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| ==The film== | ==The film== | ||
| Before Chetan Anand was emboldened to make Haqeeqat, war films in this country were alien as a genre |
Before Chetan Anand was emboldened to make Haqeeqat, war films in this country were alien as a genre The film is one made straight from the heart. The film deals honestly with the mistakes made by the leaders and the defeat suffered by India in the war. The film looks at the plight of those who mattered the most in the war - the jawan. | ||
| Haqeeqat is a propaganda film dedicated to Nehru and trading on the resurgence of nationalist sentiment in the wake of the India-China War of 1962. The war had led to a sobering awareness of India's military capability and contributed to a number of schisms about Nehruite notions of non-alignment while accelerating the split in the CPI between Moscow and Beijing aligned groups. But though propagandist in nature (which patriotic film is not?!), the film is one made straight from the heart. The film deals honestly with the mistakes made by the leaders and the defeat suffered by India in the war. The film looks at the plight of those who mattered the most in the war - the jawan. | |||
| ⚫ | The main strength of the film is its rugged landscape and authentic battle scenes seldom seen in Indian Cinema. Shot mostly on location in Ladhakh, the entire unit braved climatic hardships as they set out to make a gripping and scathing film |
||
| ⚫ | The main strength of the film is its rugged landscape and authentic battle scenes seldom seen in Indian Cinema. Shot mostly on location in Ladhakh, the entire unit braved climatic hardships as they set out to make a gripping and scathing film. | ||
| The grim battle scenes aside, Haqeeqat is actually boosted by an extremely well written screenplay that engrosses the viewer. Even the smallest characters are fleshed out and given a small back-story so that one understands what they are going through in the harrowing war conditions. This also makes you get close to them and feel for them as they are far away from their family and loved ones fighting for the country in sub human conditions knowing death is almost inevitable. | The grim battle scenes aside, Haqeeqat is actually boosted by an extremely well written screenplay that engrosses the viewer. Even the smallest characters are fleshed out and given a small back-story so that one understands what they are going through in the harrowing war conditions. This also makes you get close to them and feel for them as they are far away from their family and loved ones fighting for the country in sub human conditions knowing death is almost inevitable. | ||
| Often the documentary footage merged with the fictional frames and art director MS Satyu (the same Satyu who directed Garam Hawa (1973)) blends the interior of the Bombay studios with the exterior of Ladakh! Of course there are times the fakeness shows but one is so swept up with the film that one doesn't care! The film is particularly well shot on location with the battle scenes shot by cinematographer Sadanand Sengupta with fierce realism. | Often the documentary footage merged with the fictional frames and art director MS Satyu (the same Satyu who directed Garam Hawa (1973)) blends the interior of the Bombay studios with the exterior of Ladakh! Of course there are times the fakeness shows but one is so swept up with the film that one doesn't care! The film is particularly well shot on location with the battle scenes shot by cinematographer Sadanand Sengupta with fierce realism. | ||
| Haqeeqat is well supported by its large ensemble cast, which blends into the film perfectly and creates the whole. The list of actors playing the soldiers makes for interesting viewing. Seen in their early roles are Sudhir, Sanjay Khan, Mac Mohan, Bhupinder, Johnny Bakshi, Rakesh Kumar among others. As far as individual performances go, Balraj Sahni is his usual brilliant self as the major in charge of the men. His helplessness at the situation and yet extolling his men to fight for the country is beautifully done. Jayant leaves his mark and it was an early success for Dharmendra who was just beginning to make his mark in the industry. | |||
