Gulzar's Ijaazat: Insights into the Film

by Mira Hashmi

By the time Gulzar made Ijaazat (1987), action-packed potboilers had replaced the genteel romanticism of yore, leaving few takers for a film about lost love and a broken marriage. And yet, three decades later, Ijaazat is a film that has endured. Gulzar's interpretation of a love triangle in Ijaazat - an evocative exploration of the strength and fragility of human relationships - was years ahead of its time. This book examines that interpretation to show how, thematically, the film was possibly Gulzar's most daring. It highlights how his skill as a storyteller - at once romantic and realistic - is exemplified by his complex characters. Contributing to that understanding is how the film's power also derived hugely from its sublime musical score by R.D. Burman. Drawing on Gulzar's recollections of the making of the film, Mira Hashmi''s book embraces the memory of the 'love' that for the poet wasn't always the answer, but a part of the question.

132 pages, Kindle Edition

Published February 25, 2019

Reviews

[M · Rating 5 out of 5]

Absolutely beautiful book with really great analysis of the movie and wonderful insights into the characters as well as interesting behind the scenes stories.

[Anirudha Bhattacharjee · Rating 5 out of 5]

Review for Quint reproduced here

https://www.thequint.com/entertainmen...

In 2010 December, Harper Collins India came up with a book dedicated to a single film. Jane bhi do yaaron : Seriously funny since 1983 by Jai Arjun Singh was a 250+ something document of anything and everything to do with the film. From stories dotted with events and incidents of how the film was made, what portions were left out of the final cut, to finer details of what the film was actually about, it had everything you wanted to know about a film which for some was cult material, and for most, something which they never got to see.
Two more books followed almost simultaneously. Deewar : The footpath the city and the angry young man by Vinay Lal was released on the same day as JBDY. Disco Dancer: A Comedy in Five acts by Anuvab Pal made its way to the stores in early 2011. While these books were definitely not the first to mark the emergence of the “film-biography” genre – Anupama Chopra’s Sholay :The Making of a Classic (Penguin India) preceded JBDY by a full ten years -, it is to the credit of Harper that they carried on the tradition of publishing similar short and refreshing film-bios as part of their BAU. In the process, many films and filmmakers were covered.
Last month Harper released a set of three books as a tribute to Gulzar.
Chronologically, the first book in this set is Aandhi (1975), authored by poet and scholar Saba Mahmood Bashir. The book has been broken down into five chapters – The Auteur, The Controversy, The Stellar Cast, The Poetry, and The Language. This is followed by appendices relating to the songs and a detailed interview of Gulzar conducted by the author.
Being an academic herself, the book is structured almost on academic lines. The chapters are laid out well, go deep into history, and then the focus shifts to the film and its elements. The stress, not so much on the technicalities of the craft, is compensated by discussions on almost each and every aspect which went into the film. The central emphasis is, however, on the dialogues, the lyrics, and the songs. These are analyzed in detail, especially how dialogues and lyrics play a major role in connecting the not so obvious dots. Gulzar’s use of multiple languages – mainly Hindi, Urdu, and English - to concoct a narrative in a language which Saba terms as Hindustani is explained with relevant examples. Overall, the lyrical contour of the film does come through in Saba’s writing, though one wishes she had been tighter with the groundwork behind certain events in time. Also, given the luxury of an extended interview, she could have questioned the incorrect representation of timeline in Aandhi as a nine-year separation in a twelve-year marriage with a kid who looked at least four or five at the time of separation is an impossibility.
While these quibbles would strike the discerning reader, one cannot but admire the sincerity of purpose which shines through the book. Lastly, humour, something underrated and not usually related in connection with Gulzar and his films, has been given extensive coverage, in a film identified as somber, and also grim at times.
Humour brings us to the second book in the set. Angoor (1982) , by Sathya Saran who, at the initial outset makes it clear that the Shakespearean comedy was definitely not on her mind when she was offered the contract. It was more by design than choice, and she used all her wits to gain whatever insight she could into the lovable if slightly theatrical, comedy.
While the strength of Saba’s treatise was its lyrical quality, Sathya’s forte which shines all along is observation. From the attire of the artistes to the way they use their limbs, to the dialogues and how the same are spaced out, to the chemistry between the characters, the book is more a visual story than simple bland analyses. It is a well-organized book and talks in quite some detail about Do Dooni Chaar (1968), the predecessor to Angoor where Gulzar too had worked in more than one capacity.
Point to note that as compared to Saba, Sathya’s reference material is , strangely, more academic. While this could have been an added strength, this does drag the book at times. The history of comedy is an honest replication of what is already documented in multiple books, and although it does not deviate from the fluidity which is the essence of the book, it does not add much value as the chapter is too short for an introduction to the vast genre of comedy in Hindi cinema. Sathya could have explored more into her experience with comedy in cinema, as by nature, these series of books are personal and one’s reflection makes for an interesting read.
But an interesting read it is. Overall, one is sure to reach page 109 and recline back with a smile on his/her lips. The last lines, like parting shots, are brilliant. Savour that – This sweet-sour meal delights, and, like good grape, mellows into fine wine with the passage of time.
Talking of pages, Mira Hashmi’s treatise on Ijaazat (1987) runs into 135, the thickest of the three in the set. The Lahore based Mira teaches film studies at the Lahore School of Economics. She is an academic, but the avatar of a film buff is more dominant in her writing. She does quite a bit of research too and comes up with facts which could be unpleasant for many – like knowledge of films for which Gulzar wrote lyrics before the famed Bandini I1963) or Kabuliwala (1961). She takes the pain to watch the original Bengali film which was the precursor to Ijaazat. She comes down to Bombay to interview not only Gulzar but also the stars of the film – Naseer, Anuradha Patel, and Rekha. Managing an interview with Rekha is in itself a project; those connected with writing on cinema would know. Her boundaries of expertise extend beyond Hindi films (Hindi films she saw in Lahore with great difficulty due to a ban imposed by the Government) and she uses them to her advantage in her writing. She talks about music with a generous degree of expertise too, and not simply like an observant student. Her book contains details of shoots, cuts, edits, mixing, etc; things which are veritable value adds. To cut a long story short, this is an exceptionally well-written book. Probably the best book by a foreigner on popular Hindi cinema in recent times.

