Despite Nargis' presence, Nimmi gets to lip sync to such hits as Jeeya bekarar hai and Barsaat mein. Premnath is perfectly cast and has a scruffy charm. Jal Mistry's elaborate framing of shots and the performances lift your spirits. On the flip side, there's excessive verbosity, flowery pontifications on love and the slow-paced film can get Kabhi kabhie main tumhe dekhkar sochta hoon tum mera hi hissa ho." The director has externalised this conflict by splitting it over two people. As Raj tells Premnath: " Insaan ke andar hamesha do shakshiyat ek doosre se bilkul doosri disha mein kaam karti hai. It posits that it could be part of the same man. He goes from saying Mujhse kisiki zaroorat nahin to seeing the depth of Raj's love and sighing, Mera bhi tumhari tarah tadapne ko jee karta hai.īarsaat is also more than just a simplistic conflict between the two types of the human psyche as represented by the two friends.
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The redemptive power of love and Premnath's transformation is well-graphed and not overnight. The rain clouds have chosen to cosmically bless just one of the love pairs. Ironically, just when all is well, Nimmi misreads his relationship with his bhabhi Nargis and commmits suicide. Love finally melts his heart and he decides to do the honourable thing with the perenially-in-waiting Nimmi. Premnath is touched by Nargis' staunch belief that her lover will survive the crash just as he was by the survival of Raj's love for Nargis even after her 'death'. His plans to forcefully marry her are foiled when Raj's car crashes near the wedding site. Nargis, meanwhile, has been saved by a simple-minded lout (K N Singh in an amusing characterisation), who fetches the village vaid for her by the simple expedient of carrying him over his shoulders. Raj believes Nargis is dead and resists all of Premnath's chummy efforts to cheer him up. In a harrowing scene, her father cuts the rope and she is swept away. Nargis'įather refuses to believe that a pardesi can have honourable intentions and Nargis, desperate to meet Raj, jumps into a raging river with only a rope tied to the shore. In one of the most identifiable sequences of the Hindi screen, an emotional Raj plays a melancholy tune on his violinĪnd Nargis rushes to him, as though pulled by a magnetic force - the call of the violin becomes emblematic of their love.Ī music instrument played an integral part in later love stories too - the flute in Hero or the mandolin in Dilwale Dulhania Le Jayenge.īoth of Barsaat's love stories have a chequered destiny. He falls in love with this rustic beauty, Ratna (Nargis). When Nimmi sings the plaintive Barsaat mein hamse mile tum at their parting, he callously tosses peanuts and chomps on them.Īs the friends continue their trip, Raj saves an attractive young girl from drowning. Of course, he has no intention of living up to his promises. Premnath makes fresh avowals of love to her and promises to return with the barsaat. The caddish Premnath had made loads of promises to Neela (Nimmi, in her debut film) the previous year the innocent mountain lass is still awaiting his return. Raj plays a sensitive soul who sticks to his kisika dil na dukhana philosophy. Premnath plays a blank-souled hedonist, who leaves a trail of seductions behind him. Amidst the lush natural beauty (evocatively captured in the song Hawa mein udta jaaye sung by a mountain maid), they ponder over love. Kapoor) and Gopal (Premnath) enjoy their affluence by driving a huge foreign car down to the mountains.
In Barsaat, two diametrically different cityslickers Pran (Raj
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This musical was Raj Kapoor's first directorial hit the filmmaker came a full circle with his last Ram Teri Ganga Maili - both stories about rustic innocence sullied by, and suffering because of contact with the outside world. , Movies: Classics Revisited: BarsaatĪt the ongoing Cannes Film Festival, three of actor-filmmaker Raj Kapoor's films are being screened - Aag, Barsaat and Awaara.īarsaat is flush with a heady, impassioned romanticism and lined with melancholy.
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