| ⚫ | A film like this with emphasis on the war front has precious little roles for women who basically complete the back-stories of the soldiers |
||
| ⚫ | A film like this with emphasis on the war front has precious little roles for women who basically complete the back-stories of the soldiers. The one important female role in the film is of Bahadur Singh's love interest, Kammo, played by Priya Rajvansh. Priya Rajvansh was specially brought down from London for Haqeeqat. Haqeeqat was the beginning of a long professional and personal relationship between Priya and Chetan Anand. She went on to work exclusively for Chetan Anand in several of his later films - Heer Ranjha (1970), Hindustan ki Kasam (1973), Hanste Zakhm (1973), Sahib Bahadur (1977), Kudrat (1980) and Hathon ki Lakeerein. | ||
| Rather than detract from the grim and serious theme, Madan Mohan's music in fact enhances the film. Each of the songs are masterpieces. Zara Si Aahat Hoti Hai is an unforgettable melody performed by the flawless Lata Mangeshkar. |
Rather than detract from the grim and serious theme, Madan Mohan's music in fact enhances the film. Each of the songs are masterpieces. Zara Si Aahat Hoti Hai is an unforgettable melody performed by the flawless Lata Mangeshkar. Hoke Majboor Mujhe Usne Bhalaya Hoga is sung by the virtual whos who of Bollywood male playback singers of those days, but the soulful voice of Talat Mehmood stands out amongst this celebrated lot. Who can not feel for the fatigued soldiers as they sing this song? But the piece de resistance of the film is the climactic song - Kar Chale Hum Fida Jan-o-tan Sathiyaon. The words juxtaposed with the dramatic orchestration and the voice of Rafi more than successfully evoke the pathos of the war situation. Even today not a dry eye remains whenever this song is heard or played. Haqeeqat and particularly Kar Chale sees Kaifi Azmi at his very best. Ironically he was considered lucky only after Haqeeqat scored the box office as the earlier films he had worked in like Kaagaz ke Phool (1959) had all flopped! | ||
| Haqeeqat, released in 1964, ignited a sense of oneness and a patriotic pride among Indians at a time when the Nation's morale had hit rock bottom. And that is its greatness. With this one film Chetan Anand remained the leading director associated with this genre. It is the major reference point on another war film made in 1997 - JP Dutta's Border perhaps the only other Indian War film of some note. The similarities of the screenplay and treatment of Border owe a lot to Haqeeqat. Chetan Anand again tried his hand at another War film - Hindustan ki Kasam in 1973 following the Indo-Pak war but this time the impact was minimal. Which proves that films like Haqeeqat are made but once in a lifetime. | Haqeeqat, released in 1964, ignited a sense of oneness and a patriotic pride among Indians at a time when the Nation's morale had hit rock bottom. And that is its greatness. With this one film Chetan Anand remained the leading director associated with this genre. It is the major reference point on another war film made in 1997 - JP Dutta's Border perhaps the only other Indian War film of some note. The similarities of the screenplay and treatment of Border owe a lot to Haqeeqat. Chetan Anand again tried his hand at another War film - Hindustan ki Kasam in 1973 following the Indo-Pak war but this time the impact was minimal. Which proves that films like Haqeeqat are made but once in a lifetime. | ||
Revision as of 12:23, 17 July 2007
1964 Indian film| Haqeeqat | |
|---|---|
 Film poster | |
| Directed by | Chetan Anand |
| Written by | Chetan Anand |
| Starring | Balraj Sahni Dharmendra Priya Rajvansh Sanjay Khan Vijay Anand |
| Cinematography | Sadanand |
| Edited by | M. D. Jadhav Rao |
| Music by | Madan Mohan Kaifi Azmi (lyrics) |
| Release date | 1964 |
| Running time | 184 min. |
| Country | India |
| Language | Hindi |
Haqeeqat (Hindi: हक़ीक़त, Urdu: حقیقت, translation: truth) is a 1964 Hindi-Urdu film directed by Chetan Anand. The movie stars Balraj Sahni, Dharmendra, Priya Rajvansh , Sanjay Khan and Vijay Anand. the music is by Madan Mohan and the lyrics by Kaifi Azmi. The movie was based on the 1962 Sino-Indian War.
The music of this film has two notable songs. One of which has become a byline for patriotism -(Rafi singing kar chale hum fida).
