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In the spotlight
YASH Chopra, the veteran filmmaker, who has been honoured with the coveted Dada Saheb Phalke Award for his outstanding contribution to Hindi cinema, was born in Punjab in 1932. As he grew up, the film world fascinated him. He began his filmi career by assisting I. S. Johar. Later he joined his elder brother B.R. Chopra as an assistant. Dhool ka Phool (1959) was the first film he worked on independently as a director. The film made a dramatic statement that a child is not illegitimate, but the parents are. In his directorial debut, Yash Chopra displayed complete mastery over the medium and won critical accolades. Yash Chopra launched his own production banner Yashraj films with blockbuster Daag (1975). The film had a bohemian finale when the hero Sunil (Rajesh Khanna) settled down with his two wives not out of choice but due to compelling circumstances. Though the film tacitly endorsed bigamy, the deft handling of this delicate subject by Chopra made it a thundering success at the box office. The film catapulted the young filmmaker to the pinnacle of glory.
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Yash Chopra set the trend for sensible, purposeful and socially relevant films. In his films there are two basic concerns. One, his films aim to become a vehicle to improve the quality of society and second, to serve as catalysts for forging deeper human ties. Chopra always stresses upon the sanctity of love, human relationships and marriage. In his films, extra-marital relations are an exception. His cinematic portrayals reflect his belief that marriages are made in heaven and any contravention of this eternal bond is a transgression of the divine will. In Silsila, Chopra resolved the conflict between the rights of a woman as a wife, Shobha (Jaya Bachchan) and the claims of a woman as a beloved, Chandini (Rekha) by giving, the upper hand to the spouse. Even in Darr, Chopra did not allow the sanctity of marriage to be imperilled by the emotionally inebriated Rahul (Shah Rukh Khan), who fudged all distinction between right and wrong to possess Kiran (Juhi Chawla). Tradition is integral to Chopra’s oeuvre. In Kabbi Kabhie, the lovers sacrificed their love for the sake of parental wishes and agreed to settle down with separate partners. Chopra loaded the film with a message that everyone has a past before marriage, it is what one does after marriage that matters in a relationship. The main reason for the astounding success of his films is that he eulogises Indian culture. It’s almost as if he has assumed the mantle of cultural evangelist. He may shoot his films in the glossy locales of Switzerland, but his films exude an Indianness. For instance, in Dilwale Dulhaniya Le Jayenge, Raj (Shah Rukh Khan) wooed Simran (Kajol) on the Eurorail but he did not elope with her. Dil To Pagal Hai mirrored a contemporary social reality by showing that a boy (Shah Rukh) and a girl (Karisma) can be the best of friends and have a totally platonic relationship. Though some of Yash Chopra’s films such as Kala Pathar, Mashaal, Aadmi aur Insaan, Vijay, Parampara, Lamhe, etc, were not money spinners, yet his honesty of purpose and integrity were discernible in every frame. Yash Chopra is one filmmaker who has kept pace with changing trends and tastes. Even at 70, he is brimming with new and innovative ideas. What makes his films outstanding is the fact that he does not allow commercial considerations to overtake his creative instincts. And the Phalke Award salutes this quality of his. |
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The ace master-director of
love stories has dished out more than 20 blockbusters under the banner
of Yashraj films. He believes that cinema is not only a medium of
entertainment but should also carry message. He invariably creates an
entertaining format to get his message across. For him entertainment is
not about slapstick comedy, violent action or titillating dances. In his
film size and style are never made to substitute for substance. His Dhool
ka Phool and Dharamputra made a strong plea for communal
harmony, Aadmi aur Insaan deplored all pervasive corruption; Ittefaaq
ridiculed infidelity; Deewar debunked the unscrupulous cult of
Mammon, Trishul rued misguided priorities where matters of the
heart were sidelined for materialistic considerations; Kala Pathar highlighted
the plight of coal mine workers and their exploitation; Mashaal
told the story of an honest journalist who took up cudgels against
criminals and proved that the pen is mightier than the sword.
Though Yash Chopra never made feminist statements or talked about
empowerment of women, yet this theme has always been a strong point in
most of his films. In Deewar, Nirupa Roy not only condemned her
son Vijay (Amitabh Bachchan) but even walked out on him when his
dishonest means and immoral ways were out in the public. In Trishul too,
the mother was a crucial emotional force of the film. In Chandni, Chopra
called for a new awakening to ensure dignity to a woman. On being
spurned by her lover Rohit (Rishi Kapoor), Chandni (Sridevi) walked
towards a new life rather than swallowing a suicide pill. Dilwale
Dulhaniya Le Jayenge, made by his illustrious son Aditya Chopra, he
questioned the changing values of society. Ironically though, as a
daughter, Simran (Kajol) is shown to have no say on issues concerning
her future.
