(Did a version of this for my DNA column)
With the birth centenary of one of Hindi cinema’s most respected actors just around the corner – May 1 is the date – I came across an amusing little anecdote about Balraj Sahni. In his biography Balraj: My Brother, Bhisham Sahni recalls a Bombay producer saying the young Balraj resembled the Hollywood legend Gary Cooper. “Balraj took this as a compliment, but it was meant to convey that he had grown too lean and thin for the role of a hero in Hindi films; the Indian audiences preferred chubby and round-faced heroes.”
There were other ways in which Balraj would confound expectations of the Indian movie star in the 1940s and 50s. Having trained as a BBC announcer in England, and also being familiar with a relatively “realistic” stage tradition – compared to the Parsi theatre that gave Hindi cinema many of its florid conventions – he had a knack for understatement that recalled the best work of such American star-actors as Spencer Tracy ... or Gary Cooper for that matter, of whom Orson Welles once said: “You’d see him working on the set and you’d think my god, they’re going to have to retake that one! He almost didn’t seem to be there. And then you’d see the rushes, and he’d fill the screen.”
Those who observed Sahni may have felt similarly. Watching him as the idealistic Dr Nirmal in the 1960 film Anuradha, I was most struck by his performance in the scenes where the doctor, doing his rounds on his bicycle, casually chats with patients. Nothing very important or purposeful is happening here in terms of the narrative, but so much lies in the way Sahni listens and responds; you feel that the character has a life and personality that extends beyond the restricted world of the film.
We sometimes label acting as subtle or loud, quiet or exaggerated, but there are variances even within those categories. Dr Nirmal represents a different sort of understated performance from the one Sahni gave in Garm Hava, where you can see that Salim Mirza (losing family and status but holding on to personal dignity as the hot winds of Partition blow around him) is constantly suppressing his feelings; that a reservoir of emotion lies behind the stiff posture, the pursed lips and even the way he grips his cane. For contrast, watch him as the large-hearted Pathan in Kabuliwala: the role is marked by flourishes (for this is a flamboyant man, especially when he is trying to impress children with his wares) and by an accent that draws attention to itself. But though the film sometimes comes close to caricature in its depiction of boisterous Afghanis rolling their eyes and singing jolly songs together
in an alien land, Sahni's performance has an internal consistency that transcends the role’s superficial trappings – and everything important about the character comes together brilliantly in his brief look of terror at the end when he realises that his beloved “Mini bacchha”, now grown up, may not have recognised him.
None of this came easily to the actor, if Bhisham Sahni’s book is to be believed. It reveals things about Balraj’s many struggles with film acting and his realisation that even the so-called “natural” performer needed to switch gears when the lights came on; you didn’t simply go in front of the camera and continue to be yourself, the process was more complicated than that. There are descriptions of his fear of the camera (“it was like going before the gallows”), of having to shake off stiffness, even wetting his pants in nervousness between shots – all indicative of how much it mattered to him that he did the best possible job. But there is also a story about how he became less self-conscious after a conversation with a real-life rickshaw-puller whom he met while shooting Do Bigha Zamin; the encounter helped him to stop obsessing about acting methods and to relax into his role, by seeing it as an opportunity to pay tribute to real people undergoing real hardships.
Sahni’s career was not exactly sprinkled with classic films, and most fans will agree that the three movie roles he will be best remembered for are Shambu the farmer who moves to the city to earn money in Do Bigha Zamin; the kabuliwala who travels from Afghanistan to Hindustan for similar reasons and forms a bond with a little girl; and the beleaguered Salim Mirza. These are all men in debt, separated from the people they love, adjusting to new things, watching the way of life they knew passing them by – in other words, tragic heroes. Yet they are also vibrant and multidimensional. Do Bigha Zamin is often thought of a relentlessly bleak film, but Shambu is a cheerful, upbeat sort at heart. Even after he is reduced to a wreck in front of his greedy landlord, he is optimistic enough to think that it doesn’t matter that he knows no one in the big city; he can make friends after getting there. (“Jaan pehchaan wahaan jaane par hee hogi, bapu.”) In a film with a somewhat overblown reputation for De Sica-like realism, Sahni grounds the edifice by playing the character as a well-rounded individual rather than just a victim or a symbol.
