder feel forced and disrupt the narrative’s tone.
Costume design and art direction reflect the late 1960s aesthetic, with
Babita’s stylish outfits adding a touch of glamour to her character. Overall,
the technical departments serve the story adequately but don’t push boundaries,
aligning with the film’s modest production values.
Music
The music composed by
Ravi with lyrics by Rajinder Krishan, is a highlight that enhances the film’s
emotional core. While not as iconic as some of Rajesh Khanna’s other
soundtracks from the era, the songs are melodic and well-integrated into the
narrative. “Sajna Saath Nibhana” stands out as a soulful duet by Mohammed Rafi
and Lata Mangeshkar, capturing the longing and commitment between Amar and
Asha. Another notable track, “Doli Chadh Ke Dulhan Sasural Chali,” sung by
Mahendra Kapoor, evokes the bittersweet essence of a bride’s departure, a
recurring motif in Indian cinema. "Daanto tale dabakar" is a peppy
number that sounds youthful even now. The background score complements the
film’s mood, though it doesn’t leave a lasting impression. While the soundtrack
is pleasant and contextually apt, it lacks the chartbuster appeal of
contemporaries like “Aradhana” or “Do Raaste”.
Performances
Rajesh Khanna, in his
prime, delivers a compelling performance as Amar. His charm and expressive eyes
convey both the innocence of youth and the maturity of a man confronting his
past mistakes. This role, coming early in his career, showcases his ability to
balance romantic appeal with emotional depth, cementing his status as a rising
star. Babita, as Asha, complements Khanna with a graceful and understated
portrayal. Her chemistry with Khanna, first established in “Raaz”, shines
through, particularly in their romantic scenes, though her character’s subdued
nature limits her scope to emote more powerfully.
Prem Chopra, as the
flawed Prem, brings a nuanced edge to his role, transitioning from a likable
friend to a disillusioned antagonist with ease. His performance adds complexity
to the narrative, though his arc feels underdeveloped in the latter half.
Nazima, playing Shobha,
struggles with an over-the-top crying style that borders on caricature,
detracting from her character’s pathos.
The supporting cast,
including Om Prakash and Sunder, provides comic relief and gravitas where
needed, with Sunder’s timing being a standout in lighter moments. Collectively,
the ensemble elevates the film, with Khanna and Babita’s pairing being the
emotional anchor.
“Doli” is a
quintessential Bollywood family drama that encapsulates the era’s fascination
with love, sacrifice, and societal norms. As Rajesh Khanna and Babita’s second
film together after “Raaz”, it reinforces their on-screen chemistry while
offering a heartfelt, if conventional, story. Adurthi Subba Rao’s direction,
paired with a solid cast and a pleasant soundtrack, makes it a watchable
experience, though it doesn’t reach the heights of innovation or emotional
intensity seen in some of Khanna’s other classics. For fans of vintage
Bollywood or those intrigued by the superstar’s early career, “Doli” remains a
charming relic of 1970s late-60s cinema—a palanquin of emotions that carries
its audience through a journey of tears, laughter, and redemption.
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By Ayushmaan Mitra
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