While writing the first part of this exclusive 9 PM Movies series, I was yet to see the definitive Basu Chatterjee movie that defined the 70s middle cinema movement in India.
Rajnigandha is not just another love story and yes, I fell for Vidya Sinha again. Who wouldn’t?
Indian middle cinema movies like Rajnigandha were a mix of commercial elements and realistic artful takes. It has to be appreciated what the director accomplishes here, despite lacking a huge budget and not featuring the top Hindi movie stars of that time.
Amol Palekar was the perfect choice for the role – What he lacked in conventional Hindi movie hero looks, he more than made up for with his acting chops. The beautiful Vidya Sinha was so pushover either, nailing the complex emotions of a woman in love with an easy confidence.
Soon directors like Shyam Benegal would be igniting parallel cinema with movies like Manthan (1976). But more on that later.
Cities, lovers, memories
Deepa (Vidya Sinha) is a simple Delhi graduate student (lovely saris) living with her brother and sister-in-law. She is in a serious relationship with Sanjay (Amol Palekar), a cheerful office going man with quirks – a talkative extrovert with little regard for listening, never punctual.
The relationship dynamics are clear, Sanjay-Deepa have known each other long enough. Probably couples were more tolerant of each other’s peculiarities then, Deepa is definitely the tolerant better half. There is genuine bonding between the two, she loves Sanjay’s funny and cheerful attitude, he loves her presence.
These were simpler middle-class times, of bulky telephones, letters and telegrams. Few Indians were privileged enough to live and earn a comfortable life in cities back then.
The (formal slipper) chappal-wearing Sanjay awaits a promotion to marry Deepa, he has the consent of Deepa’s relatives, she has an upcoming interview for a college teacher’s position in Mumbai. Sanjay is keen for a Mumbai shift if Deepa gets the job.
Sex, sexuality, absent
When Deepa’s sister-in-law and brother are traveling, the couple get much-needed privacy, yet sexual passion is not hinted at. The intimacy is limited to hugs, balcony visits and garden outings.
Indian film makers of that time refrained from showing any kind of intimacy, considering India’s largely ultra-conservative audience. Kisses were non-existent on screen, but for rare, brave moments, and later, in gross, crude instances.
There are ridiculous scenes in many sugarcoated 60’s Hindi films, believe it or not, of two shivering flowers meeting midair to a bright blue sunlight background to suggest, eh, wild flowery sex?
Flowering desire
Rajnigandha (English name Tuberose), the bunch of flowers Sanjay gets for Deepa for their home meetings. For her, the flowers mean desire, companionship, absence and longing.
Deepa gets the interview call and has to leave for Mumbai. She pleads Sanjay to accompany her, but he reasons that the attainable promotion requires his presence at work.
On reaching Mumbai, Deepa is shocked to see her college-flame Naveen (Dinesh Thakur) at the railway station. Naveen frequently meets Deepa, helps her out repeatedly, and the waves of a forgotten love return to touch the woman’s shore.
Classic love triangle
Shot in Eastman color, Rajnigandha is a deceptively neat and beautiful love triangle told from the woman’s perspective.
The lack of technical finesse in cinematography and sound design is made up by sincere, plain storytelling, beautiful Salil Chowdhury-Yogesh songs, transparent portrayal of the three main characters, engaging Mumbai social life scenes and competent performances by Sinha, Palekar and Thakur.
There is a quiet charm about Rajnigandha – a quality that the best Basu Chatterjee films are well-endowed with.