Here and elsewhere, it is also worth noting what a fine, attentive lover Sahni could be on screen. His latter-day role as the elderly Lala Kedarnath ardently singing “Ae Meri Zohra Jabeen” to his wife in Waqt is well known (perhaps too well known; it sometimes invites annoyingly patronising attitudes about old people), but he was equally moving in less demonstrative romantic parts. An undervalued aspect of Do Bigha Zamin is the depiction in its early scenes of the love between Shambu and his wife, the playfulness of their banter, which makes onlookers say “They’ve been married for 10 years, why does he still keep whispering to her?” The humour and affection stays intact even in times of stress (“Tujhe khareedne ki himmat hai kissi mein?” he jokes when his wife complains that he should sell her too, along with their other valuables), and much of the film's power comes from watching the gentle smile erased as circumstances become much worse.
It may be a mistake though to judge Sahni only by his work in “respectable” cinema. “He seemed to lend his gravitas to many films that did not seem worthy settings for his talent,” sniffed Leela Naidu in her memoir, but I’m not sure this is a bad thing. Recently I saw him in a tiny, inexplicable part as Rajendra Kumar’s father in Aman, a film that also has a famous special appearance by the then 94-year-old Bertrand Russell. In his one big scene, Sahni – who is chummily credited only as “Gautamdas’s dad” in the IMDB credits – tries to persuade his doctor son to stay in India instead of going to Japan to help nuclear-radiation victims. He then masterfully keeps a straight face - and continues speaking his own pain-soaked lines with conviction - when Kumar likens himself to a sweet-smelling flower whose sugandh isn’t meant only for the maali who tended it.
The scene is a reminder that the measure of actors can lie not just in their obviously great roles, but in their ability to make the best of preposterous situations. A continuing joy for any true Balraj Sahni fan is discovering his performances of integrity in dozens of “unworthy” roles, a reminder that acting in a commercial medium isn’t just an ivory-tower pursuit, and that the true artiste can achieve big things across a range of canvases.
With the birth centenary of one of Hindi cinema’s most respected actors just around the corner – May 1 is the date – I came across an amusing little anecdote about Balraj Sahni. In his biography Balraj: My Brother, Bhisham Sahni recalls a Bombay producer saying the young Balraj resembled the Hollywood legend Gary Cooper. “Balraj took this as a compliment, but it was meant to convey that he had grown too lean and thin for the role of a hero in Hindi films; the Indian audiences preferred chubby and round-faced heroes.”
There were other ways in which Balraj would confound expectations of the Indian movie star in the 1940s and 50s. Having trained as a BBC announcer in England, and also being familiar with a relatively “realistic” stage tradition – compared to the Parsi theatre that gave Hindi cinema many of its florid conventions – he had a knack for understatement that recalled the best work of such American star-actors as Spencer Tracy ... or Gary Cooper for that matter, of whom Orson Welles once said: “You’d see him working on the set and you’d think my god, they’re going to have to retake that one! He almost didn’t seem to be there. And then you’d see the rushes, and he’d fill the screen.”Those who observed Sahni may have felt similarly. Watching him as the idealistic Dr Nirmal in the 1960 film Anuradha, I was most struck by his performance in the scenes where the doctor, doing his rounds on his bicycle, casually chats with patients. Nothing very important or purposeful is happening here in terms of the narrative, but so much lies in the way Sahni listens and responds; you feel that the character has a life and personality that extends beyond the restricted world of the film.