[Mukesh Kumar · Rating 4 out of 5]

Best one of the series, for his best film, arguably.
An observation that has stayed with me:
"In the wake of the director's bowing out, the 'Gulzar school' didn't flower among new filmmakers, considering how many he has worked with and been something of a mentor to: 'The reason probably is that Gulzar is really one of a kind, a man whose creative output cannot be imitated by the less gifted.
His films, like his poetry, have sprung from a sensibility that is innately unique. It is a sensibility that isn't consciously cultivated. It is purely germane to his personality"

[Gagandeep Singh]

I thought when I'll be done reading this I'll acquire a more appreciated, weighted perspective on the film but honestly i didn't. It was largely a boring read other than the exciting parts of the actors and Gulzar's personal life which i could have easily read on wikipedia as well.

One good thing is that the book doesn't take itself too much seriously and with only 100 pages it manages to be a very tolerable companion piece.

[Archana Sidhaye · Rating 5 out of 5]

Gulzar has always been close to heart as a poet and a lyricist. But he’s also been a filmmaker of intensely high value films. Reading this book has been a learning experience not just about the making of Ijaazat but to some extent also about Gulzar’s thinking process.

It’s been a delightful journey to read about his own breakthrough into the industry and his constant desire to learn and improvise. His affable quality of surrounding himself with folks that mentored him also helped him in the long run. His interactions with the actors and characters, the brilliant dialogues written with utmost thoughtfulness often carrying underlying overtones, his involvement in the musical score where his lyrics are concerned and the practical strategies with which he uses them on screen, his prowess as a director, every aspect is admirable. The book is but a tiny glimpse into Gulzar as an overall genius.

As per Gulzar, his films are about human relationships and they have always projected unrest, whether individual or societal. And Ijaazat remains a classic masterpiece to that effect.

Ijaazat portrays two very strong female characters - Sudha (played by Rekha) and Maya (played by Anuradha Patel). While Sudha is Mahendra’s (played by Naseeruddin Shah) ex-wife, Maya is his live-in girlfriend before marriage to Sudha. When both the female characters are viewed from an impartial view, every woman can relate to some part of their identity.

Maya is a character influenced by the ‘Manic Pixie Dream Girl’ concept yet she isn’t the exact stereotype. Anuradha Patel plays the character flawlessly bringing to it her natural girlish charm. Maya is a free spirit yet she longs for stability in Mahendra’s established household after his marriage to Sudha. She hopes for comfort from Sudha more than from Mahendra while trying to get over her lost love. Like any ordinary woman she wants a child but true to her nature she dismisses the responsibility that would come with it. She is a writer that portrays her sensibilities through her poems. She believes in the sanctity of emotional connections more than the rituals and legalities. That is why it seems perfectly natural when she writes and recites her very own poetry ‘Mera kuch saaman…’

Sudha is the most ingeniously crafted character. She seems such an ordinary woman yet therein lies her extraordinary ability. She has a self-awareness that helps her make decisions when Mahendra is unable to do it. Although a small town girl, she has the level headedness to urge Mahendra to do the right thing by revealing his relationship to his grandfather and break off their engagement. Later it’s her maturity that comes forth in admitting her mistake in her farewell letter to Mahendra - Jaan boojh kar ek bhool ki thi, aap se shaadi kar li. Although she tries to patiently accommodate Maya’s unspoken and sometimes obvious lingering presence in their marriage, she longs for the domestic tranquility of a settled life. She sympathizes with Maya but resolutely keeps her out of her household when Maya expresses the desire to meet her. Sudha is an unconventional woman with progressive thoughts yet bound by traditions and values that she cannot compromise.