Synopsis
Set against the Sino-Indian War of 1962, the film's main plot concerns a small platoon of Indian soldiers in the hilly terrain of Ladakh who are considered dead but are rescued by Kashmiri gypsies and by Capt. Bahadur Singh (DHarmendra). They are asked to retreat from their chowky as the Chinese have surrounded them. Capt. Bahadur Singh and his gypsy girfriend Kammo (Priya Rajvansh) die holding the Chinese at Bay so that their comrades can retreat to safety. But even the retreating soldiers are heavily outnumbered and give up their lives for the country.
The film
Before Chetan Anand was emboldened to make Haqeeqat, war films in this country were alien as a genre The film is one made straight from the heart. The film deals honestly with the mistakes made by the leaders and the defeat suffered by India in the war. The film looks at the plight of those who mattered the most in the war - the jawan.
The main strength of the film is its rugged landscape and authentic battle scenes seldom seen in Indian Cinema. Shot mostly on location in Ladhakh, the entire unit braved climatic hardships as they set out to make a gripping and scathing film.
The grim battle scenes aside, Haqeeqat is actually boosted by an extremely well written screenplay that engrosses the viewer. Even the smallest characters are fleshed out and given a small back-story so that one understands what they are going through in the harrowing war conditions. This also makes you get close to them and feel for them as they are far away from their family and loved ones fighting for the country in sub human conditions knowing death is almost inevitable.
Often the documentary footage merged with the fictional frames and art director MS Satyu (the same Satyu who directed Garam Hawa (1973)) blends the interior of the Bombay studios with the exterior of Ladakh! Of course there are times the fakeness shows but one is so swept up with the film that one doesn't care! The film is particularly well shot on location with the battle scenes shot by cinematographer Sadanand Sengupta with fierce realism.
A film like this with emphasis on the war front has precious little roles for women who basically complete the back-stories of the soldiers. The one important female role in the film is of Bahadur Singh's love interest, Kammo, played by Priya Rajvansh. Priya Rajvansh was specially brought down from London for Haqeeqat. Haqeeqat was the beginning of a long professional and personal relationship between Priya and Chetan Anand. She went on to work exclusively for Chetan Anand in several of his later films - Heer Ranjha (1970), Hindustan ki Kasam (1973), Hanste Zakhm (1973), Sahib Bahadur (1977), Kudrat (1980) and Hathon ki Lakeerein.
Rather than detract from the grim and serious theme, Madan Mohan's music in fact enhances the film. Each of the songs are masterpieces. Zara Si Aahat Hoti Hai is an unforgettable melody performed by the flawless Lata Mangeshkar. Hoke Majboor Mujhe Usne Bhalaya Hoga is sung by the virtual whos who of Bollywood male playback singers of those days, but the soulful voice of Talat Mehmood stands out amongst this celebrated lot. Who can not feel for the fatigued soldiers as they sing this song? But the piece de resistance of the film is the climactic song - Kar Chale Hum Fida Jan-o-tan Sathiyaon. The words juxtaposed with the dramatic orchestration and the voice of Rafi more than successfully evoke the pathos of the war situation. Even today not a dry eye remains whenever this song is heard or played. Haqeeqat and particularly Kar Chale sees Kaifi Azmi at his very best. Ironically he was considered lucky only after Haqeeqat scored the box office as the earlier films he had worked in like Kaagaz ke Phool (1959) had all flopped!
Haqeeqat, released in 1964, ignited a sense of oneness and a patriotic pride among Indians at a time when the Nation's morale had hit rock bottom. And that is its greatness. With this one film Chetan Anand remained the leading director associated with this genre. It is the major reference point on another war film made in 1997 - JP Dutta's Border perhaps the only other Indian War film of some note. The similarities of the screenplay and treatment of Border owe a lot to Haqeeqat. Chetan Anand again tried his hand at another War film - Hindustan ki Kasam in 1973 following the Indo-Pak war but this time the impact was minimal. Which proves that films like Haqeeqat are made but once in a lifetime.
Awards
- Filmfare Best Art Direction Award for M. S. Sathyu
External links
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