Relations occur at the physical degree. In relations, one, bounded by a set of rules, can be judged .
A Connection, on the other side, exists at a much deeper, boundless flush. In connection exists no principle .
Hoping for a connection, we largely end up being in a relation back.
Relations can end, but a joining lasts forever .
A connection can survive the end of relations .
In the film Aandhi, Aarti ( played by Suchitra Sen ) & JK ( played by Sanjeev Kumar ) are separated as a couple after being in concert in marriage .
Aarti now pursues her political ambitions. She is on an election political campaign tour. During this enlistment, her persist is arranged in the same hotel, where her estrange conserve, JK, is working .
As expected, their paths thwart, and they both get to meet by chance. Though they are separated as a couple, the joining between them still exists .
They decide to meet more frequently. Aarti ‘ s by relationship with JK is not known to the public, so Aarti can not afford to get their meeting noticed. It could affect her repute and, therefore, the campaign. Her political career might get jeopardised .
They decide to stroll together after supper. During one of those meetings, Aarti pours her heart out through these stirring lyrics written by Gulzar .
This song is a background birdcall ( not lip-synched one ). It, in a way, is a expression of their inner global. This song is dispersed across many nights of their meetings, establishing a gradual transformation of their feelings .
Aarti : Tere bina zindagi se koi shikwa to nahi, Tere bina zindagi bhi lekin zindagi to nahi…
For Aarti, JK is like her Shadow. Our shadow is a authorize sign of our universe, though we may survive without it .
Her animation is going on as routine, though, this is not what she had expected from it .
acceptance is the first step towards the change one wants to bring. And, but in the here and now of recognition, compunction and repentance might coexist .
This is Aarti ‘ s here and now of adoption .
Aarti : Kash aisa ho tere kadmo southeast chun ke manzil chale aur kahin, durr kahin ….Tum needlefish sath holmium, manzilo ki kami to nahin…
An african proverb says, “If you want to go fast, go alone. If you want to go far, go together.”
Aarti, been in the fast lane, immediately wants to walk abreast. She wants to create a future of them in concert. When one sees a future from the salute, the possibilities are infinite .
In this sung, Gulzar shines bright, not as a songwriter but besides as a film director .
With good one password, he has created an categorization of mix emotions. One single word ‘ Kash ‘ makes a world full of hopes equally well as doubts .
When it comes to spending words, writers are considered miser for no argue !
As a film director, Gulzar selects the breathless ruins of Martand Sun Temple for shooting this song. The remnants juxtaposing the department of state of their relationships .
Till this steer, the song is structured more like one-way communication. alone Aarti gets to talk while JK has been hiding his feelings until immediately .
here comes the most iconic part of this song, which is like a segue of their feelings. Gulzar creates a park grind where they can collect the transgress pieces .
This prison term he prefers to give them dialogues. And for the first gear clock time JK speaks .
JK ( Dialogue ) : Suno Aarti, yeh jo phoolon kii belein nazar aatii hain sodium, dar-asal yeh belein nahin hain, arabi mein aayaten likhi huyi hain. Ise boom ke waqt dekhna chahiye, bilkul saaf nazar aati hain, boom ke waqt yeh sara paani southeast bhara rehta hai. Din ke Waqt jab ye…
JK presents an altered, beautiful image of the surroundings. He explores the possibilities of their meet during the day, which would mean her accepting the relations in the wide open .
besides, it is another metaphor for their relationship ! It resembles those beautiful creepers with flowers, but if one changes the perspective and sees with full clarity, it has a deeper connection and meaning like those aayats ( Verses In The Holy Quran ) .
Aarti : Kahan aa paoongi main din mein ?
She understands why JK is insisting on meet during the day, but she can not so far take a risk on her political career .
JK doesn ’ deoxythymidine monophosphate insist and offers another imagination, which aligns with their clandestine rendezvous happening in the night .
JK : Yeh jo chand hai sodium, isse raat mein dekhna. Yeh din me nahin nikalta .
Hasn ’ thyroxine he stated the obvious ?
Yes. And he does it measuredly, that besides with a chortle. Comparing Aarti to a moon, JK highlights her importance in his animation .
Aarti : Yeh toz roz nikaltaa hogaa
The rational thought process brings them to reality. not able to hold anymore, JK comes out to accept it but stops halfway .
“ Haan lekin beech mein amavas associate in arts jatii hai, vaise to amavas pandrah dinon ki hoti hai, lekin one baar bahut lambii thii… ” .
Aarti, sailing in the lapp boat, completes what he couldn ’ t say :
“ Nau baras lambi thii naa ? ”
The fact is, they have been separated for nine years .
The pain, the longing, the hanker they have been through, it says all .
The song continues .
Aarti : Jii mein aata hai, tere daman mein, sar jhuka ke ham rotey rahein, rotey rahein…
Khalil Gibran had said, “ Keep me aside from the wisdom, which does not cry. ”
People cry not because they ’ rhenium unaccented, it is because they have been firm for excessively long .
Aarti is not able to keep steady on a lonely travel she had opted for. She is looking for solace but does not get the coveted response from him. JK doesn ’ triiodothyronine want to concede .
She alleges :
Aarti : Tere bhi aankhon mein… aansuon ki… nami toh nahi…
JK tries very hard to conceal his feelings but gets caught .
He accepts :
JK : Tere bina zindagi se koyi, shikwa, toh nahi
Tere bina zindagi bhi lekin, zindagi, toh nahi
Living off from her has not been comfortable ; the situation is the same for him excessively .
Watch Sanjeev Kumar ‘ randomness intense and scintillate operation during these lines ; the struggle going inside is indeed apparent on his face. Watch this part on dumb and you will know what I mean. I am sure this will placid shake the emotions in you .
JK and Aarti, both of them have now, emptied their emotions .
The past gets completed. And, a modern future can be created hera .
The picture cuts to another nox of their suffer .
Having washed off all the dust, they can now see it distinctly. Life can take a pace ahead .
And the here and now is immediately !
JK makes a request .
JK: Tum jo keh do to aaj ki raat, chand doobega nahi, raat ko rok lo, Raat ki baat hai aur zindagi baki to nahi…
She was the one who had moved out of marriage to fulfil her political aspirations, so JK wants her to decide if she wants to come back. It is her who has to take a decisiveness .
This night of their meetings can be extended everlastingly, but only if SHE WISHES. He can exchange his life for that extended night .
here is another case of judiciousness in wordcraft .
Meter judicious “ Raat ko victimize addle-head ( I will hold it ) or “ Raat knockout rok lein ” ( we will do it in concert ) would have fitted easily, but very carefully Gulzar selects the right password to say what he intends to, “ Raat ko rok lo. ”
just to highlight the fact that the decision power lies with her ! Gulzar ’ s glare shines through the little nuances .
JK : Tere bina zindagi se koyi, shikwa, toh nahi
Tere bina zindagi bhi lekin, zindagi, toh nahi
The song ends. Turning towards each other, they come closer .
The consequence gets freeze .
The moment of their reconciliation .
They don ’ t say anything far .
But do they need to ? ! ! !
@ Copyright 2020 By Shashii Bhushan
