Remembering B. R. Chopra article

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"The film was released in 1957 when an independent India was facing conflicts of industrialisation. Raising pertinent issues through various characters Naya Daur became the anthem of a progressive India. Now re-releasing in India's 60th year of Independence, one is proud to say that five decades have not eclipsed the movie or the message. "

 End of an Era

Filmmaker B R Chopra passed away on 5 November after a prolonged illness at home. He could not have timed his exit on a more historical date. While the world was celebrating Obama's Victory as the US President, our own revolutionary filmmaker made a quiet and peaceful exit.

He had lived a wholesome life and contributed adequately to the film world. In his six decade old career Chopra successfully dabbled in many genres of cinema. Beginning with some hits and flops like Afsana/56, Chandani Chowk/ 54 and Ek Hi Raasta/ 56 Chopra launched his banner BR Films with Naya Daur/57 followed by memorable films like Sadhna/58 Dhool Ka Phool/59, Kanoon/61, Gumraah/63, Humraaz/67, Dastaan/ 72, Dhund/73, Karm/77, Pati Patni aur Woh/80, Insaaf Ka Tarazu/80 and Nikkah/82 to name a few.

A pioneer in films and a revolutionary in television, his mega serial Mahabharat continues to remain an inspiration for many serial makers even today. Few people are aware that much before Akbar Asif thought of releasing the colour version of his father K Asif's Mughal-e-Azam, BRChopra had assigned his son Ravi Chopra to make a color print of his 1957 film Naya Daur.

Unfortunately the color version of Naya Daur was released after the revised print of Mughal-E-Azam but the moment was equally special.

Today as everybody pays their tribute to the thespian I recall my childhood memories and single out this one film that marks the end of an era...

Man Vs. Machine

...I remember watching this B&W film in my childhood with my classmates. The missionary school that I went to had a tradition of screening two landmark films (English/Hindi) every year. It was a free show and compulsory in the curriculum. The best thing about these screenings was that they were held during school hours, which meant that we were allowed to bunk our classes. The entire school looked forward to those memorable days. The large assembly hall on the ground floor of the building with a stage on one side and a wooden stand at the rear was covered with pitch-black curtains and transformed into a cinema hall. The boys sat on the stands, the girls on the benches in the front and the teachers on separate chairs in the corridor to monitor discipline. There were hardly any occasions of unruly behaviour. When there were fight sequences, the boys excitedly clapped and whistled and when the songs became too romantic, the girls giggled and blushed.

Since these films were collectively watched by the teachers and the students, the faculty made certain that the content and the message of the film was appropriate for the viewing. Before the screening, the headmaster personally read out the merits of the movie. It was a mesmeric moment and imprinted on our young minds. All of us wanted to grow up and emulate the heroes.

On the following day, the Secondary Section students were encouraged to participate in a debate on the film while Primary students like me were engaged to write a composition on the topic. I remember all this vividly because my father who had seen and loved Naya Daur had helped my elder sister in her debate aptly titled, ‘˜Man versus Machine' and had also prompted a few lines for my composition.

Looking back, one realises that it was an extraordinary exercise to groom children in social consciousness. Cinema is a sensitive medium and our headmaster, WB Dias, utilised it to the optimum level. It was a foundation to building the self-confidence of students.

A film like Naya Daur had to be made by a visionary. Watching the film after all these years in its new avatar, one cannot help marvel at the courage and passion of the filmmaker.

It is said that writer Akhtar Mirza had approached all the top banners with his story but none was convinced, including the great Mehboob Khan. When he approached BR Films, Chopra agreed instantly much to the alarm of his colleagues. He had to encounter innumerable hurdles during the making, including a court case filed by Ataullah Khan, Madhubala's father. But Chopra remained undeterred.

The film was released in 1957 when an independent India was facing conflicts of industrialisation. Raising pertinent issues through various characters Naya Daur became the anthem of a progressive India. Now re-releasing in India's 60th year of Independence, one is proud to say that five decades have not eclipsed the movie or the message. There is not a single dialogue (by Kamil Rashid) or song (by Sahir Ludhianvi) that is out of sync with the story, character or time!  There is not a single argument (from the landlord/the labourer) that is out of place or the slightest contradiction in value judgement. If the scene required depicting the village belles tapping to music, the camera restricted to their ankles and when a dejected lover confessed love, it showed restraint.

Naya Daur is unique because it combines social concern with romance and tells a stirring tale of love and friendship, betrayal and commitment. OP Nayyar's lilting music and lead pair Vyjayanthi Mala and Dilip Kumar's magical chemistry revived memories of innocent times.

Days after the film is over, your heart and eyes brim over thinking about the collective hands conjuring into the frame while the background hums with ‘˜Saathi haath badhana saathi re...' It's true, ‘˜ek akela thak jayega...' but not if we stand united!