While writing Sudha’s character, Gulzar has done complete justice to the inner workings of a female mind. As Gulzar puts it, ‘What is right isn’t always true and what is true isn’t always right; and neither is it easy or convenient.’ And yet, Sudha is the one in a constant struggle trying to achieve the balance especially since Mahendra is hopeless in this regard. And casting the powerhouse of talent, Rekha as Sudha brought even more potential to that character. Gulzar had absolute trust in Rekha’s ability as a confident and mature actor. As per Rekha, for Sudha the entire story is about finding herself.

Naseerudin Shah’s Mahendra is a weaker character portrayed fabulously by the ace actor. Unable to take a firm stand, imprisoned by his traditional value system, yet trying to appear bohemic with his live-in relationship he always turns to Sudha for guidance. He is subtly attracted by her self confidence yet unable to give up on his love. Although he tries hard to, he gets torn by Maya’s attempt at suicide. Finally, left alone by choices of his own making Mahendra is the perfect example of the feeble mindset deep ingrained in the patriarchal culture.

Every other character apart from the leads, however small part they have played has done an exemplary justice to the role. It’s intriguing to read the choices that went into selection process.

The interaction between Gulzar and Pancham during music composition is a charm in itself. Full of emotion and shaayari this is a chapter that keeps one glued to the book.

I have always been especially mesmerized by the song ‘Katra Katra…’. Not only is the melody aptly flowing along with the fabulously coined lyrics but the cinematography was something I had never come across anywhere else before. The bare tree stumps rising out of the fog create an hauntingly beautiful aura.
It was amazing to read about the shooting of this song in the early morning mists of Kudremukh. Also, it was great to know the ingenuity with which RD recorded the song to give it the overlapping effect that makes it so memorable.

The book is a must read for creative minds.

[Dalip Shandil · Rating 5 out of 5]

Right From The Very Preface, The Reader Gets Hooked To This Fascinating Book. The Fact That The Author Mira Hashmi Hailed From Pakistan At A Time When Getting To Watch Indian Films Through Proper Channels Was A Luxury Everyone Could Rarely Afford And Yet She Has Done Such A Neat Job Almost Bordering On It Actually Being Slick. Offering Such Rare Insights Into The Behind The Scenes Making Of Ijaazat And How It Actually Came Alive Even Though Initially There Were No Takers For This Project That Has Over The Decades Emerged Into A Cult Film Of Sorts And Perhaps One Of The Very Finest By Gulzar.
What Makes This Book Even More Plausible Is That Mira Hashmi Belongs To That Era When Hindi Films As Also By Extension Film Magazines Were Banned Between 1965-2007 And Were Thus Clandestinely Rerouted In To To Meet The Ever Growing Demand That Arose Amongst Film Lovers Across The Border Who Were Starved To Get Their Fill Of Indian Cinema. Under These Circumstances Mira Hashmi Taking Up This Assignment Is Not Just A Herculean Task But Also Praiseworthy That She Actually Brought Alive This Rare Book.
While A Lot Of Books Have Already Been Penned On Gulzar The Poet And A Few On The Making Of His Evergreen Films That Are Undisputed Classics Where Mira Hashmi Could Have Possibly Pulled Back Is To Have Added To The Many Previews On His Background And How He Evolved To His Present Stature In Indian Cinema And Devoted All That Precious Space To The Insightful Exclusive Behind The Scenes Making Of Ijaazat Instead. But Alas That Was Not To Be.
What Is Indeed Truly The Plum On Pudding Is That She Actually Got To Interview Rekha No Less Offering Precious Insights Into Her Intricate Multi Layered Role And How She Actually Brought Sudha Alive On The Screen. Even Though Rekha Was Firm On Not Allowing A Proper Taped Interview But Insisted On Mira Taking Longhand Notes Of This Exclusive Interaction That Forms An Integral Chapter In This Book.
Without Taking Away Even An Inch From Mira Hashmi’s Efforts To Get Rekha To A Proper Sit Down Exclusive Interview One Cannot Put Aside The Nagging Thought As To Whether Rekha Would Have Actually Been That Cooperative To Share Her Time And Thought Had Gulzar Not Made It Possible?
Bagging Rekha No Less To Speak About Her Screen Persona Sudha In Ijaazat For This Book Is Not Just Any Minor Achievement But A Major Highlight For Mira Hashmi And I Would Like To Leave A Majority Of The Credit In Her Lap Alone Thus Making The In-depth Interview With Naseeruddin Shah As Mahinder And Valuable Insights From Anuradha Patel As Maya A Much Welcome Treat But In The End The Real Feast Comes From Rekha And OfCourse Gulzar Himself.
However All Said And Dons How Much I Actually Loved Reading This Book Can Well Be Gauged From The Very Fact That I First Saw Ijaazat Back In 1987 When First Released But After Reading This Book Three Decades Later In 2021 Realisation Dawned What Finer Nuances Had Been Missed Enjoying The Film, It’s Music And Performances The First Time So Watching It Again 30 Years Later After Reading This Book Was Indeed An Enriched Experienced That Opened Several Doors Second Time Over.

