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A 'serious' review of Sangam (1. Golden Jubilee Year. Raj Kapoor overturns Bollywood triangle to convey profound social messages Reviewing a film is not a joke unless you are Madhu, Anu or Memsaab Greta.
Then, why am I venturing into a field in which I have no expertise, and why Sangam? Review of a Bollywood blockbuster like Sangam suffers from both the ends. At one end are the highbrow intellectuals, who have breakfast with Fellini, lunch with Kurosawa, dinner with Vittorio de Sica and tea, off and on, with Satyajit Ray. At best they would grudgingly acknowledge Bimal Roy and Do Bigha Zameen.
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They would trash Sangam as the usual worthless, escapist fare with songs and dances and a lot of melodrama. At the other end are the rest, people like you and me, who go to see what it offers, and come back ga- ga over its grand star cast, high drama, tense love triangle, wonderful foreign locales and great music. Both the set of reviewers miss some very profound social messages strewn in the film, which would be obvious if you watch it with a little more than casual interest.
What is my authority to write a ‘serious’ review? Long years ago I made a tryst with the songs and films of yore. At the stroke of the Holi hour, when the world goes out to throw coloured water at each other, I reflect on some serious issues. A moment comes, which comes but rarely in history, when the soul of a long- misunderstood Bollywood film stirs, and when we need to look at it in a different way and redeem it, if not wholly or in full measure, at least very substantially (with apologies to Nehru’s PA, MO Mathai, who wrote the stirring ‘A tryst with destiny’ for him, as claimed by him in his reminiscences. See Page 1. 1 – Nehru had written ‘A ‘date’ with destiny’). I have been writing serious articles on the previous Holis; but, surprisingly, the readers found them funny, some going to the extent of complimenting me on my sense of humour.
If you are drenched from head to toe in colour, it is likely your vision would be coloured. Therefore, to remove any doubt, I am announcing up- front that this is a serious review. The first obvious thing about Sangam is that it is a great love- triangle in the tradition of Andaaz (1. In fact Raj Kapoor wanted to offer Rajendra Kumar’s role to Dilip Kumar, but the latter thought better of it as he knew what Raj Kapoor would have done to his role.) Therefore, we may start with some introduction to the basics about triangles.
Triangles: Euclidean Geometry and Bollywood Geometry. We learnt in the school that you needed three sides to solve a triangle; with only two sides the triangle becomes indeterminate. Bollywood marks a major advance in the evolution of non- Euclidean geometry. In Bollywood geometry, three sides make a triangle unsustainable; so the whole objective of a film is to solve the triangle by dispensing with the superfluous side. Bollywood triangles can be divided into two broad categories: 1. B- Type triangle: Two boys (B1, B2) and a girl (G1)2.
G- Type triangle: Two girls (G1, G2) and a boy (B1)(For simplification, we may treat G- type as the mirror image of B- type, though there are nuanced differences on account of gender asymmetry. A detailed explanation is beyond the scope of this paper.)Bollywood solves the triangle, i. B2 (or G2, as the case may be)so that B1- G1 live happily for ever, in one of the following three ways: 1. Elimination: Physical liquidation of B2 (or G2). This can happen in three ways: Voluntary (Chaudahvi Ka Chand, 1. Involuntary (Andaaz, 1.
Accidental (Sagar, 1. Hariyali Aur Rasta, 1. Factorisation (or Voluntary withdrawal): B2 remains a factor, living with the sad memory of his love, which he has sacrificed for friendship. He acts as the Best Man in the end (Arzoo, 1. In later refinements, he assumes the role of the elder brother (Anil Kapoor in Taal, Jackie Shroff in Rangeela), giving G1 away to B1 in a gesture reminiscent of ritualistic kanyadaan.
In the mirror image G- type triangle, G2 makes a similar offering of G1 to B1 (Jawab, 1. Dard, 1. 94. 7; Anokhi Ada, 1.
Quadrilateralisation (or Quad- isation in short): There is a fourth side in the movie. In the end the triangle is converted into a quadrilateral (B1- G1, B2- G2). There are two types of quad- isation: Perfect Quad- isation (Naya Daur, 1.
Aah, 1. 95. 3)Imperfect Quad- isation (Anmol Ghadi, 1. Deedar, 1. 95. 1)(The above classification would be self- evident to the readers familiar with these movies. Please see the notes at the end.)Which type is Sangam triangle? Now we can explore where does Sangam fit in the above triangle space. Here I make my most fundamental observation that Sangam does not belong to any standard type of triangle! Let me explain why.
Rajendra Kumar loves Vyjayanthimala, she loves him. They are well brought up and have compatible family background and value systems. There is also Raj Kapoor, a waster and good- for- nothing fellow. He sings and dances, and is a great friend of Rajendra Kumar. Watch Unhappy Birthday HD 1080P.
He imposes himself upon Vyjayanthimala with bawdy songs like Bol Radha bol sangam hoga ki nahi, who makes no bones that she resents his ways. Thus, it is important to note that here Rajendra Kumar is B1, and Raj Kapoor is the other guy B2. Yet, how is the triangle resolved? B2 gets G1 (!!!) and B1 meets a macabre end. How could a great director like Raj Kapoor make such a fundamental mathematical error?
This leads us to the first profound social message of the film. Social message 1: Importance of mathematics in school education.
We have seen many countries including India, Pakistan and the US going through periods of agonising debate about the ideal school curriculum (higher education does not become a matter of such wide- spread public concern). The disaster in Sangam occurred due to a simple error in mathematical calculation. Watch Burning Blue Online Full Movie on this page. Vyjayanthimala has been thwarted repeatedly in her attempts to tell the state of her heart to Rajendra Kumar: when she is on the point of telling him on the phone, her father potters down the staircase, forcing her to change the conversation; at the dancing party whenever she tries to have a word with him, she is pulled away by Raj Kapoor; when she goes for picnic at his invitation, she finds Raj Kapoor there who, mid- stream, pulls her away in his boat. Out of exasperation, she, with her saheli, goes up on the roof, with a love letter crumpled in her hand. She waits for Rajendra Kumar to pass by when she would throw the love letter to fall in his car. As it happens, the car whizzes past, the letter gets entangled in the branches of a tree, which the girls try to retrieve with a hook. Raj Kapoor, who was passing by on his cycle, just behind Rajendra Kumar’s car, sees the girls so fiddling and retrieves the letter.
If you have been taught school mathematics properly, you would know it is a simple question of height and distance – standing at a height of ‘h’, at what angle and velocity should you throw a projectile to hit an object moving at a constant speed of ‘u’ at a distance of ‘s’ from the base of the building? Raj Kapoor was a great visionary far ahead of his times. He uses the tragedy of Sangam to make a fundamental point that mathematics has to be given a key position in school curriculum. Disaster does not strike alone. Raj Kapoor opens the letter and exclaims Haaye, ye to Hindi mein hai, implying that had it been in English he would have had no difficulty in understanding it. This brings us to the second great social message of Raj Kapoor. Social message 2: Three language formula; importance of mother tongue vis- a- vis English as the medium of school education.
Visionary that Raj Kapoor was, he could foresee that language would become one of the most passionate and emotive issues in the country. You express your deepest emotions in your mother tongue.
Therefore, Vyjayanthimala writes the love- letter in Hindi. Raj Kapoor’s mother tongue is also obviously Hindi.