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Chapter Six

ConclusionAuteur theory was very popular in the 50s and 60s. This theory of film criticism is one

of the most debated theories in Film Studies. Auteur is a French word, which means ‘author.’

In Film Studies, auteur is a director who has a complete control over his/her films and shows

consistency of style and theme in his/her film. The core of auteur theory of film criticism lies

in the view that art expresses the vision and worldview of a single artist. Auteur theory

examines a single director’s films, stylistically (visually) and thematically (textually). First

parameter of such an examination is mise-en-scène and the second is a consistency of themes

in the oeuvre of the director. An auteur critic finds out the common characteristics and

features from the whole body of a director’s films because he is the person who looks after

the audio-visual aspects of the films. To put it in other words, according to the auteur theory,

any director who shows certain thematic and stylistic consistency and expresses his

‘worldview’ in his films, is considered to be an auteur.

In this research work, after a close analysis of Gulzar’s sixteen films, the researcher

has ascertained that Gulzar is an auteur. The researcher has discovered the following principal

thematic and stylistic features in most of Gulzar’s films, which can give him a status of an

auteur. This chapter concludes that the oeuvre of Gulzar can be considered that of an auteur

because of the consistency of his style and themes. Gulzar consistently reflects his philosophy

of relationship, love, family, living in the present, death etc. throughout his body of works.

Gulzar’s films are a unique blend of style and themes. For example, his flashback

technique of story telling and theme of the dominance of past over present of the character are

inseparable. In othe words, Gulzar uses flashback technique to suggest that the characters

grapple with their past. Therefore, flashback and past of the character become inseparable.

Gulzar uses flashback technique in his films to narrate the events of the story, which

makes the narrative strucuture of his films non-linear. The flashback technique has thematic

connotations in Gulzar’s films. In other words, the past dominates the present of the

characters and they want to rectify their past. Therefore, it is not possible to separate Gulzar’s

style of filmmaking from the stories he tells and the themes he explores. Inderjeet, Aarti

Sanyal in Kinara, Dr. Amarnath Gill in Mausam, Mohinder in Ijaazat, and Rewa in Lekin…,

JK and Aarti Devi in Aandhi are some of the characters whose life is controlled by their past

events. At the end of the film each character confronts the situation and gets rid of the burden

of past. Inderjeet reveals to Aarti Sanyal about the truth behind the death of Chandan- Aarti

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Sanyal’s fiancé. He repents. Dr. Amarnath Gill tells Kajli that he is the same doctor who

made a pledge to her mother but could not keep it. Mohinder, at the climax of the Ijaazat,

admits that he was responsible for the unhappiness caesed to Sudha. He repents that he could

not give Sudha what she deserved etc. It is raining in the beginning of the film. However, at

the end of the film, the rain stops. It has a cathartic implication. Throughout the night,

Mohinder and Sudha express their grievances against each other. In the morning, both of them

are calm, cool and composed. The rain has also stopped. It is a very beautiful morning. In a

scene, Sudha says: “barsa jaaegaI tao Apnao Aap qama jaaegaI (When it has poured out,

it will stop automatically).” At the end of the film, Sudha, Mohinder, and rain have poured out

completely.

The theme of relationships and point of view shot structure technique are inseparable

in Gulzar’s films. The subtlety of relationship is a single dominant theme in all of Gulzar’s

films. Gulzar’s cinematic technique also establishes relationships among characters. It is

evident from a scene in Mausam in which Gulzar uses the point of view shots to establish the

relationships between the characters.

In a scene, Dr. Amarnath Gill brings Chanda along with him where he stays. In the

next scene, Maharaj- the cook brings bed tea for Dr. Amarnath Gill. He enters the bedroom

and finds that Kajli is sleeping in the bedroom. First close up shot is of the Maharaj and the

next close up shot is of Kajli. The close up shot of Kajli gives an idea that Maharaj is looking

at a prostitute. In the next scene, Dr. Amarnath Gill gets up and goes to see Kajli. The first

close up shot is of Dr. Amarnath Gill and the next long shot is of Kajli in which her whole

body is shown. Here Gulzar uses the long shot of Kajli to establish that Dr. Amarnath Gill is

looking at her daughter not at a prostitute as in the example of Maharaj’s point of view shot.

Maharaj is looking at her face, which clearly conveys about her character and profession.

Generally, in real life, when brother or father looks at a sister or daughter, they do not look at

any particular part of the body. They look at her as a whole. Gulzar has used the point of view

shots to establish the relationship between Dr. Amarnath Gill and Kajli and this is the beauty

of Gulzar’s film technique. What Gulzar is trying to convey is the attitude, mind-set or

outlook of Dr. Amarnath Gill and his servant toward Kajli. This is how Gulzar uses camera to

establish relationships.

Therefore, Gulzar creates his auteur identity through an amalgamation of style and

theme. Some of the shots in Mausam, Khushboo, Mere Apne, Aandhi Maachis, and Hu Tu Tu

become his auteur signature. In these shots, the placement of the camera, angle, shot size and

the element of mise-en-scène are same. Fifth chapter has analysed all these shots in detail.

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Gulzar’s use of highly subjective camera in Khushboo is another example of his way of

blending style with theme. Only at the end of the film when Kusum leaves for her in-laws’

house with Dr. Brindaban, Gulzar brings the camera out of Kusum’s house. The camera

becomes one with Kusum. This is the only moment when camera shows Kusum coming out

of her house. Another technique that Gulzar uses is the same frame in flashback transitions.

The position of the character and the placement of the camera before flashback are as same as

when the flashback begins. This technique of Gulzar also has a thematic implication. In one

scene in Ijaazat, Mohinder says: “hUM vahIM. vahI Sahr hO‚ vahI galaI, vahI Gar, saba

kuC…vahI tao nahIM hO laoikna hO vahIM‚ ]saI jagah (Yes. It is the same city, same

street, same house. Everything is…not the same. But, it is at the same place…there itself).”

