It was the year before Mrs India Gandhi was assassinated. The nation
was not in the best of moods. There were raised voices and frayed
tempers prevalent across the nation as corruption and intolerance
reached an all-time high. Given the milieu
Jaane Bhi Do Yaaron(JBDY)
chose to laugh away the bruise…There is a sharp zaniness about JBDY
which serves as a scathing antidote to the growing sense of collective
dismay that the nation faced as extremism and inflation hit the nation
hurling it towards damnation.
Many regard JBDY as the funniest
Hindi film ever made. I am not too sure. I sense of deep somberness
behind the giggles and guffaws. The plot about two out-of-work
photographers named, hold your legal notices, Vinod Chopra(Naseruddin
Shah) and Sudhir Mishra(Ravi Baswani) has episodes of acute hilarity and
interludes of absolute anarchy. You know from the faustian flavour, the
Shakespearean fervour and frenetic pacing, that there was an abundance
of improvisation on the sets. You also know as you watch the film’s
newly-restored edition, that the film was made on a shoe-string budget
which afforded meager finesse, and practically no re-takes. Nope.
Nothing can restore the frugality, austerity and begging-bowl crisis
that the film had to face.
The actors had to literally survive by
their instincts which could only take the narration this far and no
further. Frequently the gags run out of steam and you can see the actors
groping in a creative darkness to emerge with flashes of genuine
inspiration. There are too many references and cross-references to
politicians and scams. If you weren’t born back then when the film was
first released, you are doomed.
The nexus between politics
and journalism is brought out through a character named Shobha
Sen(Bhakti Bharve) a hard-nosed newspaper editor who uses our two heroes
to get an expose on a builder named Tarneja(Pankaj Kapoor) and his
murky collaboration with a municipal officer named d’Mello(Satish Shah).
D’Mello soon ends up as a corpse in a traveling coffin that leaves us
chortling heartily or coughing uneasily, depending on how far we are
willing to accept the opulent oeuvre of the outlandish and the
outrageous that the film throws forward.
In one sequence we see
the dead-drunk builder Ahuja(Om Puri) driving into the coffin carrying
the dead d’Mello thinking it’s another vehicle. The sequence is funny
only if you are hellbent on enjoying the goofiness of a grand
high-school reunion fete bringing together grownup professionals who
decide to “have fun” for one evening even if some of their actions make
them look downright silly.
Check out the sequence where a time
bomb is planted by Tarneja and his moronic assistant(Satish Kaushik)
under the chairs of Bhakti Bharve, Naseer and Baswani…Or the episode
where Naseer and Kaushik speak on the phone to each other in the same
room. The humour is so slapstick you laugh in sheer embarrassment.
In
JDBY everyone is out to have fun. It’s a very boys kind of
nudge-nudge-wink-wink fun where the brunt of the joke is the system that
fosters and encourages corruption on every level. The characters
discuss malpractices without shame or purdah. The cast is mainly
masculine. The two women in the cast Bhakti Bharve and Neena Gupta
behave like the boys.
Bharve’s hard-nosed journalist’s act is
astonishingly unladylike for those times. She uses her “charms”(which
are entirely a subjective matter since she doesn’t appear overly
seductive in any sense) to outwit her male adversaries and to make Vinod
Chopra(Naseer) putty in her hands. In the end when Sudhir and Vinod are
framed for scams which they had set out to expose Shobha Sen walks away
from the duo leaving them to face the music. There is a unmentionable
‘b’ word for such exploitative women.
Among its many pioneering
achievements—and that includes the legitimizing of goofy comedy
as political satire—is the use of the inspirational song ‘Hum honge
kaamyaab’, a
desi rendering of the song ‘We shall Overcome’, a
protest song conceived for the African-American Civil Rights Movement.
It went on to acquire a renewed popularity through its ironic usage in
Kundan Shah’s film.
To this day
Jaane Bhi Do Yaaron remains
a crazy film, filled with madcap situations straight out of comedies
from the Silent Era with a corpse rolling down Mumbai’s highways and
time-bomb’s planted to kill the “good” blowing up in evil faces. The
message is loud and clear: farce can fight a moral-political fascism.
Characters
talk incessantly either about corruption or about being corrupt. We can
see the downslide in the moral values in Indian politics and
bureaucracy was already happening in a major way. Yes,Amitabh Bachchan
had much reason to be angry. The Big B’s anti-establishment film
Andha Kanoon rubbed shoulders with Govind Nihalani’s
Ardh Satya during the same year that Kundan Shah’s comedy of ‘eras’ made an impact.
Significantly this was also the year when the pre-Bachchan superstar Rajesh Khanna had his last spate of hits—
Avtaar, Souten and
Agar Tum Na Hote. Romance in cinema was dying. The angry brand of heroism was being favoured.
Jaane Bhi Do Yaaron is
also an angry film. But the wrath of the common man is here seen in a
mirthful mood. Laugher is taken to be the best medicine to fight
injustice.
The film’s rightly celebrated climactic confusion on
stage where the film’s characters mingle with the characters from the
Mahabharat to create a poetic panic and anarchy served well as a
metaphor for the tangle that the country had created in its
socio-political system months before Mrs Gandhi was killed.
Trivia:
- Jaane Bhi Do Yaaron was
made at a meager budget. Naseeruddin Shah was the highest paid actor in
the team. The budget was so low that the actors could not be served tea
on location.
- Bhakti Bharve who played the ruthless scheming
magazine editor is the wife of the late actor Shafi Inaamdar. Her
character was partly based on Shobha De.
- Satish Shah had to play the dead character D’Mello in a coffin. Many regard his role to be the toughest role of the film.
- The
climax where a staging of the Mahabharat is disrupted by the characters
in the film has been used in any number of subsequent films, the most
recent being Rumi Jaffrey’s Gali Gali Mein Chor Hai.
- Naseeruddin
Shah was named after filmmakers Vinod Chopra, and Ravi Baswani after
filmmaker Sudhir Mishra. Both Chopra and Mishra were married at certain
points in time to Renu Saluja who edited this film. Vinod Chopra
appeared as one of the characters in the stage version of the Mahabharat in Jaane Bhi Do Yaaron.
- At
the start of the film Kundan Shah is mentioned as one of the guests who
are expected to attend the inauguration of Naseer and Baswani’s
photo-studio.
- The park where Naseer and Ravi Baswani find
d’Mello(Satish Shah) was named after one of Kundan Shah’s favourite
filmmakers Michelangelo Antonioni.
