Teesri Kasam
| Teesri Kasam | |
|---|---|
 | |
| Directed by | Basu Bhattacharya |
| Produced by | Shailendra |
| Screenplay by |
Nabendu Ghosh Phanishwar Nath Renu (Dialogue) |
| Based on |
Teesri Kasam Urf Maare Gaye Gulfam by Phanishwar Nath Renu |
| Starring |
Raj Kapoor Waheeda Rehman Iftekhar Asit Sen Dulari Keshto Mukherjee C.S. Dubey |
| Music by |
Shankar-Jaikishen Shailendra (Lyrics) Hasrat Jaipuri (Lyrics) |
| Cinematography | Subrata Mitra |
Release date | 1966 |
Running time | 159 min |
| Country | India |
| Language | Hindi |
Teesri Kasam (The Third Vow) is a 1966 Hindi language drama film directed by Basu Bhattacharya. It is based on the short story Mare Gaye Gulfam, by the Hindi novelist Phanishwarnath Renu. The film stars Raj Kapoor and Waheeda Rehman. The duo Shankar-Jaikishan composed the film's score. The film's cinematography is by Subrata Mitra. Dialogues are by Phanishwarnath Renu and the screenplay by Nabendu Ghosh.
Teesri Kasam is an unconventional film that portrays rural Indian society. It is the story of a naive bullock cart driver who falls in love with a dancer, Hirabai at nautanki, the popular folk theatre of the Bihar region. The film also deals with the issue of exploitation of women in the performing arts, especially in travelling folk theatre.[1] The film won the National Film Award for Best Feature Film at the 14th National Film Awards.
Storyline
After nearly getting arrested, Hiraman promises to himself that he will never assist any black-marketeer nor transport bamboo. This incident does cost him his bullock-cart but he did manage to get his two oxen away in time. He manages to save enough money to buy another cart, and is hired to take a female on a 30-hour ride to a Mela. He subsequently finds that his passenger is an attractive woman, Hira Bai, and he falls in love with her - little knowing that she is a traveling courtesan - and it is this attraction that will get him into a physical altercation as well as in the bad books of Thakur Vikram Singh.
Synopsis
Hiraman (Raj Kapoor) is a rustic villager, a bullock cart driver, from a remote village in Bihar. Hiraman takes two vows based on difficult situations in his life. He then meets and befriends Hirabai, a nautanki dancer. In the end, Hiraman takes a third vow.
Hiraman has traditional and conservative values. While smuggling illegal goods on his bullock cart and narrowly escaping the police, Hiraman takes a vow (the first kasam) to never again carry illegal goods. Subsequently, while transporting bamboo for a timber trader, Hiraman's load upsets the horses of two men. The two men then beat Hiramam. After this, Hiraman takes a second vow (the second kasam) to never again carry bamboo in his cart.
One night, Hiraman is asked to carry Hirabai (Waheeda Rehman), a nautanki dancer, as a passenger to a village fair forty miles away. As they travel together, Hiraman sings to pass the time and tells Hirabai the story of the legend of Mahua. As the journey progresses, Hirabai is mesmerized by Hiraman's innocence and his simple philosophy of life. Hiraman sees Hirabai as an angel of purity.
Once they reach the village fair, Hiraman joins his band of bullock cart drivers and Hirabai joins the nautanki company. Hirabai asks Hiraman to stay at the village fair for a few days to see her dance. Hirabai arranges free passes for Hiraman and his friends to see the nautanki on every night for the duration of the fair.
As Hiraman attends the nautanki, he becomes aware that other people see Hirabai as a prostitute and this disturbs him. He tries to shield and protect her from society. As the days pass, the bond between Hirabai and Hiraman grows stronger. When Hiraman becomes involved in fights with local people who disparage Hirabai and her profession, Hirabai tries to make him understand that it is the harsh reality of her life. Hiraman asks Hirabai to leave her profession and to start living a respectable life. Hirabai refuses to leave. Feeling depressed, Hiraman leaves the village fair and returns to his village.
Hirabai meets Hiraman and tells him her secret that she had been sold and she was not a virgin beauty and then leaves. Hiraman then takes a third vow (teesri kasam) that he will never again carry a nautanki company dancer in his cart.
Cast
- Raj Kapoor, Hiraman
- Waheeda Rehman, Hirabai
- Dulari, Hiraman's bhabhi (sister in law)
- Iftekhar, Vikram Singh
- Keshto Mukherji, Shivratan
- A.K. Hangal, Hiraman's older brother
- Asit Sen,mela announcer
- C. S. Dubey,birju
- Shailendra
Production
Phanishwarnath Renu who wrote the original short story Mare Gaye Gulfam in 1954,[2] also wrote the script. The screenplay was written by Nabendu Ghosh, whose works include Devdas (1955), Sujata (1959) and Bandini (1963). Basu Bhattacharya directed the film with a sense of realism and natural style. He felt it was important for the film that Raj Kapoor should avoid his usual "simple man" mannerisms.[3]
The film took many years to complete. Most of the film was made at Aurahi Hingna, a village in Araria district[4][5] and Bina, a town near Bhopal, Madhya Pradesh. A few scenes were filmed at Powai Lake and at the Mohan Studios in Mumbai. [6][7] Subrata Mitra, the cinematographer on Satyajit Ray's early films, had moved to Mumbai for a brief period to make Merchant Ivory films.[8][9] The theatre actor A. K. Hangal, knew Shailender from IPTA theatre group days, and agreed to play the small role of Hiraman's elder brother. However, eventually much of his role was deleted in the final editing to reduce the length of the film.[7]
Crew
- Basu Bhattacharya, director
- Phanishwar Nath Renu, story and dialogue
- Nabendu Ghosh, screenplay
- Shailendra, producer
- G. G. Mayekar, editor
- Subrata Mitra, cinematographer
- Desh Mukherjee, artistic director
- Pandit Shivram, costume
- Lachhu Maharaj, choreographer
- Shankar Jaikishan, director of music
- Hasrat Jaipuri, Shailendra, lyricist
- Asha Bhosle, Manna Dey, Suman Kalyanpur, Lata Mangeshkar, Mubarak Begum, Mukesh, Shambhu-Shankar (qawwal), playback singers.
