Starcast: Raj Kapoor, Sanjay Khan, Zeenat Aman, Sanjeev Kumar (Special Appearance), Danny Denzongpa, Master Rajeev, Bob Christo ,Sujit Kumar...
Starcast: Raj Kapoor, Sanjay Khan, Zeenat Aman, Sanjeev Kumar (Special Appearance), Danny Denzongpa, Master Rajeev, Bob Christo ,Sujit Kumar and Kader Khan
Music: R D Burman
Direction: Sanjay Khan
Introduction:
Back in 1980, Bollywood was churning out films that
blended high drama, romance, and action. Abdullah, directed by Sanjay Khan,
arrived as one of the year’s most ambitious projects, boasting a star-studded
cast led by the legendary Raj Kapoor, alongside Sanjay Khan, Zeenat Aman, and
Danny Denzongpa. It was a big-budget spectacle for its time, set against the
sweeping deserts of an unspecified Arab country, with a narrative steeped in
themes of faith, duty, and destiny. Adding a trivia tidbit, this film marked
the debut of Bob Christo, who would go on to become Bollywood’s go-to on-screen
baddie in the ’80s and ’90s. As someone who’s watched this film recently, I can
say it’s a mixed bag—a bold attempt at an epic that doesn’t always hit the mark
but has moments that stays with the audience.
Storyline:
Abdullah weaves a tale of sacrifice and vengeance
in a desert landscape that feels like a nod to Arabian Nights. The story
centers on Abdullah (Raj Kapoor), a devout Muslim who lives humbly in a desert
hut, tending a well for weary travelers. His quiet life takes a dramatic turn
when his friend Ameer informs him of a brutal raid by the bandit Khaleel (Danny
Denzongpa), who spares only a pregnant Hindu woman, Yashoda. After Ameer’s
death and Yashoda’s tragic passing during childbirth, Abdullah takes in her son,
Krishna, raising him as a Hindu despite his own fears and the challenges. The
plot thickens when Khaleel’s magician prophesies that Krishna will bring his
downfall, echoing the mythological Krishna’s slaying of Kansa. This sets off a
cat-and-mouse game, with Khaleel hunting the boy while Abdullah and the
honorable Sheikh Mohammed Al-Kamal (Sanjay Khan) strive to protect him.
The narrative tackles heavy themes—religious
tolerance, communal harmony, and the clash between good and evil. However, the
script, penned by George Marzbetuny with dialogues by Kader Khan, tries to
juggle too many threads, from the Sheikh’s personal vendetta against Khaleel to
Abdullah’s moral dilemmas. The result is a story that’s epic in scope but lacks
focus, with some subplots—like the Sheikh’s manhunt—feeling underdeveloped.
Still, the core idea of a Muslim man raising a Hindu boy in a turbulent setting
is praiseworthy and gives the film its emotional weight.
Direction and Other Technical Departments:
Sanjay Khan, doubling as director and actor, had a
grand vision for Abdullah. The film’s desert setting and lavish production
design , with sprawling sets at Essel, Mohan, Natraj, and R.K. Studio transport
you to a mythical Middle Eastern world. The cinematography captures the stark
beauty of the dunes, though some indoor scenes feel stagey, betraying the era’s
limitations. Khan’s direction leans heavily into melodrama, which works for the
film’s larger-than-life tone. However, his focus on visual spectacle—think
dancing gypsies and sword fights—sometimes overshadows the storytelling,
leaving the script’s weaknesses exposed.
The editing is a weak link; the film drags at 160
minutes, with pacing issues. Action sequences, while ambitious, lack the polish
of modern choreography, though they deliver the raw, chaotic energy Bollywood
fans of the era loved. The costume design deserves praise—Zeenat Aman’s elegant
outfits and the bandit’s rugged attire add authenticity. However, the special
effects, especially in scenes hinting at divine intervention, feel dated but
was novel for its times. Overall, the technical execution is impressive for
1980 but uneven by today’s standards.
Music:
R.D. Burman’s soundtrack is a highlight, elevating
Abdullah to a different level. With lyrics by Anand Bakshi, the songs are
soulful and memorable, blending Indian melodies with a faint Middle Eastern
flair. “Maine Poocha Chand Se,” sung by Mohammed Rafi and picturized on Sanjay
Khan, is a romantic gem that became a chartbuster. “Ae Khuda Har Faisla,”
rendered by Kishore Kumar, captures the film’s spiritual undertones, while
Manna Dey’s “Mera Dil Meri Jaan” tugs at the heartstrings, underscoring the bond
between Abdullah and Krishna. Asha Bhosle’s “Jashne Bahara,” featuring Helen’s
dance number, adds a lively spark. The sensuous song "Bheega badan jalne
laga" picturized on the alluring Zeenat Aman is also notable due to its
picturization and expressive vocals by Asha Bhosle.The background score, also
by Burman, amplifies the drama without overpowering it.
Performances:
The cast is a treasure trove of talent, but not
everyone gets their due. Raj Kapoor, as Abdullah, is the film’s soul. His
weathered face and expressive green eyes convey a mix of vulnerability and
resolve, making you root for his quiet heroism. His scenes with young Krishna
(Master Rajeev Bhatia, not to be confused with Akshay Kumar's real name ) are
tender, showcasing a warmth that feels genuine. Sanjay Khan, as Sheikh
Mohammed, delivers a solid performance, exuding charisma and authority, though
his role lacks depth. Zeenat Aman, as Zainab, is radiant, sensuous and
graceful, but her character is underwritten, serving more as a plot device.
Danny Denzongpa, as Khaleel, is a standout. His
menacing presence and cold-eyed intensity make him a formidable villain,
stealing scenes with ease. Bob Christo, in his debut as Khaleel’s henchman,
brings a hulking menace that hints at his future as Bollywood’s favorite bad
guy. While his role is small, his brawny physique and bald look make an
impression. The supporting cast—Sanjeev Kumar, Farida Jalal, Mehmood, Om
Prakash, and Kader Khan—is criminally underused. Sanjeev Kumar’s brief role is
effective but fleeting, while Mehmood and Kader Khan are wasted in throwaway
parts. This uneven handling of talent is one of the film’s biggest missteps.
Conclusion:
Released on 26th September 1980, Abdullah is a film that swings for the fences but
doesn’t always connect. Its heart lies in its message of unity and sacrifice,
embodied by Raj Kapoor’s poignant performance and R.D. Burman’s stirring music.
Yet, Sanjay Khan’s ambitious direction is hampered by a patchy script making
the film feel like a missed opportunity despite its grand scale. Bob Christo’s
debut adds a fun footnote for Bollywood buffs though. For fans of ’80s Hindi
cinema, Abdullah offers nostalgia and star power. It’s a film you admire for
its intent and enjoy for its highs. If you’re in the mood for a desert epic
with a dose of old-school drama, give it a watch—just don’t expect perfection.
By Ayushmaan Mitra
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