Therefore, everything is where it was but it is not the same. Something has changed. For

Gulzar, relationships never die but they change. Even if people start living separately,

relationship never ends. In Aandhi, in one scene, J.K. asks to his domestic helper Binda:

“saalaaoM sao irSto TUT jaato hOM @yaa (Does the passing of years break

relationships)?” Gulzar - the great poet and filmmaker, begins and ‘ends’ his celluloid journey

from Mere Apne (1971) to Hu Tu Tu (1998) with anger. Anger is one of the recurring

thematic motifs in his films. Hu Tu Tu may not have created a history at the box office like

Maachis but technically and thematically, it is the best film made by Gulzar. The anger that

Gulzar expresses in Mere Apne- his first film, is at its height in Hu Tu Tu- so far his last film

as a writer-director. Gulzar clearly communicates through these two films that in 27 years, the

situation has reached nearly to a point of no return - the human bomb phenomenon in Hu Tu

Tu proves that only. In Mere Apne, young men used bombs to blow others, however, in Hu

Tu Tu they themselves become human bomb. Along with relationship, death is another theme

that Gulzar explores in his films. In each of his films, some character die. This is a recurring

thematic motif in Gulzar’s films. As pointed out earlier, for Gulzar relationship never dies and

death is not the end of life. With death, another journey begins. Death is also a birth of

something beautiful. Mere Apne provides a good example of this philosophy of Gulzar.

Shyam and Chainu kill Anandi Devi accidentaly at the climax of the film. An ambulance

arrives and takes the deadbody of Anandi Devi. Gulzar repeats the dialogue that takes place in

the beginning of the film: “jaUtI po jaUtI caZ, rhI hO caacaI. khto hOM ik iksmat maoM

jaba saf,r ilaKa hao tba eosaa haota hO (One slipper is on the other, aunty. It is said this

happens when there is a journey to be made).” Therefore, Anandi Devi is going to take

another journey. With the death of Anandi Devi, Shyam and Chainu also change. In other

words, the death of Anandi Devi is a rebirth of Shyam and Chainu. Ultimately, Anandi Devi

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becomes a symbol of peace. Althouh, Anandi Devi is a widow but her costume has thematic

connotation. Throughout the film, her white costume also suggests her peaceful attitude. In

addition, repentance, peace, wait, violence, etc. are some of the themes that Gulzar explores in

his films consistently.

Women characters are at the centre in most of Gulzar’s films. Namkeen, Aandhi, Hu

Tu Tu, Khushboo, Mere Apne, Kinara etc. are some of Gulzar’s films in which women play

the central roles. Gulzar’s composition also places women characters in a privileged position.

For example, in triangular compositions of characters in Aandhi and Mausam Aarti Devi and

Chanda are shown in standing positions that signifies their dominant place in the house and

life.

Use of symbols is another recurring motif in Gulzar films. Bird in flight is the most

symbolic in all of Gulzar’s films. Flying bird symbolizes migration and displacement in his

films. Bird in flight appears and reappears in most of Gulzar’s films. In Khushboo, the bird in

flight symbolizes Ravi’s migration from city to the village. In Kitaab, bird in flight

symbolizes Babla’s act of running away from his sister’s house to reach his mother. Bird in

flight also appears in Ijaazat and symbolizes Mohinder’s journey from Darjling to his city.

Gulzar also uses symbols to intensify the effects of the theme of a film and to create an

environment for an action to take place. In Ijaazat, initially, Mohinder and Sudha are husband

and wife. However, Mohinder is in love with Maya. Maya comes in Mohinder’s life before

Sudha. Sudha is well aware of this. One day, Mohinder and Sudha go for a picnic. The film is

about extra-marital affair of Mohinder- the protagonist. Mohinder is alone when the film

opens. Marriage between Mohinder and Sudha does not succeed because of Mohinder’s extra-

marital affair with Maya. Oneday Sudha leaves Mohinder. Mohinder and Sudha- two major

characters, coincidently meet after a long time in a railway waiting room. They come face to

face in one of the shots. Mohinder and Sudha are facing each other in the image and there is a

projected shadow on the wall. The shadow is between both of them. Denotative meaning of

the image is very clear. However, a close and indepth analysis of the image reveals the

connotative meaning. The shadow in the image represents something else. The shadow is of

Sudha that represents Maya- ‘the other women’ between Mohinder and Sudha. Therefore, the

shadow is the symbol of a ‘third person’ that came between Mohinder and Sudha. Because of

Maya, Sudha leaves Mohinder and marries someone else. It is a contextual symbol because if

the film is not about extra marital affairs, the shadow between them will not have any

meaning. One can interpret this image in a different way also. Second interpretation is that

Sudha is not the same Sudha of her past. This Sudha is the shadow of the previous Sudha.

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Sudha used to love Mohinder but she receives the feeling of isolation and detachment in

return. Now, she is a changed woman.

Another example of symbolism in the same film is a song: “ktra ktra imalatI hO ktra

ktra jaInao dao ijaMdgaI hO bahnao dao PyaasaI hUM maOM PyaasaI rhnao dao

(Drop by Drop it flows, let it flow, it is life. Let it flow. I am thirsty, let me ramain so…).”