Music
All lyrics written by Shailendra & Hasrat Jaipuri; all music composed by Shankar-Jaikishan.
| No. | Title | Lyrics | Singer(s) | Length |
|---|---|---|---|---|
| 1. | "Aa Aa Bhi Jaa" | Shailendra | Lata Mangeshkar | 5:03 |
| 2. | "Chalat Musafir" | Shailendra | Manna Dey | 3:04 |
| 3. | "Duniya Bananewale" | Hasrat Jaipuri | Mukesh | 5:03 |
| 4. | "Haye Ghazab Kahin Tara Toota" | Shailendra | Asha Bhosle | 4:13 |
| 5. | "Maare Gaye Gulfaam" | Hasrat Jaipuri | Lata Mangeshkar | 4:00 |
| 6. | "Paan Khaye Saiyan Hamaaro" | Shailendra | Asha Bhosle | 4:08 |
| 7. | "Sajanwa Bairi Ho Gaye Hamar" | Shailendra | Mukesh | 3:51 |
| 8. | "Sajan Re Jhoot Mat Bolo" | Shailendra | Mukesh | 3:43 |
| 9. | "Lali Lali Doliya Mein Lali Re" | Shailendra | Asha Bhosle | 3:11 |
| 10. | "Kissa Hota Hai Shuru" | Hasrat Jaipuri | Shankar-Shambhu | 2:57 |
Reception
The film was received well and took the National Film Award for Best Feature Film, however, commercially, it was a failure. Bhattacharya turned to middle cinema (a meeting of mainstream Bollywood and art house cinema). In time, the film came to be regarded as a classic. [10][11]
Both leads received acclaim for their acting, while critics felt that Raj Kapoor delivered one of the most sensitive performances of his career, after Jagte Raho (1956).[12]
A chapter titled 'Teesri Kasam Ke Shilpkar Shailendra' (The Architect of Teesri Kasam Shailendra) (Devnagari: तीसरी कसम के शिल्पकार शैलेंद्र) which is based on the film is included in CBSE class 10 Hindi Course- B textbook sparsh.
Awards
- 1967 National Film Award for Best Feature Film [10]
- 1967 Moscow International Film Festival: Grand Prix - Nominated
References
- ↑ Singh 2007, p. 60.
- ↑ Chatterjee 2003, p. 335.
- ↑ Rehman 2014, p. 94.
- ↑ "यहां हुई थी फिल्म 'तीसरी कसम' की शूटिंग, रिलीज को हुए 50 साल पूरे". Manohar Kumar. Purnia: Dainik Bhaskar. 25 September 2016. Retrieved 1 December 2016.
- ↑ "Maila Anchal inspirer dead". The Telegraph - Calcutta (Kolkata). January 15, 2011. Retrieved 2017-08-14.
- ↑ Rehman 2014, p. 95.
- 1 2 Hangal 1999, p. 95.
- ↑ Srivastava 1988, p. 178.
- ↑ Sinha 2005, p. 131-132.
- 1 2 Chatterjee 2003, p. 532.
- ↑ Chatterjee 2003, p. 330.
- ↑ Chatterjee 2003, p. 83.
Bibliography
- Kaur, Raminder; Sinha, Ajay J (2005). Bollyworld: Popular Indian Cinema Through A Transnational Lens. SAGE Publications. ISBN 978-0-7619-3321-2.
- Hangal, A. K. (1999). Life and Times of A.K. Hangal. Sterling Publishers. ISBN 978-81-207-2163-0.
- Gulazāra; Nihalani, Govind; Chatterjee, Saibal (2003). Encyclopaedia of Hindi Cinema. Popular Prakashan. ISBN 978-81-7991-066-5.
- Singh, Indubala (2007). Gender Relations and Cultural Ideology in Indian Cinema: A Study of Select Adaptations of Literary Texts. Deep & Deep Publications. ISBN 978-81-7629-989-3.
- Banerjee, Shampa; Srivastava, Anil (1988). One Hundred Indian Feature Films: An Annotated Filmography. Taylor & Francis. ISBN 978-0-8240-9483-6.
- Patel, Bhaichand (2012). Bollywood's Top 20: Superstars of Indian Cinema. Penguin Books India. ISBN 978-0-670-08572-9.
- Kabir, Nasreen Munni; Rehman, Waheeda (2014). Conversations with Waheeda Rehman. Penguin Books Limited. ISBN 978-93-5118-642-7.