In Piya Ka Ghar, director Basu Chatterjee speaks of a metropolis that’s additionally identified to be optimistic, broad-minded, resourceful, and extra accommodating than any Indian metropolis presumably is.
Many of Basu Chatterjee’s heat, relatable movies had the recurring theme of the connection dynamics of newly married couples. There’s Sara Akash (1969), his seminal debut and a key movie within the Indian Parallel Cinema motion, Swami (1977), Priyatama (1978), Hamari Bahu Alka (1982) and, of course, Piya Ka Ghar (1972).
Over the years, I’ve misplaced monitor of the quantity of instances I’ve sought the acquainted consolation of revisiting Piya Ka Ghar and admired its simplicity and humour on each viewing. This mild, slice-of-life movie starring Jaya Bhaduri and Anil Dhawan is a couple of newly-wed couple’s wrestle for space and privateness whereas residing in a joint household in a single kholi of a Mumbai chawl.
Mumbai’s picture as an aspirational metropolis of many contradictions has lengthy been an element of Bollywood’s storytelling. The metropolis is believed to provide an opportunity at life to anybody and everybody who can seize it.
In the ‘70s, the megapolis discovered itself merging into the cinematic narrative – changing into a personality, an inspiration, a plot driver – as filmmakers like Hrishikesh Mukherjee, Basu Bhattacharya and Chatterjee himself targeted on tales about Mumbai (then Bombay) and the varied teams of individuals residing in it.
Mukherjee’s Anand (1971) is a dedication to the town’s identification as a cultural melting pot and its accommodativeness. Bhim Sain’s Gharaonda (1977) heartbreakingly depicts the center-class’ elusive dream of proudly owning a home right here. Chatterjee’s Chhoti Si Baat (1976) and Baton Baton Mein (1979) turned to the on a regular basis world of places of work, buses, and native trains to ship essentially the most pleasant love tales.
In Piya Ka Ghar — a remake of Marathi hit Mumbaicha Jawai (1971) — Chatterjee observes Bombay, its individuals and their approach of residing from an outsider’s perspective. In this case, a brand new bride who left her expansive North Indian village house and is trying to settle into the cramped existence of a chawl missing in privateness.
The movie’s premise is established proper on the outset. A matchmaker arrives on the heroine Malti’s (Bhaduri) parental house with a promising alliance. The suitor is a genial Bombay boy, Ram (Dhawan) who has a loving household, a good job, and lives in a 5-storied mansion. “Raja maharajon ke jaise mahal hote hain, Bambai waalon ke chawl hote hain,” the matchmaker informs a coy Malti and her dad and mom who’re impressed on the prospects of their daughter marrying, shifting to an enormous metropolis, and even residing in a mansion majestically named ‘Bharat Mahal.’
But Bharat Mahal is an outdated, climate-overwhelmed multi-storied construction that homes quite a few households. As the opening credit roll, viewers are launched to the vignettes of chawl life – the hustle bustle, ambient sounds, and routine work and social interactions taking place alongside the frequent corridors.
Ram’s dad and mom, two brothers, and bhabhi unanimously agree to the proposal and the marriage date is ready. Also knowledgeable are their neighbours Kanhaiyya (Mukri) and Kulkarni (Keshto Mukherjee) with whom the household shares a detailed bond. The solely opposing get together is Malti’s stern uncle, Gauri Shankar (Raja Paranjpe) who holds a low opinion of the town and its residents. “Bambai mein sab maans machhi khaane waale rehte hain,” he scoffs like that’s the worst factor on the planet however offers in, sensing Malti’s inclination for this alliance.
His views are strengthened when the baraatis arrive within the village and their non-conventional, carefree methods, and flippant remarks irk the aged man. For the Bombay group, nonetheless, the entry to these massive, ethereal rooms, spacious courtyards and lush inexperienced fields is wondrous. Each member imagines the probabilities with such enormous areas. Ram’s child brother Hari needs to play cricket in all places, older brother Shree (Suresh Chatwal) and his spouse Shobha (Rajita Thakur) would love to conduct their theatre rehearsals, whereas Kanhaiyya goals of renting out the entire bungalow and making tons of cash from it.
In distinction to this jolly creativeness is Malti’s impolite actuality when she arrives in her new house that’s successfully a front room with a kitchen and a tiny bathtub. Within the lounge stands a wood compartment that serves as Shree and Shobha’s bed room whereas the newly weds are packed off to a barely extra non-public space – the kitchen – that’s to double up as their bed room throughout night time time.
Jaya Bachchan in Piya Ka Ghar
In all these years because the island metropolis continues to develop to new development areas, housing nonetheless stays financially difficult. Living in matchbox homes and the search to discover a fascinating place to name house has prompted Hindi cinema to have a look at how punishing the method might be.
In Dastak (1970), a newly married couple strikes out of their outdated shanty and rents a much bigger flat hoping to reside in higher situations solely to find out about the home’s disreputable historical past that threatens their home bliss. Wary of stepping into one other precarious state of affairs, they attempt to collect funds to purchase a home but it surely’s by no means sufficient. In this metropolis, there’s at all times somebody to outbid you. In Griha Pravesh (1979), a spouse saving compulsively for her home finds her husband having an affair. Newer movies like Love Per Square Foot (2018) and Love and Shukla (2017), a up to date tackle Piya Ka Ghar, too are constructed across the metropolis’s unaffordable, scanty areas.