The song is picturised on Mohinder and Sudha near a pond. Some small trees in the pond are

not green. These trees are leafless and lifeless although they are in water. Gulzar uses these

leafless and lifeless trees as a symbol of unhappiness, dissatisfaction and detachment. The

image evokes a sense of aloofness. Trees are in the water but they are not green. Sudha is with

her husband Mohinder but still not happy. As she expresses herself in the song: “PyaasaI

hUM PyaasaI rhnao dao (I am thirsty, let me ramain so…).” Sudha’s situation is like the

trees that are in the water but there are no leaves on them. She is thirsty of love. The trees in

the pond has a literal significance while suggesting other meanings as well. The reflection of

the trees in the water also has significant meaning in the context of the story. Sudha loves

Mohinder. On the other hand, Mohinder is in love with Maya. Sudha’s love for Mohinder is

as deep as the roots of the trees, which is extended through the reflection of the trees.

Some of the props or properties appear to be recurring motifs in Gulzar’s films. These

properties become very important parts of the narrative and push the story forward. Walking

stick works as a recurring motif in Mausam. Walking stick, here, has a philosophical

connotation. The walking stick represents the love between Dr. Amarnath Gill and Chanda.

Both of them have their feelings and emotions associated with the walking stick. The walking

stick reminds Dr. Amarnath Gill of each moment he spent in Darjeeling and with Chanda. Dr.

Amarnath Gill embraces the walking stick at the end of first flashback sequence. However,

Dr. Amarnath Gill touches the walking stick before the first flashback begins, as if, to feel the

touch of Chanda. Therefore, the walkig stick does not remain a materialistic thing. It gets

associated and transformed into ‘feelings.’

Gulzar philosophises that in love and relationship, nothing remains worldly. It goes

beyond body and materiality. At the climax of Mausam, in a scene Kajli holds Dr. Amarnath

Gill’s hand and wants to have a physical relationship with Dr. Amarnath Gill who is asleep.

Until this point in the film, Chanda is not aware of Dr. Amarnath Gill’s identity. Dr.

Amarnath Gill wakes up and slaps Kajli. He says: “[sa SarIr ko Aagao BaI kBaI kuC doKa

hO saaocaa hO phcaanaa hO iksaI kao (Have you ever seen anything beyond this body,

thought about it, recognised someone)?”

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Lyrics are part of the narrative and story in Gulzar’s films. Gulzar does not paste lyrics

on the story rather make them an integral part of the story. Gulzar is a master of expressing

subtle feelings and philosophy through his lyrics. “maora kuC saamaana tumharo pasa

pD,a hO” from Ijaazat is one such example. Gulzar uses lyrics to express the feelings of

Maya. It is possible to return materialistic things and get rid of someone but how one can

return “gaIlaI maohMdI kI KuSabaU (the fragrance of wet henna).” Gulzar makes it clear

that once you have a relationship with someone; it is not possible to escape from that

relationship even if you return all the materialistic goods. It is impossible to return the

feelings associated with those materialistic things. Moreover, in love relationship,

materialistic things do not remain materialsitc; they become one with feelings and emotions.

This is the most philosophical song of Gulzar.

In Gulzar’s films, relationships and love cross all the materialistic boundaries. Even in

Khushboo, Kusum values her relationship with Dr. Brindaban as his wife. Colour of her

costume also suggests her purity. She crosses the boundaries of materialistic hurdles. This is

what Andrew Saris means by ‘interior meaning’- the third premise of auteur theory.

Sound of thunder, train etc. also work as recurring sound motif in Ijaazat. The

different sounds remind Sudha of the disappointment she has gone through in her life with

Mohinder. The sound motif is also important in Kinara. The sound of wheels of car reminds

Aarti Sanyal of Chandan’s death. The sound of shoes, the fragrance of flower etc. work as

motifs here.

Gulzar’s film titles are very interesting and meaningful. Titles are chosen

appropriately. The titles reflect the core meaning of the film. For example, take the title of

Parichay. Paricahy is a Hindi word, which means ‘an introduction.’ In Paricahy, Ravi- the

protagonist teaches Rai Sahib’s five grandchildren in the village. Rai Sahib had a son- Nilesh.

The relationship between both of them was not happy. Even Rai Sahib and his grandchildren

do not have a very good relationship between them. When Ravi begins to teach, he

understands the psychology of Rai Sahib’s grandchildren. Ravi befriends the children and he

succeeds to change the children into obedient ones. In the beginning of the film, Rai Sahib

introduces all the children to Ravi but at the end of the film, Ravi succeeds to change not only

the children but also Rai Sahib. He succeeds in introducing Rai Sahib to his grandchildren as

their gandfather. Rai Sahib appropriately says: “maOM bahut SauËgauja,ar hUM riva ka.

]sanao maoro baccaaoM sao maora pircaya krvaa idyaa (I am very thankful to Ravi as

he has introduced me to my grandchildren).”

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Gulzar bases most of his films on the stories and novels written by others. Gulzar's

first film as a director, Mere Apne, released in 1971, is based on a story written by Indra

Mitra. Tapan Sinha- a Bengali director, also made a film titled Apanjan on the same story.

Gulzar’s second film, Parichay is based on a Bengali story Rangeen Uttariyo written by R.K.

Moitra. Parichay is not based on The Sound of Music, as many would feel. However, Gulzar

does not deny the link between Parichay and The Sound of Music. A Japanese film called The

Happiness of Us Alone inspired Gulzar’s third film, Koshish. However, the film bears the

signature stamps of Gulzar. Gulzar’s fourth film, Achanak, is based on The Thirteenth

Victim, a story by Khwaja Ahmed Abbas. Khushboo is based on Sharat Chandra Chatterjee’s

novel, Pandit Moshai. Gulzar bases Aandhi and Mausam on novels written by Kamleshwar.

Bhushan Banmali wrote the story of Kinara. Gulzar’s two films – Kitaab and Namkeen are

based on Samaresh Basu’s stories. Angoor is based on Shakespeare’s A Comedy of Errors.

