It was prudently described an urbane thriller. It was urbane, mature, crafty in terms of production and casting. It had everything that makes cinema a medium of information and entertainment. Well, this was not an informative platform for the audience of the ’70s but there was stuff, and not fluff, that appealed to the discerning. Aruna Raje and Vikas Desai strung a thriller with some unexceptional performance by every member of the unit.
Aruna Raje was said to be a movie maker who dealt with some bold themes. She worked with husband Vikas to come up with some appealing movies, notably “Shaque” and “Gehrayee”. The pair came together for the first time in “Shaque” and gave a memorable film. It evoked critical acclaim and of course fame for Vinod Khanna and Shabana Azmi for their realistic portrayal of a husband-wife who drift away from a happy home before reconciling.
It may not have been categorised as alternate or parallel cinema but this was a subject very distinct in its narrative and execution. The lead pair did not dance in public gardens or indulge in contrived emotions. They appeared as natural as us, a caring couple which was often surprised by an inquisitive son. As we have seen on many occasions, the actor who leaves a stamp of class is Utpal Dutt, in a negative role as only he could deliver.
ADVERTISEMENT
The title comes from a weak moment in the life of Meena (Shabana) when she suspects her husband upon receiving a letter from one Maan Singh (Dutt). The letter, portraying her husband as a murderer, rocks Meena’s life. For husband Vinod Joshi (Khanna) the behavioural changes in Meena sound a warning. Her suspicion of living with a ‘killer’ spirals into a state that puts Joshi’s integrity under scrutiny.
Circumstantial developments also point a finger of doubt in Joshi’s directions. A murder in his office, huge amount of cash gone missing, new-found wealth and luxury for the Joshi family convince Meena, in hindsight of course, that the ill-gotten comforts are benefits of her husband’s wayward ways to acquire a cosy life. Meena, with none to fall back on, launches an individual pursuit to unravel the mystery.
The murder-mystery is superbly narrated by Aruna-Vikas. They convey the marital discord subtly with the son unaware of the rapidly deteriorating relations between his parents. He wants to watch “Guns Of Navarone” and hums “John Brown’s body lies a-smouldering in the grave” with connotations that don’t miss the parents. The son obviously has no inkling but the parents can’t be sure.
ADVERTISEMENT
The plot is gripping indeed. Joshi stands witness to a theft and murder in the office which leaves Kale dead. A dying Kale mumbles Subramanium’s name and Joshi, seeing a figure escape in the darkness, sticks to what he hears. Subramanium (Arvind Deshpande) is erroneously convicted on the basis of Joshi’s testimony. Subramanium goes to jail, Joshi gives his family a cosy life, all seems smooth. Ten years pass and Maan Singh enters their life to shatter the peace of the house.
Meena’s predicament, as she discovers some unsettling facts, adds to the taut narration. Subramanium’s family lives in penury. Maan Singh has a doting wife Rosita (Bindu), who warns Meena to stay away. Rosita’s murder gives a new twist to the story as Joshi is made the prime accused. A neighbour’s statement saves Joshi before the real culprit, who also happens to be the murderer of Kale, is apprehended.
Vinod Khanna and Shabana Azmi carry themselves with flair even as Bindu and Farida Jalal have cameo appearances. But Utpal Dutt makes a lasting impression as the scheming Maan Singh. His diction, so controlled and effective, has regaled audiences for decades and this performance stands out despite a limited scope for him to grow. The movie is dedicated to Vasant Desai, a fine composer. Sadly, music here is only passable.