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BLAST FROM THE PAST

 Chalti Ka Naam Gaadi 1958

Classic faces File photos of Madhubala, Kishore Kumar and Ashok Kumar

Comedy in any medium is a tough genre to handle — requiring sensitivity, a sense of timing and understanding of situations. No wonder, the magic of “Chalti Ka Naam Gaadi” stands out for its exceptional sparkle and panache. Featuri ng the three Ganguly brothers from Khandwa — Ashok, Anoop and Kishore (and “Champion” their 1928 Chevrolet), with the ethereal Madhubala, it packed so much punch that half a century later, it remains a favourite.

It is a milestone in the annals of Bollywood — as the first out-and-out comedy which brought smiles with wit and timing, and without relying entirely on the slapstick, as was the norm earlier. It offered a respite from filmmakers relying on the physical characteristics of actors to evoke laughter — remember Tuntun and Gop (of the Gop-Yakub duo) and to some extent Bhagwan. It was perhaps the first time that ‘normal’ actors were doing comedy as a team. “Chalti Ka Naam Gaadi” laid a comedy trail that was ably followed in movies like “Padosan” and “Chupke-Chupke.”

Directed by Satyen Bose, the story revolves around three bachelor brothers — Brijmohan, aka Birju (Ashok Kumar), Jagmohan, aka Jaggu (Anoop Kumar) and Manmohan, aka Mannu (Kishore Kumar) — who run a ‘Day and Night Service’ automobile garage in Mumbai.

The eldest, Brijmohan, is a jilted lover that has made him a dogmatic misogynist, with an avowed aim to shield his brothers from the treachery of women and heartbreak.

Predictably, his efforts are dashed when Renu (Madhubala) knocks at their garage on a desolate, rainy night in a drenched sari, with a broken down car and a bad fit of sneezing. The knight in shining armour is none other than Mannu. After some light-hearted bantering, he is mesmerised by the damsel in distress and breaks into the classic song “Ek ladki bheegi bhaagi si”.

The seeds of love are sown in the monsoon showers, and the flower is in full bloom by the time he lands in her house to claim his paanch rupaiyaa barah aana.

Brijmohan is aghast and tries to reason with Mannu, but then grudgingly gives his approval.

Mannu then finds himself pitted against Raja Saab (K.N. Singh) and his accomplice Prakash (Sajjan), who are conspiring to take Renu’s wealth.

It is also revealed that the reason of Brijmohan’s antipathy for women is not the fault of Kamini(Veena), his love interest, but the machinations of Raja Saab. The three brothers valiantly take on the villains, and claim their brides.

The awesome power of the star cast cannot be overstated. Ashok Kumar shows why he is acknowledged the first superstar of Bollywood. As the tough from outside yet caring eldest brother, protective of his siblings to the point of exasperation, he essays the role with customary conviction. He was the first actor in Bollywood to abandon the theatrical style of dialogue delivery and act with a natural flair.

And Kishore, with his perfect comic timing, velvet voice and dancing skills deserves a standing ovation.

The enigmatic diva, Madhubala — in a rare comic outing — had the screen presence and verve to do justice to any role, from Renu to Anarkali, with ease. Her infectious smile and naughty eyes are worth dying for.

Anoop, as the bumbling and confused middle brother, does manage to hold his own, though, it is apparent that he lacked the formidable talent that took his siblings to the very top.

K.N. Singh as the scheming, suave negative character in his trademark style is a precursor to the likes of Ajit and Prem Nath in later years.

Satyen Bose displayed an acute sense of comic timing with his deft handling of the script and never allowed the story to lapse into dullness. S.D Burman’s (his son R.D and Jaidev assisted him) experimentation with different sounds was unique; all songs became everlasting hits (with “Haal Kaisa Hai” declared as the best song of the year on the popular radio programme Binaca GeetMala).

Lyrics by Majrooh Sultanpuri reveal the genius of the poet; his pen wrote romantic and comic lines with equal ease.

The cinematography of Aloke Dasgupta is able; but dialogues — the backbone of any comedy — by Ramesh Pant and Gobind Moonis deserve special credit for the movie coming out so well.

APS MALHOTRA

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