Meera is the result of Gulzar’s own research. Ijaazat is based on a short story written by

Subodh Ghosh. Tapan Sinha- a Bengali director, also made a film titled Jatugriha in Bengali

on the same story. Lekin…is a based on a story by Rabindranath Tagore.

Gulzar uses language as a recurring motif in the films. Some of the recurring motifs in

his films are- use of Punjabi word ‘n?t/A’(ɛvẽ) (AOvaoM), similarity of dialogues in

different films, elements of humour, poetic language, abuses, language expressing past and

present, idiom and proverb. The way people use language and words, expresses their culture.

Gulzar also emphasizes this aspect in his films. Gulzar also reflects his cultural nuances in his

film by using some words.

Gulzar uses ‘AOvaoM’- a Punjabi word in most of his films. This word is a dialogue

motif and an auteur signature of Gulzar. Gulzar, himself a Punjabi, reflects with this word, the

peculiar characteristics of the Punjabis. Punjabi folk use this word very frequently in their

day-to-day conversation. The word is a part of their daily life.

Mirror also helps in giving ideas about the characters in Gulzar’s films. Mirror

reflection of both Pushpa and Major Ranjeet Khanna reflects their dual character in Achanak.

Major Ranjeet Khanna who is in the army loves his wife Pushpa. Pushpa, in the absence of

her husband, develops a relationship with Parkash- Major Ranjeet Khanna’s friend. When

Mjaor Ranjeet Khanna comes to know about this relationship, he kills both of them. The

mirror reflection of Major Ranjeet Khanna projects the two sides of his personality. Major

Ranjeet Khanna- a decent human being, who loves his wife and Major Ranjeet Khanna- a

criminal, who kills his wife- Pushpa and friend- Parkash. Pushpa betrays her husband- Major

Ranjeet Khanna. In the scene when Major Ranjeet Khanna and Pushpa are getting ready to go

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to a movie, Pushpa behaves as if she is in love with her husband- Major Ranjeet Khanna.

However, at the same time she has a relationship with Major Ranjeet Khanna’s friend-

Parkash. Therefore, the mirror reflection of both of them reveals their true character.

Gulzar references other work of art in his films consistently. For example, in Koshish,

there is a scene in which Haricharan’s bicycle is stolen by his brother-in-law, Kanu.

Haricharan who works as a newspaper hawker needs the bicycle badly. Without the bicycle

he cannot work. When he goes to the newpaper agency without his bicycle, he is not given the

newpapers for distribution. The agent of the newspaper agency says: “pOdla baaMTnao ko

ilae Aba AK,baar nahIM dUMgaa. kla tumanao hmakao AaQao AK,baar vaapsa ike.

ParsaaoM BaI tumanao AaQao vaapsa kr ide. mauJao QaMQaa nahIM baMd krnaa

hO. jaaAaO (On foot? No, I will not give you newspapers to distribute on foot. Yesterday

and day before yesterday, you brought back half of the papers. I do not want to ruin my

business. Go off from here now).” Haricharan loses his job and starts working as a shoe-

shiner on the roadside.

Similar scene appears in The Bicycle Thief – a film directed by Vittorio De Sica. In

this film, Ricci Antonio - the protagonist, works as a poster hanger. It is written on his

appointment slip that he should have a bicycle. Moreover, if he does not posses the bicyle,

someone else will be given the job. Ricci arranges a bicycle by selling his bed sheets, which

her wife- Maria Ricci brought as her dowry. Ricci Antonio starts working as a poster hanger.

One day when he is hanging the postes on the wall, his bicycle is stolen. He tries to search for

his bicycle but in vain. He loses his job. Therefore, both Haricharan in Koshish and Ricci

Antonio in The Bicycle Thief lose their jobs for not having bicycles.

Gulzar uses close-up and extreme close-up or big close-up shots in most of his films.

These two types of shots are recurring motif in all of Gulzar’s films. A director uses close-up

shots to show the facial expressions and reactions of the characters. Close-up shot also

bridges the gap between audience and action or characters on the screen and involve the

audience in the action on the screen. A director uses extreme close-up or big close-up shots to

show the inner feelings of the characters or to express the state of mind of the characters

without any dialogue.

In Achanak, Gulzar reflects the state of mind of Dr. Chowdhry in extreme close-up

shot by framing the left side of his face. The extreme close-up of Dr. Chowdhry expresses his

inner state of mind. Dr. Chowdhry is treating Major Ranjeet Khanna who has been shot in the

chest. According to Dr. Chowdhry, Major Ranjeet Khanna should have been dead but he is

alive. This keeps disturbing Dr. Chowdhry. Dr. Chowdhry keeps waiting for the news of

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Major Ranjeet Khanna’s death. He is reluctant to operate on Major Ranjeet Khanna. He is

dead sure that Major Ranjeet Khanna is going to die or will suffer from mental imbalance or

paralysis even if the operation is successful. In one of the scenes, after conducting an

operation on Major Ranjeet Khanna, Dr. Chowdhry says: “maorI tao yao samaJa maoM

nahIM Aata ik yao AadmaI ijanda @yaaoM hO? iksa ilae (I can’t understand why this

man is alive? For what)?”

