Khamoshi the Musical turns 25: 5 reasons why Sanjay Leela Bhansali’s first “Flop” movie continues to be his best film to date!
Sanjay Leela Bhansali is a name associated with the awe-inspiring, historical dramas, blockbuster tags, and controversy of manipulating history (or historical fiction, in case of Padmaavat). As the filmmaker wraps up 25 years in the industry, it’s hard to imagine his humble beginnings, making a film that doesn’t take place in striking settings, but simply matures in storytelling and performance. Also, yeah, Khamoshi: the musical be a box office flop. Deepika Padukone, Alia Bhatt, Ranveer Singh, Salman Khan congratulate Sanjay Leela Bhansali on 25 years in the industry.
Khamoshi: the musical was released on August 9, 1996. Bhansali wrote the script for the film, starring Sutapa Sikdar (the late Irrfan Khan was her husband). The film starred Nana Patekar, Manisha Koirala, Salman Khan, Seema Biswas and Helen. Despite critical praise, the film underperformed at the box office.
The subsequent success of Hum Dil By Chuke Sanam often leads many to perceive that Bhansali’s second film was his first film, but Khamoshi was glad enough to be away from the spotlight. While waiting for admirers to seek it out and regret not paying attention to its release, the film has remained a curiosity in the director’s filmography. For someone who has been visually blown away by their films over the years, but less impressed with the content they have to offer, Khamoshi: musical remains a perennial favorite of this writer when it comes to the Bhansali films. # 25YearsOfSLB: Check out this beautiful montage of Sanjay Leela Bhansali’s magic as the filmmaker completes 25 years in the industry.
Let me give you five reasons. Also consult Khamoshi: the musical on Amazon Prime Video, if you haven’t already.
Bhansali’s unadorned, emotionally charged storytelling
Khamoshi: the musical is above all the moving story of a father-daughter relationship that knows its ups and downs. Some of the elements may be considered toxic in today’s too political era, but they are imperfect, and therefore real, people who do not speak in prose like Bhansali’s later characters turn out to be. Whether it is the Christian culture of Goan, the bonding moments between the characters and the dramatic bg moments, Bhansali always manages to keep it contained and effective.
The sensitive manipulation of the characters of Nana and Biswas, who have hearing loss, and their apprehensions of losing their “normal” daughter (made even stronger after the loss of their son) are relevant, although the father’s point of view on the girl’s relationship with her Hindu boyfriend (reverse jihad in love?) appears to be narrow-minded. The plot may seem dated around this time, but the way it’s told and performed makes it so much better.
If you want a sample of how Bhansali handles the movie’s relationship moments beautifully, look no further than the song below, where Manisha’s character signs her parents what she sings to keep them in the loop. !
Nana Patekar and Manisha Koirala
Another huge advantage that Khamoshi had was in his cast. Nana Patekar (who recently disappeared from the spotlight on the #MeToo scandal) showed in this famous church sequence that he doesn’t need words to deliver what could be a monologue rivaling his own. Krantiveer. When it comes to the actor’s performance, I rank Joseph very high, as well as his actions in Parinda and Salaam Bombay.
Then there’s Manisha Koirala, delivering her best career performance as Annie, the film’s âheroâ. As a girl torn between letting go of her parents and not wanting to give up her forbidden love, the actress does a fantastic job portraying the intricate upheavals of her characters, which also earned her a Filmfare Critics Award for Best Actress and a Star Screen Award. for best actress.
Finally, let’s not forget Seema Biswas, whose character can become secondary in the father-daughter story, but leaves an indelible mark like the loving mother caught in their friction.
Salman Khan, not the star
We often talk about Salman Khan the star, but not much of Salman Khan the actor these days. Not exactly our fault, as the superstar rarely gives us the chance for a movie that isn’t obsessed with her enormous star power or her abs (real and CGI) and uh … unique dance moves.
But Salman Khan is also someone who surprises us by sometimes letting the director’s vision take precedence over his star power. Whether in Khamoshi or Phir milenge, he was very happy to play a more secondary but essential role and thus give some of his most heartbreaking performances to date. While Nana looked fantastic in the church sequence, watch Salman’s Raj fumble with his emotionally-charged speech trying to translate his stepfather’s sign language and how he sells this moment so effectively. Something he failed to do when HDDCS did a similar scene with him in the climax.
Consider saving for Black, all of Bhansali’s films have been musicals, this epithet before the name may sound strange. But maybe it’s about making her film stand out from the crowd. Khamoshi who came before – the 1970 Asit Sen movie which also had some really good songs (“Woh Shaam Kuch Ajeeb Thi“, for example).
True to its title, anyway, Khamoshi: the musical has some lovely music from the composer duo Jatin-Lalit before they went their separate ways. Songs like “Aaj Main Upar“,”Bahon Ke Darmiyan“,”Aankhon Mein Kya” and “Jaana Suno Hum Tum Pe Marte Hain“delighted listeners then and continues to do so now. Yes, it’s heartbreaking to hear that the last song was a beat-by-beat copy of Paul Anka’s” Bring The Wine. “But given that we still revere the late RD Burman, although many of his songs are “inspired”, can we get past this aberration?
An underestimated curiosity
Bhansali’s latest films have focused on visually powerful storytelling, from Devdas’ final moments to Bajirao and Mastani dying at the same time in Bajirao Mastani to Padmavati walking towards his jauhar with other queens and palace women in Padmaavat. His Khamoshi was more about his characters manipulating the powerful parts, and thus being his most contained and understated film to date. It is also perhaps his only film that deals with middle-class characters, and it remains a curiosity in his filmography, an outsider. And we all love underdogs, don’t we?
(The above story first appeared on LatestLY on August 09, 2021 at 8:34 p.m. IST. For more information and updates on Politics, World, Sports, Entertainment, and Lifestyle , connect to our website Latestly.com).