Starcast: Jeetendra, Leena Chandravarkar, Pran, Poornima, Aruna Irani, Mehmood and Manmohan Direction: Ramanna Music: Laxmikant Pyarelal...
Starcast: Jeetendra, Leena Chandravarkar, Pran, Poornima, Aruna Irani, Mehmood and Manmohan
Direction: Ramanna
Music: Laxmikant Pyarelal
"Humjoli," a Bollywood family drama, is a vibrant blend of romance, comedy, and melodrama
that encapsulates the essence of Hindi cinema from that era. Produced by Prasan
Kapoor under the Tirupati Pictures banner and directed by T. R. Ramanna, the
film, which released on May 8, 1970, stars Jeetendra and Leena Chandavarkar in lead roles, supported by a
strong ensemble cast including Pran, Shashikala, Mehmood, and Aruna Irani.
Notably, "Humjoli" is a remake of the Tamil film "Panakkara
Kudumbam" (1964), skillfully adapted to suit the sensibilities of Hindi
cinema audiences. The film stands out for its engaging narrative, memorable
music, and a standout comedic performance by Mehmood, who famously spoofs three
generations of the Kapoor family—Prithviraj Kapoor, Raj Kapoor, and Randhir
Kapoor.
Storyline
The plot of
"Humjoli" revolves around Gopal Das (Pran), a greedy village man with
dreams of wealth. His ambitions lead him to Bombay, where he marries Roopa
(Poornima), a plain-looking heiress, solely for her fortune, despite being in
love with Shyama (Shashikala). After Roopa’s father passes away, she gives
birth to a daughter, Rani (Leena Chandavarkar). Under pressure from Shyama,
Gopal attempts to eliminate Roopa and the child, but Rani is miraculously
saved, and Gopal secretly raises her while marrying Shyama.
Years later, Rani grows
into a spirited young woman who falls in love with Rajesh (Jeetendra), a
kind-hearted man she meets in college alongside his sister Shobha (Aruna
Irani). Gopal, now a wealthy businessman, employs Rani as his secretary,
concealing their familial bond. The story takes a dramatic turn when Manmohan
(Manmohan), a scheming relative of Shyama, discovers Gopal’s dark past and
blackmails him into arranging Rani’s marriage to him. Rajesh, unaware of the
full truth, sacrifices his love for Rani at Gopal’s behest, only for Gopal to
later recognize Rajesh’s integrity. The climax reveals Roopa’s survival,
leading to a series of confrontations, sacrifices, and eventual reconciliation,
culminating in Rajesh and Rani’s union and Gopal’s redemption.
The narrative, while
predictable at times, is a rollercoaster of emotions typical of 1970s
Bollywood, weaving together themes of greed, love, and familial duty with a
satisfying resolution.
Direction and Other
Technical Departments
T. R. Ramanna’s direction is a testament to his ability to adapt a South Indian
story into a mainstream Hindi film with flair. Having originally directed
"Panakkara Kudumbam," Ramanna brings a familiar yet fresh approach,
balancing melodrama with light-hearted moments. His pacing keeps the audience
engaged, though some scenes feel stretched, a common trait of the era’s
filmmaking style. The screenplay, penned by Pt. Mukhram Sharma, adheres to the
Bollywood formula of the time—twists, turns, and a heavy dose of
sentimentality—but occasionally falters with logical inconsistencies.
Technically, the film is
a product of its time. The cinematography captures the vibrant sets and
costumes effectively, though it lacks the polish of later decades. The action
sequences are rudimentary and awkward, reflecting the limitations of 1970s choreography,
while the editing could have been tighter to avoid dragging moments. However,
the film’s production values, under Tirupati Pictures, are commendable for a
family drama of this scale, with colorful sets enhancing its visual appeal.
Music
The music composed by the legendary duo Laxmikant-Pyarelal, is one
of its strongest assets. The soundtrack features several evergreen tracks that
remain popular to this day. Songs like "Haye Re Haye" (sung by Lata
Mangeshkar and Mohammed Rafi) and "Dhal Gaya Din Ho Gayi Sham" (Asha Bhonsle and Mohammed Rafi) showcase the duo’s knack for creating catchy,
melodious tunes that complement the film’s romantic and playful tones.
"Chal Shuru Ho Ja" adds a lively energy, while "Tik Tik Tik Mera
Dil," featuring Mumtaz in a special dance appearance, brings a touch of
glamour.
A standout moment is
"Yeh Kaisa Aaya Zamana," where Mehmood delivers a hilarious spoof of
Prithviraj Kapoor, Raj Kapoor, and Randhir Kapoor. Playing three
generations—grandfather Parshuram, father Balram, and son Shivram—Mehmood
mimics the distinct styles of the Kapoor trio with exaggerated flair. The song,
sung by Kishore Kumar, Mehmood, and Mukesh, is a comedic gem that
playfully nods to the Kapoor legacy, predating their own multi-generational
film "Kal Aaj Aur Kal" (1971). This sequence alone elevates the
film’s entertainment quotient, blending satire with musical brilliance.
Performances
The performances are a mixed bag, with some actors shining brighter than
others. Jeetendra, as Rajesh, delivers a solid performance, embodying the
earnest, sacrificing hero archetype with charm and sincerity. Leena
Chandavarkar, as Rani, is the quintessential Bollywood heroine—beautiful and
emotive—though her acting occasionally feels unpolished, particularly in
dramatic scenes. Pran, as the scheming Gopal Das, is the film’s backbone,
bringing depth to a morally complex character with his commanding presence and
nuanced expressions.
Shashikala, as the manipulative Shyama, and Manmohan, as the sinister blackmailer, add the necessary tension to the plot, though their roles are somewhat one-dimensional. Aruna Irani, as Shobha, provides a warm supporting act, complementing the film’s familial vibe. However, it’s Mehmood who steals the show with his triple role. His comedic timing, physical humor, and the iconic Kapoor spoof make him the film’s highlight, even if his over-the-top style may feel dated to modern audiences.
"Humjoli" is a quintessential 1970s Bollywood family drama that delivers on its promise of entertainment through a potent mix of romance, drama, and comedy. As a remake of the Tamil hit "Panakkara Kudumbam," it successfully adapts the story for Hindi viewers, retaining its emotional core while infusing it with Bollywood flair. T. R. Ramanna’s direction, paired with Laxmikant-Pyarelal’s unforgettable music, ensures the film’s lasting appeal, while Mehmood’s uproarious spoof of Prithviraj Kapoor, Raj Kapoor, and Randhir Kapoor remains a standout moment of cinematic satire. Though not without its flaws—predictable plotting, dated technical aspects, and occasional overacting—"Humjoli" is a nostalgic treat best enjoyed for its era-specific charm and the infectious energy of its cast. For fans of classic Bollywood, it’s a delightful trip down memory lane, encapsulating the vibrancy and excesses of 1970s Hindi cinema.
- By Ayushmaan Mitra
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