Maachis is a play between destiny and desire. Destiny and desires of the innocent men

work as a motif throughout the film. Machis suggests that man is a helpless creature in the

hands of destiny. It is a film about some innocent young boys who are punished for a crime

they never committed. Being frustrated with the corrupt administrative system Kirpal Singh

Pali, the protagonist of the film, gives up playing Hockey and picks up gun against the police

and the system to take revenge. His only aim is to kill Inspector Khurana and Vohra who were

responsible for destroying their innocent families. They were forced to become terrorists. At

various points in the story of Maachis, they wish to give up guns but destiny has something

else in store for them. What is important in the story of Maachis is that at various stages

Kirpal Singh Pali and Kuldeep wish to give up arms and go back to their villages to lead a

normal life. However, the film advocates that terrorism is a one-way traffic. There is an entry

gate but there is no exit. It is evident from the death of Kuldeep. In one of the incidents in

which Kuldeep is shot in his leg, he decides to leave the group and return to his village. He

says: “maOM @yaa hUAa maOM Dr gayaa qaa Baa jaI. gaaolaI calato hI eosaa

lagaa ik basa Aaja khanaI K%ma hao ga[-. gaaolaI ko saaqa hI maasa ka TUkD,a

inakla gayaa. AcCa hUAa TaMga maoM nahIM ga[-. Baa jaI mauJao vaaipsa Baoja

dao Baa jaI. Baa jaI maOM gaaMva jaa]Mgaa Baa jaI. vahaM sao kOnaoDa calaa

jaa]Mgaa. Baa jaI maOM Dr gayaa hUM Qama- sao Baa jaI. dUr sao yao baD,a

qairilaMga lagata qaa (I was scared. The moment they opened fire…I thought it was the

end for me. They blew off a piece of flesh with the bullet. I’m glad it didn’t rip through the

leg. Brother, please send me back. I will return to my village and go away to Canada

thereafter. I swear, I’m scared. Brother. All this appeared so thrilling from a distance…).”

Nevertheless, destiny has something else in store for him. In the next scene, the chief of the

group and Sanatan do away with Kuldeep with a bomb blast.

Kirpal Singh Pali, too, expresses his wish to give up arms. However, he has reached a

point of no return. In one of the scenes, Kirpal Singh Pali asks Nanu Chacha: “AcCa caacaa

baabaa @yaa zIk kr dogaa? @yaa zIk kr dogaa baabaa? @yaa eosaa hao sakta hO

ik ba@t kI DacaI vaapsa Aa jaae? @yaa hma Apnao GaraoM kao vapsa laaOT sakto

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hOM (Okay, uncle, but how can God help? How can God set things right? Is it possible that

the lost time is regained? Can we return to our homes)?” However, Nanu Chacha does not

have the answer of any of these questions. Here again destiny plays its role. Police arrests

Kirpal Singh Pali and tortures him. One day, Veeran his fiancée brings cyanide capsule to

Kirpal. Kirpal Singh Pali swallowes the capsule and dies in the jail. Maachis opens with the

death of Jaswant Singh Randhawa and ends with the death of Kirpal Singh Pali and Veeran.

All the three belong to a peasant and innocent family but die at the end of the film.

In conclusion, it can be said that, beyond doubt, Gulzar is a true auteur. His films

show a consistency of style and theme and reflect Gulzar’s philosophy of life, love,

relationship, death etc. Gulzar is the best example of an auteur in the Indian film industry. His

films are unique but identifiable. His films have thematic and stylistic similarities

consistently, which give him the status of an auteur. Gulzar, truly, is an auteur who looks at

life and relationships from all the angles and projects all the aspects of human condition

vividly through his films.

Suggestions for further research on Gulzar’s films

The research work on Gulzar’s films can be continued because his films offer a great

scope for further research from various points of view. The present study has brought in some

more research questions regarding Gulzar’s films. Thses questions need to be addressed

through further systematic study of his films. Psychoanalytic theory of film criticism could

also be used to study the characters of Gulzar’s films because Gulzar tries to display the

mental states of his characters through various camera techniques, props and symbols. There

is always a mirror reflection of some characters in his films. The mirror reflections shed some

light on the psychology of the characters. Feminism is another theory that could be used to

study Gulzar’s films. Most of Gulzar films like Namkeen, Aandhi, Mausam, Meera, Ijaazat,

Hu Tu Tu, Khushboo, and Mere Apne have women characters at the centre of the story. These

women are not the property of their husband and father. They have independent thinking.

They have their own identity. They accept challenges and live in society with their own

principles.

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WEBSITES

http:// www.bfi.org.uk

http://en.wikipedia.org

http://homepages.ihug.co.nz

http://littleeyeontheworld.com/blog

http://marauder.millersville.edu

http://www.bbc.co.uk

http://www.cinespot.com

http://www.davidbordwell.net

http://www.gfl-journal.de

http://www.gulzaronline.com

http://www.imdb.com

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http://www.museindia.com/viewarticle

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Appendix-i

List of IllustrationsFigures/Images

Chapter Two

Figure 2.1 Late Spring: An example of Ozu’s use of ellipsis

Figure 2.2 Late Spring: Ozu’s use of ellipsis

Figure 2.3 Tokyo Story: An example of Ozu’s use of ellipsis

Figure 2.4 Tokyo Story: Ozu’s use of low camera angle

Chapter Three

Figure 3.1: The graphical representation of Andrew Sarri’s auteur theory

Chapter Four

Figure 4.1 Achanak: Extreme close-up shot of Dr Chowdhary reflects his inner

conflict

Figure 4.2 Maachis: Kirpal Singh Pali and Veeran address the audience and ask

questions in a frontal shot

Figure 4.3 Masuam: Composition highlights economic status of Dr. Gill

Figure 4.4 Mere Apne: An example how prop reflect moral fiber

Figure 4.5 Mausam: An example of how color of costume reflects change in a

character’ attitude

Figure 4.6 Mausam: Color of costume reflect Kajli’s transformed attitude

Chapter Five

Figure 5.1 Ijaazat: Surahi (Long necked vessel as recurring motif)

223

Figure 5.2 Mere Apne: Ruined structure as a recurring motif and symbol of unhappy

life

Figure 5.3 Aandhi: Ruined structure represents broken family life of Aarti Devi and

