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
214
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
216
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.
217
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Meghna, Gulzar. “My Father’s.” Femina 1 July 1999:361-364.
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Vidyarthi, Madhurima. “His Severest Critic.” AA 4 May 1997.
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
http://www.imdb.com
http://www.indianauteur.com
http://www.millersville.edu
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
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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
Editing: Waman Bhonsle and Guru Dutt
Director of Photography: K. Vaikunth
Audiography: E.M. Suratwala
Art Director: Ajit Banerjee
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
Director of Photography: K. Vaikunth
Lyrics: Gulzar
Music: Madan Mohan
Art Director: Ajit Banerjee
Sound: E.M. Suratwala
Editing: Waman Bhonsle and Guru Dutt
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
Writer/Director: Gulzar
Story: K.A. Abbas
Associate Screenplay Writers:Meraj and Mrs. Mohini N. Sippy
Costume Designer: Meena R. Sippy
Director of Photography: K. Vaikunth
Audiography: Essa M. Suraiwalla
230
Art Director: Ajit Banerjee
Music: Vasant Desai
Editing: Waman Bhonsle and Guru Dutt
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
Writer/Director: Gulzar
Story: Sarat Chandra Chatterjee
Screenplay: Gulzar, D.N. Mukherjee and Bhooshan Banmali
Editing: Waman Bhosle and Guru Dutt
Director of Photography: K. Vaikunth
Audiography: E.M. Suratwala
Art Director: Ajit Banerjee
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
Writer/Director: Gulzar
Story: Kamleshwar
Director of Photography: K.Vaikunth
Art Director: Ajit Banerjee
Audiography: Navin Zaveri
Editing: Waman Bhonsle and Guru Dutt
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
Writer/Director: Gulzar
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
Writer/Director: Gulzar
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
Writer/Director: Gulzar
Story: Samaresh Basu
Editing: Waman Bhonsle and Guru Dutt
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
Writer/Director: Gulzar
Screenplay: Gulzar
Dialogue: Gulzar
Lyrics: Gulzar
Cinematography: M. Sampat
Audiography: E. M. Suratwala
Art Director: Ajit Banerjee
Assistant Screenplay Writer: Debu Sen
Editing: Waman Bhonsle and Guru Dutt
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
Editing: Waman Bhonsle and Guru Dutt
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
Writer/Director: Gulzar
Screenplay: Gulzar
235
Dialogue: Gulzar
Music: Pandit Ravi Shankar
Editing: Waman Bhonsle and Guru Dutt
Producer: Premji
Cinematography: K. Vaikunth
Art Director: Desh Mukherjee
Audiography: E.M. Suratwala
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
Writer/Director: Gulzar
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
Writer/Director: Gulzar
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
Writer/Director: Gulzar
237
Screenplay: Gulzar
Dialogue: Gulzar
Lyrics: Gulzar
Story: Gulzar
Art Director: Nitin Desai
Audiography: Narinder Singh
Music: Vishal
Editing: M. Ravi and Sadanand Shetty
Cinematography: Manmohan Singh
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
Writer/Director: Gulzar
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
Cinematography: Manmohan Singh
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