Basu Bhattacharya’s favourite theme was marital discord. He dealt with the subject through three films –– “Anubhav”, “Aavishkar” and “Griha Pravesh” –– but his work did not appeal to the masses. Critical acclaim was all that came his way. The films were marked by some fine actors and music but success was limited. “Arth”, the iconic Mahesh Bhatt film on extra-marital relationship, was still a few years away when Bhattacharya came up with “Griha Pravesh”. It was a mature and quality narration that stood out for the measured performances by the cast, Sanjeev Kumar, Sharmila Tagore and Sarika, apart from Kanu Roy’s music.
Sanjeev Kumar is Amar, Sharmila his wife Mansi and Sarika is Sapna, his office assistant. The story revolves around them. Happily married for years, Amar and Mansi are coming to terms with the challenge of saving money to have a home of their own. Mansi is determined. So is Amar. But circumstances are loaded against this couple where the husband, a book keeper, is weighed down by the demands of office and home. Oblivious to the stress that Amar experiences Mansi forgets her role as a partner and gradually comes to discover that their relationship has suffered a dent.
The sensuous introduction to the movie, Amar and Mansi in a morning embrace, so adoring, sets the journey in motion. Parents of an eight-year-old son, they crave for such passionate moments even though Amar warns his doting wife of an impending period of stagnation in their love life. It happens, Amar stresses. “Paas honge, saath nahi (will be close, not together),” he smiles. Mansi ignores the warning even as she fondly acknowledges the bonding of her neighbours, a young couple (Dinesh Thakur and Priyadarshinee), who express their feelings through singing. “Boliye Surili Boliyaan”, a duet by Bhupender Singh and Sulakshana Pandit, captures the essence of the young couple’s admiration for each other.
The pace of the movie picks up when Sapna enters the life of Amar. She is single, not living with her parents but sharing accommodation with a friend. Not actually daring but Sapna looks at life differently, yearning for a man who would look at her differently, not as an object of desire. Amar is not inclined to look at his assistant any differently. Work place for him is work place and nothing more. He does not appreciate the move by his boss to shift Sapna to share his cabin. In the main hall of the office she is seen as a distraction as men don’t hide their lascivious expressions on seeing her breeze in.
Life is hectic. Mansi brings it to Amar’s notice how their son, Babla (Master Bittoo), is showing signs of this trait. “Tezi Bambai ki hai, Babla ki nahi (the pace belongs to Bombay, not babla)”, the comment from Amar characterises the man who is at peace with what he possesses. Only, Mansi is stranded, absorbing the pangs of the growing distance between her and Amar. This is the transitional phase, the stagnation, that Amar refers to in their married life and succumbs to the weakness, taking a liking for Sapna, who has come to impose herself.
The director does not explain the reasons for Sapna seeking redemption to her lonely life in a married man like Amar. It is not infatuation but a pleasant desire to seek protection from Amar. “Zindagi Phoolon Ki Nahi” by Bhupender drives home the essence of Amar’s approach to life. He discovers love for Sapna, little realising the emotional attachment to Mansi as the foundation of the happiness in his life. Looking to give a meaning to his association with Sapna and seeking a departure from the inertness of his married life Amar breaks the information to Mansi. Shattered but facing the challenge with reality, Mansi promises Amar that she would let go of him. “Pehchaan To Thi Pehchana Nahi” by Chandrani Mukheree aptly portrays the helplessness of Mansi, who undergoes a makeover to attract her husband. The home she had dreamt of collapses even before coming up.
At various stages, Bhattacharya uses songs from his previous films and private ghazals to drive home the essence of the development as the distance between Amar and Mansi grows. But Amar comes to terms with reality soon and returns to the warmth of his family. Symbolism is an effective tool that Bhattacharya employs to convey the message, saving his best for the final frames when Amar and Sapna, stand on opposite sides of the road, and bid each other a pleasant and realistic farewell as a wedding procession passes by. Amar returns home to Mansi.
Sanjeev Kumar, Sharmila Tagore and Sarika, a much under-rated actor, light up the movie which is supported by Kanu Roy’s superb compositions. “Logon Ke Ghar Mein Rehta Hai” and “Machal Ke Jab Bhi Aankhon Mein” by Bhupender evoking memories of times when music was sweet and simple, so well captured by Sulakshana Pandit’s `Aap Agar Aap Na Hote’, when songs were meant to be heard and not seen.
Genre: Romantic drama
Director: Basu Bhattacharya
Cast: Sanjeev Kumar, Sharmila Tagore, Sarika, Master Bittoo, Dinesh Thakur, Sudha Chopra, Kanu Roy, Manik Dutt, Vimal Joshi, Raj Verma, R.S.Chopra
Written by: Basu Bhattacharya
Dialogues and lyrics: Gulzar
Script: Gulzar and Basu Bhattacharya
Music: Kanu Roy
Box office status: Average