JK

Figure 5.4 Khushboo: Ruined structure reflects miserable life of Luckhy

Figure 5.5 Mere Apne: An example of Gulzar’s use of chiaroscuro lighting

Figure 5.6 Maachis: Chiaroscuro lighting

Figure 5.7 Achanak: Blood red credit title background signifies murder

Figure 5.8 Mere Apne: White constume signifies peace

Figure 5.9 Khushboo: Gulzar’s personality reflects in his films through appearance of

the characters

Figure 5.10 Khushboo: Gulzar’s personality reflects in his films

Figure 5.11 Mausam: Walking stick as recurring motif

Figure 5.12 Mausam: Lip biting act expresses lustrous feelings

Figure 5.13 Mausam: Reaction shot of Dr. Amarnath Gill expresses his eagerness to

see Chanda

Figure 5.14 Mausam: An example of facial expression to convey feelings

Figure 5.15 Mausam: Facial expression- to communicate feelings

Figure 5.16 Mausam: Motif in visual composition

Figure 5.17 Aandhi: Motif in visual composition

Figure 5.18 Mausam: Motif in visual composition

Figure 5.19 Mausam: Triangular composition

Figure 5.20 Parichay: An example of Gulzar’s signature shot

Figure 5.21 Mausam: Same location

Figure 5.22 Mausam: Signature shot

Figure 5.23 Mausam: Signature shot

Figure 5.24 Khushboo: Signature shot

Figure 5.25 Mere Apne: Signature shot- similar position of the character

Figure 5.26 Mere Apne: Signature shot- similar position of the character

Figure 5.27: Khushboo: Signature shot

Figure 5.28 Meera: High angle shot

Figure 5.29 Aandhi: High angle shot

Figure 5.30 Lekin: High angle shot

Figure 5.31 Angoor: Signature shot

224

Figure 5.32 Khushboo: Signature shot

Figure 5.33 Aandhi: Similar elemens of mise-en-scène

Figure 5.34 Mausam: Similar elemens of mise-en-scène

Figure 5.35 Maachis: Same frame

Figure 5.36 Hu Tu Tu: Same frame

Figure 5.37 Mere Apne: Similarity in the opening sequence

Figure 5.38 Khushboo: Similarity in the opening sequence

Figure 5.39 Mausam: Same opening and closing frame

Figure 5.40 Mausam: Same opening and closing frame

Figure 5.41 Ijaazat: Same opening and closing frame

Figure 5.42 Ijaazat: Same in opening and closing frame

Figure 5.43 Aandhi: Closing frame

Figure 5.44 Mausam: Closing frame

Figure 5.45 Parichay: Closing frame

Figure 5.46 Namkeen: Closing frame

Figure 5.47 Khushboo: Closing frame

Figure 5.48 Mausam: Motif in composition

Figure 5.49: Meera An example of mirror reflection to project dual personality of

character

Figure 5.50 Mausam: Mirror reflection

Figure 5.51 Namkeen: Door as a cultural motif

Figure 5.52 Lekin: An example of natural image

Figure 5.53 Kitaab: Beautiful image- reflection of train in water

Figure 5.54 Ijaazat: Shadow represents ‘the other woman’

Figure 5.55 Ijaazat: An example of use of symbolism in Gulzar’s films

Figure 5.56 Kitaab: Bird in flight signifies migration and displacement

Figure 5.57 Mere Apne: Tyre frame as a symbol of Anandi Devi’s confinement

Figure 5.58 Kitaab: Babla and his friend want to escape from school

Figure 5.59 Namkeen: Window as a symbol of imprisionment

Figure 5.60 Kitaab: Reference to ‘Devdas’

Figure 5.61: Mausam Open window suggests connection between nature and human

beings

Figure 5.62 Namkeen: An example of three shot

Figure 5.63 Mere Apne: Frontal shot

225

Figure 5.64 Maachis: Frontal shot

Figure 5.65 Achanak: Frame within frame

Figure 5.66 Meera: Big close up reflects priest’s pain for Meera

Figure 5.67 Mausam: Point of view shot structure establishes relationships

Figure 5.68 Mausam: Point of view shot structure

Figure 5.69 Mausam: Point of view shot structure

Figure 5.70 Mausam: Point of view shot

Figure 5.71 Mere Apne: An example of Gulzar’s use of Montage editing

Figure 5.72 Mere Apne: An example of Gulzar’s use of Montage editing

Figure 5.73 Mere Apne: Gulzar’s use of Montage editing

Figure 5.74 Mere Apne: Montage editing

Figure 5.75 Mere Apne: An example of Gulzar’s technique to connect extreme situations

Figure 5.76 Mere Apne: Extreme situations

Figure 5.77 Lekin: Extreme situations

Figure 5.78 Lekin: Extreme situations

Figure 5.79 Mausam: An example of Gulzar’s technical competency

Figure 5.80 Mausam: Gulzar’s technical competency

Figure 5.81 Maachis: Characters wait in Gulzar’s films - wait as a thematic motif

Figure 5.82 Mausam: Open window convey oneness between nature and human

beings

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Appendix-iiFilmography

1. Mere Apne (09-11-1971)

2. Parichay (18-10-1972)

3. Koshish (27-11-1972)

4. Achanak (25-09-1973)

5. Khushboo (08-5-1975)

6. Aandhi (04-01-1975)

7. Mausam (29-12-1975)

8. Kinara (21-3-1977)

9. Kitaab (31-12-1977)

10. Angoor (31-12-1980)

11. Namkeen (10-01-1982)

12. Meera (18-5-1979)

13. Ijaazat (31-8-1987)

14. Lekin (29-8-1990)

15. Maachis (25-10-1996)

16. Hu Tu Hu (31-12-1998)

227

The dates against the name of each film are the release dates of the film according to

the certificate of Central Board of Film Certification, Ministry of Information and

Broadcasting, Government of India, shown at the beginning of each film.

