His versatility was unique. True, actors like Pran and Ashok Kumar achieved iconic heights, elevating the status of a character actor. Comical and negative roles were performed with the same flair but Om Prakash, for his stupendous contribution to Indian cinema, remained unsung. Awards eluded him even though he carried many a film on his shoulders.
His trademark drawl was a feature. “Arre bhaagwan” he would blurt and make his presence felt strongly on the screen. He was a natural. To have begun as a radio artist and created a niche for himself in the highly competitive and demanding world of Hindi cinema was some achievement for this brilliant actor. He could make you laugh and cry and win hearts with his flawless and convincing acting.
Om Prakash showed no signs of nerves when pitted against some of the biggest names in the industry. In “Gopi”, he matched the great Dilip Kumar when playing his elder brother, in “Buddha Mil Gaya” he gave a fine display of his repertoire, he was the central figure in “Dus Lakh”, “Apna Desh” brought the best out of him in a negative role. The list could go on because Om Prakash gave his best, whatever be the challenge.
He plays a huge part in “Annadata”, lifting the movie beyond the stereotyped. He is a philanthropist, a role befitting his persona. An elderly and wealthy person in search of affection, he is perfect as Ambaprasad. It was one of his finest portrayals in the company of up and coming youngsters like Anil Dhawan and Jaya Bhaduri.
“Annadata” gave him the platform to deliver. The story revolves around Ambaprasad and it suited Om Prakash. He liked it when under scrutiny. Camera was a friend and Om Prakash revelled in holding the stage, his diction and dialogue delivery adding to his style. He was outstanding in “Chupke Chupke” and “Pyar Kiye Jaa”, his expressions leaving you in splits.
Om Prakash grows on you as “Annadata” moves along with Aarti (Jaya Bhaduri) and Arun (Anil Dhawan) playing their parts well too. The leading pair was just about looking to make its mark in Hindi cinema. The jhola-bearing Arun, aspiring to make a living as a painter and Aarti, silently admiring his struggle to make both ends meet before eventually falling in love, make a mark in a narration that never deviates from its path. It was a film you could watch with your family and it was indeed little wonder that it did well at the box office.
Ambaprasad has nurtured a girl since her poverty-stricken childhood, raising her like his daughter, but shattered by her accusations, under pressure of her parents, of carrying his child. Ambaprasad, a noble soul, discards his wealth and walks out of the mansion in search of true love. He lands in a village and comes in contact with the artist, who paints him when Ambaprasad is asleep under a tree, and discovered himself in Aarti’s house, having fainted from poor health.
Aarti’s polio-stricken younger brother compels Ambaprasad to accept Aarti’s pleas of staying on. The old man looks to heal the child and succeeds too. He also succeeds in finding selfless people, not aspiring to make money through dubious means. Aarti and Arun also come to understand the need to stand by each other. A happy ending is in sight but Ambaprasad now walks out of their lives.
Á letter beckons Aarti and Arun to the city where Ambaprasad is lying on his ‘death’ bed. Upon arrival, they are informed of his death and also both are handed his huge property for he has found in them two honest persons. But Aarti refuses to take a penny and donates the sum to charity. Ambaprasad, a happy and relieved man, appears and the tearful union culminates in the wealthy old man seeking the solace of the tiny village in the company of the honest persons he had always dreamt of.
Om Prakash obviously dominates the movie with his class act. The role was tailor-made for him and he does justice with some fine support by Jaya Bhaduri and Anil Dhawan. The compositions by Salil Choudhury have stood the test of time with songs like “Guzar jayen din din din” (Kishore Kumar), “Nain hamare saanjh sakare” (Mukesh), gems from Lata “Raaton ke saaye” and “Nis din nis din” and the peppy “Champavati tu aaja” (Kishore and Sabita Chowdhury) as appealing as ever.
What strikes most about this movie is the absence of glamour. Jaya Bhaduri and Anil Dhawan signify the romance of the times, a struggling hero and a caring heroine, a popular concept of Hindi cinema for a long time, and both taking time to express their love for each other. The songs bring alive the narration with Om Prakash’s compelling performance the outstanding feature of this movie.