[Prasun Sindhuliya · Rating 4 out of 5]

As good as film.

[Tina Das · Rating 4 out of 5]

A book that actually made me watch the movie all over again. Fantastically written

[Dr.Madan Bhimsen Jadhav · Rating 5 out of 5]

Very much intruing book on one of the best films. Little bit biased insightful narration about the male character 'Mahendra', I feel, compared to the same about 'Sudha' & 'Maya', the ladies. But still, the book is as thoroughly enjoyable as the movie is.!

[DALIP · Rating 5 out of 5]

Right From The Very Preface, The Reader Gets Hooked To This Fascinating Book. The Fact That The Author Mira Hashmi Hailed From Pakistan At A Time When Getting To Watch Indian Films Through Proper Channels Was A Luxury Everyone Could Rarely Afford And Yet She Has Done Such A Neat Job Almost Bordering On It Actually Being Slick. Offering Such Rare Insights Into The Behind The Scenes Making Of Ijaazat And How It Actually Came Alive Even Though Initially There Were No Takers For This Project That Has Over The Decades Emerged Into A Cult Film Of Sorts And Perhaps One Of The Very Finest By Gulzar.
What Makes This Book Even More Plausible Is That Mira Hashmi Belongs To That Era When Hindi Films As Also By Extension Film Magazines Were Banned Between 1965-2007 And Were Thus Clandestinely Rerouted In To To Meet The Ever Growing Demand That Arose Amongst Film Lovers Across The Border Who Were Starved To Get Their Fill Of Indian Cinema. Under These Circumstances Mira Hashmi Taking Up This Assignment Is Not Just A Herculean Task But Also Praiseworthy That She Actually Brought Alive This Rare Book.
While A Lot Of Books Have Already Been Penned On Gulzar The Poet And A Few On The Making Of His Evergreen Films That Are Undisputed Classics Where Mira Hashmi Could Have Possibly Pulled Back Is To Have Added To The Many Previews On His Background And How He Evolved To His Present Stature In Indian Cinema And Devoted All That Precious Space To The Insightful Exclusive Behind The Scenes Making Of Ijaazat Instead. But Alas That Was Not To Be.
What Is Indeed Truly The Plum On Pudding Is That She Actually Got To Interview Rekha No Less Offering Precious Insights Into Her Intricate Multi Layered Role And How She Actually Brought Sudha Alive On The Screen. Even Though Rekha Was Firm On Not Allowing A Proper Taped Interview But Insisted On Mira Taking Longhand Notes Of This Exclusive Interaction That Forms An Integral Chapter In This Book.
Without Taking Away Even An Inch From Mira Hashmi’s Efforts To Get Rekha To A Proper Sit Down Exclusive Interview One Cannot Put Aside The Nagging Thought As To Whether Rekha Would Have Actually Been That Cooperative To Share Her Time And Thought Had Gulzar Not Made It Possible?
Bagging Rekha No Less To Speak About Her Screen Persona Sudha In Ijaazat For This Book Is Not Just Any Minor Achievement But A Major Highlight For Mira Hashmi And I Would Like To Leave A Majority Of The Credit In Her Lap Alone Thus Making The In-depth Interview With Naseeruddin Shah As Mahinder And Valuable Insights From Anuradha Patel As Maya A Much Welcome Treat But In The End The Real Feast Comes From Rekha And OfCourse Gulzar Himself.
However All Said And Dons How Much I Actually Loved Reading This Book Can Well Be Gauged From The Very Fact That I First Saw Ijaazat Back In 1987 When First Released But After Reading This Book Three Decades Later In 2021 Realisation Dawned What Finer Nuances Had Been Missed Enjoying The Film, It’s Music And Performances The First Time So Watching It Again 30 Years Later After Reading This Book Was Indeed An Enriched Experienced That Opened Several Doors Second Time Over!!!

[chaand · Rating 5 out of 5]

This might just be the most beautiful, most intense and nuanced account of a film I've read as a book. From interviews to insights to relationships between prominent filmmakers, a bootcamp on film analysis and an evidently heartfelt piece of hardwork.