Rekha Naseeruddin Shah Ijaazat

Ijaazat – Sensitivity, empathy, Gulzar…

Ijaazat. Gulzar knew how to name his films. As a matter of fact, the title is almost a counter-statement on what the protagonists end up doing!

Ijaazat starts on a placid note. The zingy Asha Bhosle number “Chhoti Si Kahaani Se” followed by our male lead alighting a train only to bump into his estranged wife. The film gets straight to its point in a matter of few minutes. Told mostly in flashbacks, this matter-of-factedness is what sets Ijaazat apart from most other relationship centric films. Right from the opening credits till the finale, Ijaazat keeps you hooked. To the point, precise yet so lyrical.

Ijaazat Waiting Room

What sets out from a rather orthodox premise of the hero succumbing to the will of the elders in his family ends up on a rather unusual culmination. The climax is the very moment when the film climbs several notches up to the levels of being tagged “cult”. Not that it wasn’t expected in a Gulzar flick but thinking from a feminist worldview, our leading man isn’t exactly served right – as per our societal rulebooks. That’s where the writer-director hits a sixer.

There are certain unanswered questions in the film though. Were Mahendar and Sudha legally divorced? Otherwise, the twist in the climax would have had no meaning. Was the railway waiting room designed for the couple to relive their past memories on hours on end? It seemed more like a private bedroom instead. How long was Sudha’s and Mahendar’s separation? How come Sudha’s orthodox family suddenly turned so understanding? Why integrate a done to death cliché of a deliberate accident towards the end? Profound answers weren’t always a Gulzar thing anyway!

Do you see what I see?

With Ijaazat, several of our social norms stand challenged. It depicts a couple that is in a live-in relationship and has a no-holds-barred approach towards life. One of the heroines is shown to be a liberated, independent, Bohemian soul. But, wait… she’s not a vamp or a villainous person. The film illustrates another facet of Indian women in form of the parallel heroine. She drapes herself in silk sarees, dutifully looking after her husband as well as her home. The bindi on her forehead & vermilion on her hair parting are intact. But, when a point comes where her integrity and devotion are questioned, she makes a bold decision and stays by it till the end. The weaker link, comparatively, is the male lead whose gets sort of a raw deal – from his women as well as the writer.

Music is the heart and soul of Ijaazat. The score easily ranks among the most flawless and effective soundtracks of a Hindi motion picture, ever. The songs are classics in their own right and have incredible shelf-life for the fact that “Katra Katra”, “Mera Kuch Saaman”, “Khaali Haath Shaam” & “Chhoti Si Kahani Se” are still hummed around. Asha Bhosle delivers an album of a lifetime – there is no word unmatched, there is no note unpleasant. In a decade that didn’t do him much good, R D Burman delivered probably his career-best work in Ijaazat. Cinematography is luscious. The locales of Kudremukh have been captured magnificently. Dialogues resonates sheer beauty minus unwanted frills and mind-numbing punch lines.  Some of them below…

Anuradha Patel
“Saansein bahut chhoti chhoti ho rahi hai, sevayye ki tarah.. Ek bahut lambi saans mujhe udhaar doge please? 
Ijaazat
“Pichli baar bina pooche chali gayi thi. Is baar ijaazat de do.”
Naseeruddin Shah Ijaazat
Main khamakha tum dono ke beech aagayi. Isliye jaa rahi hoon…
Naseeruddin Shah in Ijaazat
“Sab kuch wahin to nahi hai… Lekin hai wahin, usi jagah”

Naseeruddin Shah is brilliant as Mahendar enacting his character with complete understanding and lends a certain maturity to the role that is characteristic to him. Rekha is awesome yet again. She’s entrusted with an author-backed role and she makes sure that the opportunity is well-utilized. Anuradha Patel stands out with a quirky, lovable performance. She makes the “other woman” part look respectable. Shammi Kapoor and Sulabha Deshpande are very good.  Though a gap filler, the veteran Shashi Kapoor springs a surprise with his very presence.

On the whole, there is magic in the way Gulzar saab traverses trough each frame. The poetic quality of the script gets embossed with even better direction. The screenplay is tight and the editing crisp. Hence, Ijaazat is perhaps the most prolific directorial effort by Gulzar saab, apart from Namkeen. If you are a lover of his brand of cinema, then this flick is indeed a “Collectors’ Item”.

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