Appendix-iii

Credit and Cast

1. Mere Apne (Dear ones) (maoro Apnao)

Credits

Writer/Director: Guzar

Dialogue: Gulzar

Lyrics: Gulzar

Audiography: S. G. Rao

Lyrics: Gulzar

Choreography: Satyanarayan

Editing: Waman Bhonsle and Guru Dutt

Art Director: Ajit Banerjee

Director of Photography: K.Vaikunth

Music: Salil Chowdhury

Producer: Romu N. Sippy, Raj N. Sippy

Cast

Meena Kumari Anandi Devi

Vinod Khanna Shyam

Shatrughan Sinha Chainu

Sumita Sanyal Lata

Deven Verma Niranjan

Ramesh Deo Arun Gupta

Abhi Bhattacharjee Freedom Fighter

228

Asit Sen Bilaki Prasad

Leela Mishra maidservant

K. Paintal Bansi

Asrani Raghunath

Danny Denzongpa Sanju

Dinesh Thakur Billu

Sudhir Thakkar Sudhir Thakar

Yogesh Chhabra Nasir

A.K. Hangal College Principal

Raj Verma Kamal Deep

Qamar Sarhadi Pardesi Paresh

Mahmood Anokhe Lal

2. Parichay (the Introudction) (pircaya)

Credits

Writer and Director: Gulzar

Story: R.K. Mitra

Screenplay: Gulzar and D.N. Mukherjee

Lyrics: Gulzar


Director of Photography: K. Vaikunth

Audiography: E.M. Suratwala


Music: R. D. Burman

Producer: V. K. Sobti.

Cast

Jeetendra Ravi

Jaya Bhaduri Rama

Pran Rai Saheb – the colonel

Veena Sati Devi- Rai Sahib’s sister

Sanjeev Kumar Nilesh

Vinod Khanna Amit - Ravi’s friend

Keshto Mukherj Teacher

Asrani Narain

Paintal Pandit

229

A.K Hangal Ravi’s uncle

Leela Mishra Ravi’s aunt

Master Raju Shrestha Sanjay

Baby Pinky Munni, Meeta

3. Koshish (the effort) (kaoiSaSa)

Credits

Writer/Director: Gulzar

Screenplay: Gulzar

Associate Screenplay Writer: Mohini N.Sippy


Lyrics: Gulzar

Music: Madan Mohan


Sound: E.M. Suratwala


Producers: Romu N. Sippy and Raj N. Sippy.

Cast

Sanjeev Kumar Haricharan Mathur

Jaya Bhaduri Aarti

Asrani Kanu

Om Shivpurai Uncle Narayan- the blind man

Dina Pathak Durga- Aarti’s aunt

Kamaldeep An army officer

Yesh Sharma Cycle stand owner

Seema Deo Teacher: Deaf and Dumb Institute

Ramesh Deo Teacher: Deaf and Dumb Institute

4. Achanak (All of a Sudden) (Acaanak)

Credits


Story: K.A. Abbas

Associate Screenplay Writers:Meraj and Mrs. Mohini N. Sippy

Costume Designer: Meena R. Sippy


Audiography: Essa M. Suraiwalla

230


Music: Vasant Desai


Producers: Romu N. Sippy and Raj N. Sippy.

Cast

Vinod Khanna Major Ranjeet Khanna

Om Shivpuri Dr Choudhry

Lily Chakraborty Pushpa

Farida Jalal Radha – the Nurse

Iftekhar Colonel Bakshi

Yash Sharma Policeman

Kamal Deep Mr. Gupta

Asrani Dr Kailash

Keshto Mukherjee A train passenger

5. Khushboo (the Fragrance) (KuSabaU)

Credits


Story: Sarat Chandra Chatterjee

Screenplay: Gulzar, D.N. Mukherjee and Bhooshan Banmali

Editing: Waman Bhosle and Guru Dutt




Dialogue: Gulzar

Lyrics: Gulzar

Music: R.D. Burman

Producer: Prasan Kapoor

Cast

Jeetendra Dr Brindaban

Hema Malini Kusum

Durga Khote Badi Maa

Farida Jalal Mannu

Master Raju Charan

Asrani Kunj

231

Om Shivpuri Dr. Brindaban’s father

Sudhir Thakkar Sudhir - Thukrayan’s son

Leela Mishra Kusum’s mother

Sharmila Tagore Lukhy

6. Aandhi (the Storm) (AaMQaI)

Credits


Story: Kamleshwar

Director of Photography: K.Vaikunth


Audiography: Navin Zaveri


Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Associate Screenplay Writer: Bhushan Banmali

Music: R. D. Burman

Producer: J.Om Prakash

Cast

Suchitra Sen Aarti Devi

Sanjeev Kumar J.K

Om Shivpuri Chandersen

A.K. Hangal Binda Kaka

Kamal Deep Party worker

S Dubey

Om Prakash Lallu- the party worker

7. Mausam (season) (MmaaOsama)

Credits


Screenplay: Gulzar and Bhushan Banmali

Lyrics: Gulzar

Dialogue: Gulzar

Story: Kamleshwar

Cinematography: K. Vaikunth

232

Editng: Waman Bhonsle and Guru Dutt

Background Music: Salil Chowdhury

Music: Madan Mohan

Producer: P. Mallikharjunarao.