We sometimes label acting as subtle or loud, quiet or exaggerated, but there are variances even within those categories. Dr Nirmal represents a different sort of understated performance from the one Sahni gave in Garm Hava, where you can see that Salim Mirza (losing family and status but holding on to personal dignity as the hot winds of Partition blow around him) is constantly suppressing his feelings; that a reservoir of emotion lies behind the stiff posture, the pursed lips and even the way he grips his cane. For contrast, watch him as the large-hearted Pathan in Kabuliwala: the role is marked by flourishes (for this is a flamboyant man, especially when he is trying to impress children with his wares) and by an accent that draws attention to itself. But though the film sometimes comes close to caricature in its depiction of boisterous Afghanis rolling their eyes and singing jolly songs together
in an alien land, Sahni's performance has an internal consistency that transcends the role’s superficial trappings – and everything important about the character comes together brilliantly in his brief look of terror at the end when he realises that his beloved “Mini bacchha”, now grown up, may not have recognised him.None of this came easily to the actor, if Bhisham Sahni’s book is to be believed. It reveals things about Balraj’s many struggles with film acting and his realisation that even the so-called “natural” performer needed to switch gears when the lights came on; you didn’t simply go in front of the camera and continue to be yourself, the process was more complicated than that. There are descriptions of his fear of the camera (“it was like going before the gallows”), of having to shake off stiffness, even wetting his pants in nervousness between shots – all indicative of how much it mattered to him that he did the best possible job. But there is also a story about how he became less self-conscious after a conversation with a real-life rickshaw-puller whom he met while shooting Do Bigha Zamin; the encounter helped him to stop obsessing about acting methods and to relax into his role, by seeing it as an opportunity to pay tribute to real people undergoing real hardships.
Sahni’s career was not exactly sprinkled with classic films, and most fans will agree that the three movie roles he will be best remembered for are Shambu the farmer who moves to the city to earn money in Do Bigha Zamin; the kabuliwala who travels from Afghanistan to Hindustan for similar reasons and forms a bond with a little girl; and the beleaguered Salim Mirza. These are all men in debt, separated from the people they love, adjusting to new things, watching the way of life they knew passing them by – in other words, tragic heroes. Yet they are also vibrant and multidimensional. Do Bigha Zamin is often thought of a relentlessly bleak film, but Shambu is a cheerful, upbeat sort at heart. Even after he is reduced to a wreck in front of his greedy landlord, he is optimistic enough to think that it doesn’t matter that he knows no one in the big city; he can make friends after getting there. (“Jaan pehchaan wahaan jaane par hee hogi, bapu.”) In a film with a somewhat overblown reputation for De Sica-like realism, Sahni grounds the edifice by playing the character as a well-rounded individual rather than just a victim or a symbol.
Here and elsewhere, it is also worth noting what a fine, attentive lover Sahni could be on screen. His latter-day role as the elderly Lala Kedarnath ardently singing “Ae Meri Zohra Jabeen” to his wife in Waqt is well known (perhaps too well known; it sometimes invites annoyingly patronising attitudes about old people), but he was equally moving in less demonstrative romantic parts. An undervalued aspect of Do Bigha Zamin is the depiction in its early scenes of the love between Shambu and his wife, the playfulness of their banter, which makes onlookers say “They’ve been married for 10 years, why does he still keep whispering to her?” The humour and affection stays intact even in times of stress (“Tujhe khareedne ki himmat hai kissi mein?” he jokes when his wife complains that he should sell her too, along with their other valuables), and much of the film's power comes from watching the gentle smile erased as circumstances become much worse.It may be a mistake though to judge Sahni only by his work in “respectable” cinema. “He seemed to lend his gravitas to many films that did not seem worthy settings for his talent,” sniffed Leela Naidu in her memoir, but I’m not sure this is a bad thing. Recently I saw him in a tiny, inexplicable part as Rajendra Kumar’s father in Aman, a film that also has a famous special appearance by the then 94-year-old Bertrand Russell. In his one big scene, Sahni – who is chummily credited only as “Gautamdas’s dad” in the IMDB credits – tries to persuade his doctor son to stay in India instead of going to Japan to help nuclear-radiation victims. He then masterfully keeps a straight face - and continues speaking his own pain-soaked lines with conviction - when Kumar likens himself to a sweet-smelling flower whose sugandh isn’t meant only for the maali who tended it.
The scene is a reminder that the measure of actors can lie not just in their obviously great roles, but in their ability to make the best of preposterous situations. A continuing joy for any true Balraj Sahni fan is discovering his performances of integrity in dozens of “unworthy” roles, a reminder that acting in a commercial medium isn’t just an ivory-tower pursuit, and that the true artiste can achieve big things across a range of canvases.
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