Coming from the stables of V. Shantaram, “Toofan Aur Deeya” wasn't an earth-shattering film by any yardstick. It didn't boast a great star cast, the direction was pathetic, the acting stilted and the sets were nothing to rave about. Then pray, what prompts this film to be chosen despite such obvious drawbacks in qualitative standards?
Well, the answer lies in its endearing story of growing up in a forgotten era when our society was still sensitive to human suffering and faith was the bedrock of all relationships. The film brings forth reality of small town India of the 1950s engaged in meticulous fulfilling of daily rituals; something easily recognised by those who toiled ceaselessly after partition to bring up their families.
While the enactment is quite prosaic, in the old Parsi theatre style, it is the juxtaposition of characters, dialogues and situations in G.D. Madgulkar's story that lend the film a distinct identity. Despite obvious flaws in technique and execution, what attracts you is the film's sublime message of hope and the overriding belief that winners do not surrender before the severest adversity.
In this modern age of shrinking ethics and suicidal tendencies, “Toofan Aur Deeya” should be mandatory viewing for all youngsters as it inspires moral behaviour, emphasising it's never too difficult to be a conscientious and upright human to achieve your goals.
The film portrays an era when bicycles were the best means of transport and roads were delightfully free to roam and run in abundant glee. It also brings vivid memories of the strong bond that an individual once had with one's bicycle; a carrier as well as companion amidst jigsaw puzzles of growing up. Nowadays when people dump home, heart and accessories without any compunction, the film depicts woeful desolation of families when they lost their relatives or were suddenly uprooted from familiar surroundings.
The story is about young Sadanand (Satish Vyas) and his elder sister Nandini (Nanda) who fend for themselves after their parents' death. To ward off deprivation, the young boy does several odd jobs despite yearning for education and the experience matures him into a father figure for his sister. Even in misfortune, the two are deeply conscious of their family honour and sell off their limited belongings to pay off their parents' creditors. Aided by an ascetic Yogi (K. Date), Sadanand not only sets everything in order but also save his prospective brother-in-law (Rajendra Kumar) from a fatal disease, thus ensuring his sister's happiness.
Positive spirit
Apart from “Jagriti”, “Dosti” and “Son of India”, this was probably the only other commercial film which had a child artist donning the main role. Despite his young age, the credits provided top honours to Satish Vyas since he occupies almost 95 per cent of the screen time. It is a pathos-ridden role, yet the cherubic actor manages to exemplify a freewheeling, positive spirit that is unwilling to take defeat under any circumstances. For those who suffer from intrinsic social hunger for newer gadgets, the character is an eye opener as to how kids in yesteryears toiled happily even without expensive toys.
Moreover, the camaraderie and innocence of the brother-sister relationship is heart-warming and the maxim “service before self” comes strong through the delineation of the story. Rajendra Kumar and Nanda hardly have any role but look good in their limited spaces.
What compounds the emotional tug are the stirring music compositions by Vasant Desai set to lyrics of Basant Vyas and Hasrat Jaipuri. While title track “Nirbal Se Ladai Balwan Ki” is certainly one of the finest outpourings of Manna Dey, “Meri Chhoti Si Bahen” (Geeta Dutt-Lata Mangeshkar) and “Meri Aan Bhagwan” (Geeta) are no less mesmerising in their appeal. The songs lend a poignant aura to the film, creatively captured by G. Balakrishna amidst some appealing sets by Baburao Jadhav.
All in all, a sensitive story that holds fort despite inept direction by Prabhat Kumar due to its abiding tale of service and sacrifice.