Cast

Sharmila Tagore Chanda (mother)

Sharmila Tagore Kajli (daughter)

Sanjeev Kumar Dr. Amarnath Gill

Om Shivpuri Vaid Harihar Thapa

Agha Maharaj – the cook

Satyen Kappu

Dina Pathak Gangu Rani- the head of the brothel

T.P. Jain vaid

Kamaldeep Chowdhury- the customer

8. Kinaara (The river bank) (iknaara)

Credits


Story: Bhushan Banmali

Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Audiography: E. M. Suratwala

Art Director: Ajit Bannerjee

Editng: Waman Bhonsle and Guru Dutt

Music: R.D. Burman

Producer: Pranlal Mehta and Gulzar

Cast

Jeetendra Inderjeet

Hema Malini Aarti Sanyal

Dharmindra Chandan Arya

Om Shivpuri Arti Sanyal’s grandfather

Keshto Mukherjee Anna Lal - The Tourist Guide

Kamaldeep Programme Organiser

Leela Mishra Domestic Helper

233

Shree Ram Lagoo Architect

9. Kitaab (The book) (iktaba)

Credits


Story: Samaresh Basu


Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Music: R.D Burman

Producers: Pranlal Mehta and Gulzar

Cast

Uttam Kumar Nikhil Gupta

Vidya Sinha Komal Gupta

Shri Ram Lagu Birju

Raju Shrestha Babla

Keshto Mukherjee School Teacher

Asit Sen Train Passenger

T.P. Jain English Teacher

Kamaldeep Pappu’s father

Ram Mohan Ustad – the train driver

Dina Pathak Babla’s mother

Om Shivpuri School Principal

10. Angoor (The Grapes) (AMgaUr)

Credits


Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Cinematography: M. Sampat

Audiography: E. M. Suratwala


Assistant Screenplay Writer: Debu Sen


234

Music: R.D. Burman

Producer: Jai Singh

Cast

Sanjeev Kumar Ashok

Mausami Chatterjee Sudha

Deven Verma Bahadur

Deepti Naval Tannu

T.P. Jain Ganeshi Lal – the goldsmith

Ram Mohan Ji taxi driver

Kamaldeep owner of the grapes garden

Bhushan Banmali Organiser of the programme

11. Namkeen (Salty) (namakIna)

Credits

Wrtier/Director: Gulzar

Story: Samresh Basu

Script Assistant: Bhushan Banmali

Script: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar


Mursic: R. D. Burman

Producer: Jayant Malkan

Cast

Sanjeev Kumar Geru Lal

Sharmila Tagore Nimki

Wahida Rahman Jugni

Ram Mohan Kishan Lal

Shabana Azami Mitthu

T.P. Jain Lala Dhaniram – the owner of the dhaba

Kamaldeep Truck driver

12. Meera (maIra)

Credits


Screenplay: Gulzar

235

Dialogue: Gulzar

Music: Pandit Ravi Shankar


Producer: Premji

Cinematography: K. Vaikunth

Art Director: Desh Mukherjee


Cast

Hema Malini Meera

Vinod Khanna Raja Bhojraj

Shammi Kapoor Raja Vikramjit(second film)

Dr. Sriram Lagu Raja Virendev

Vidya Sinha Krishna

Omshivpuri Head priest

T.P. Jain Maharaj – the Priest

Dina Pathak Raja Virendev’s wife

Dinesh Thakur Jaimal

Amjid Khan Akbar

Kamaldeep Priest

A.K. Hangal the cobbler

13. Ijaazat (Permission) ([jaajat)

Credits


Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Story: Subodh Ghosh

Art Director: R.K. Handa

Audiography: Narendra Singh

Music: R.D.Burman

Editing: Subhash Sehgal

Cinematography: Ashok Mehta

Producer: R.K. Gupta

Cast

236

Naseeruddin Shah Mohinder

Rekha Sudha

Anuradha Patel Maya

Sulbha Deshpande Parvati

Dina Pathak

Shammi Kapoor

Ram Mohan Station Master

Shashi Kapoor Sudha’s second husband

14. Lekin… (But…) (laoikna)

Credits


Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Story: Rabindranath Tagore

Audiography: Narendra Singh

Music: Hridaynath Mangeshkar

Editing: Subhash Sehgal

Cinematography: Manmohan Singh

Producer: Hridaynath and Bal Phule

Cast

Vinod Khanna Samir

Dimple Kapadia Rewa

Amjad Khan Shafi

Alok Nath Ustad Meraj Ali

Hema Malini Tara

Moon Moon Sen Pammi

Vijayendra Ghatge Raja Param Singh

Ram Mohan

15.Maachis (The match box) (maaicasa)

Credits


237

Screenplay: Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Story: Gulzar

Art Director: Nitin Desai

Audiography: Narinder Singh

Music: Vishal

Editing: M. Ravi and Sadanand Shetty


Costume Designer: Salim Arif

Associate Director: Salim Arif

Producer: R.V. Pandit

Cast

Tabu Veeran

Om Puri Sanatan

Chandrachur Singh Kripaal

Kanwaljit Vohra

Kulbhushan Kharbanda Commander

Raj Zutshi Jaswant Singh Randhawa/Jassi

Suneel Sinha Vazira

Jasjiet Shergill Jaimal/Jimmy

Ravi Gosain Kuldip

Navninder Behl Tabu’s mother

Amrik Gill Nanoo

16. Hu Tu Tu (The leg pullling game) (hu tu tu)

Credits


Screenplay: Gulzar

Associate Screenplay Writer: Meghna Gulzar

Dialogue: Gulzar

Lyrics: Gulzar

Art Director: Nitin Desai

Audiography: Narinder Singh

Music: Vishal

238

Editing: Ravi, Sada, Ram Koti


Drawing: R.K. Laxman

Producer: Dhirajlal Shah

Associate Director: Salim Arif

Cast

Nana Patekar Bhau

Sunil Shetty Aditya

Tabu Panna Barve

Raj Z

Suhashini Mulay Malti Bai

Shivaji Satam Amol Barve

Dr. Mohan Agashe Sawantrao Gadre

Kulbhushan Kharbanda P.N. Patel

13_chapter 6 .pdf

Documents

Transcript of 13_chapter 6 .pdf