“Jo Bambai mein nahin rehte unhein humara rehan sehan kuch ajeeb lagta hai,” Ram’s father Girdharilal (Agha) says at one level in Piya Ka Ghar. Malti discovers this on her wedding ceremony night time. There’s outdoors mild and noise filtering into the room as there’s fixed exercise of chawl people close to her room’s window. The new bride can also be apprehensive the relations would overhear their conversations via the frequent partitions.
Even as she finds herself surrounded by a caring household with whom she types a fast attachment, the fixed flurry of neighbours and unannounced company in the home and little scope of alone time along with her husband makes Malti homesick. Ram’s makes an attempt of getting shut are met with Malti’s hesitation about being surrounded. Despite her conventional upbringing Malti can also be proven as a girl who has sure, and justified, expectations from her husband.
Chatterjee makes an fascinating distinction right here. For Ram and his household who’ve been in Bombay all their lives and are conscious of the town’s cramped housing, the shortage of space and privateness isn’t as regarding as it’s for Malti, the outsider. With true Bombay-style resourcefulness, couples have learnt to adapt to the town’s imperfections as they’ve welcomed its candour. Ram’s dad and mom head out to Chowpatty seaside to be by themselves. Shree and Shobha favor going to accommodations. “Bambai mein jitni samasyaaein hain, utne hi unko door karne ke tareeke,” Shree tells Ram correctly.
The movie makes a cost-effective and correct use of songs — solely 4 — to exhibit the various phases of Malti and Ram’s relationship. Like any conventional organized match in these days, the soon-to-be married pair imagines what the opposite associate could be like whereas casting furtive glances at one another’s images within the tune ‘Yeh Zulf Kaisi Hai’. Post marriage, hope and pleasure have given approach to unimpressive realities. When Malti urges Ram to sleep outdoors to keep away from their hassling lack of privateness, Kishore Kumar’s reflective solo ‘Yeh Jeevan Hai’ begins enjoying within the background. The tune’s heartening philosophy of taking life in its stride and not losing it searching for good moments is signified with contrasting photographs of Ram and Malti brooding individually whereas Shree and Shobha glad of their not-so-ultimate little nook. The tune’s ending with just a few household images adorning the lounge wall and symbolising the journey of life has struck a chord throughout generations of Hindi movie music followers.
The first time Malti has the entire home to herself, she celebrates her solitude singing ‘Piya Ka Ghar Hai Rani Hoon Main’. She attire up, walks leisurely round the home ready for Ram to arrive, feeling in management of her small world even when it’s short-term. “Bambai Shehar Ki Tujhko Chal Sair Kara Doon/ Aa Teri Har Ek Shikaayat Aaj Mita Doon,” the ultimate tune goes, promising a contented final result when Ram takes Malti sightseeing and hopes to spend some high quality time along with her within the peace and quiet of a lodge room. Visuals of this younger couple, lastly free in one another’s firm and having fun with the sights of the town, flash by. However, Ram’s lodge plan ends disastrously and a dispirited Malti contemplates going again to her village with Gauri Shankar who’s furious to see his expensive niece residing in such a disappointing setup.
The entire household and their mates spring into motion realising how that they had misjudged the extent of the state of affairs and suppose of severe options to cease Malti from leaving. And they do. Interestingly, ultimately the movie doesn’t provide any fast-repair options however an association that’s not solely intelligent but additionally respectful and sensible. Very Bombay.
Anil Dhawan and Jaya Bhaduri in Piya Ka Ghar
Every time the town is in disaster, peculiar Mumbaikars soldier on. Their makes an attempt at coping and surviving invokes the indispensable discourse in regards to the ‘Spirit of Mumbai’. Whether it’s out of alternative or behavior or obligation depends upon who you might be speaking to however individuals soldier on to survive. To reside. Much like how the lyrics of ‘Yeh Jeevan Hai’ go: “Yeh Na Socho Isme Apni Haar Hai Ki Jeet Hai/ Usse Apna Lo Jo Bhi Jeevan Ki Reet Hai.”
Produced by Rajshri Productions, Piya Ka Ghar additionally affords a refreshing portrayal of a center-class sasural the place relations have frank conversations, are tolerant and truthful, and coexist with out battle regardless of their constrictions.
In doing so, Chatterjee creates a metaphor for the town of Bombay. It just isn’t to say Bombay/ Mumbai is a few utopian oasis of tolerance and acceptance. The metropolis might be unsparing, shamefully segregatory, and has witnessed some of the worst communal violence up to now. But Chatterjee speaks of a metropolis that’s additionally identified to be optimistic, broad-minded, resourceful, and extra accommodating than any Indian metropolis presumably is. It’s this Bombay one incessantly hears about from outsiders who’ve made the town their house. A metropolis that rallies collectively when it wants to and strikes ahead with the mantra of reside and let reside. An concept price holding on to within the divisive these instances.
Pragyan Mohanty is a contract author who enjoys each the batty and sensible of Bollywood. You can discover her on Twitter @PragyanM
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