Jingoism is in the air-or at least in Bollywood films. Filmmakers are coming up with stories that glorify India’s military campaigns, its sports stars and also its historical figures, all with large dollops of flag waving and declamations about the greatness of the nation. Contemporary references are slyly inserted in sagas of the past, like in the Kangana Ranaut starrer Manikarnika – in which the warrior queen talks of serving her land, not ruling it – suggesting she will merely be a Pradhan Sewak. Historians may shake their heads, but film makers claim to know the audience better.
This is not the first time the Mumbai film industry has aligned itself with the national mood. In the years after independence, films joined in the conversation by making movies about issues that the country’s leaders were talking about. The colossus that Jawaharlal Nehru was meant that his exhortations set the tone and direction for the country. He spoke about India’s civilisational values such as ‘unity in diversity’. He also spoke of science, of dams – the temples of modern India – and of how India had to move out of the village and that mentality. The film makers followed. But while there was pride, there was no jingoism.
The films of the 15 year old period from 1947 to 1962, when a war shattered India’s illusions about friendly neighbours – reflected those values. In 1950 came the republic, and now India was more than just a nation – it was a state, with equal rights for all. It was a matter of great pride.
The country was changing, but not all of it was upbeat – there was despair, too – and the films reflected that. On the occasion of Republic Day, here are songs that speak of an emergent Indian identity, with all the joys, problems and upheavals it involved.
‘Ek Thi Ladki’ (1949)
On the face of it, this is little more than a silly song about three brothers with funny names. But here, too, the lyricist manages to sneak in a message about communal harmony. The constant refrain of ‘Hindu, Muslim, Sikh, Isai’ all being Indians was part of the country’s popular culture. Its particularly relevant today as attempts are being made to define the Indian identity. Don’t miss the all girls orchestra and the Anglo-Indian singer.
‘Shri 420’ (1955)
Raj Kapoor’s Raju riffed on how his heart beat for India even if his clothes and cap were from all over the world. The tone was of gentle irony, since he is clearly dressed poorly, but the sentiment was clear enough – we are of the world but we are, in our hearts, Indian and we must keep progressing towards the future (‘Chalna Jeevan ki kahani, rukna maut ki nishani’).
The film also explored issues of migration to the big city (a theme also reflected in other films of the era such as Taxi Driver), but without sentimentalising the village, which many other filmmakers tended to do. In keeping with the socialist spirit of the times, the writer, K.A. Abbas, and director Kapoor set up the conflict between the honest poor and the corrupt rich.
‘New Delhi’ (1956)
Nation building was also about shedding parochial identities and thinking of oneself as Indian. This film was about a young man who comes from Amritsar to Delhi but finds it difficult to rent a room. Every prospective landlord wants a tenant who belongs to his own community. Kishore Kumar urges people from different communities – Maharashtrians, Gujaratis, Bengalis – all staying temporarily at a guest house, to get out of their narrow mindsets and experience the joys the world has to offer and aim for the moon. There is an actual reference to ‘Atomi ghoda’, echoing the emergence of nuclear power and the space race.
‘Naya Daur’ (1957)
The title itself was significant – a New Age – where tradition and innovation could co-exist. The film was about the conflict that arises when a younger owner of a factory wants to mechanise his business and introduces a bus which takes away the custom of a carriage driver, which, till then, is the main transport service.
The villagers naturally resist and in a race between the bus and the horse-drawn carriage, the latter wins. The film careens dangerously towards a luddite philosophy but this is ultimately softened by a message of co-existence.
‘Pyaasa” (1957)
But it was not all joy and brotherhood. The nation was not paying attention to its weakest and its most vulnerable. In Pyaasa, Guru Dutt sang Sahir Ludhianvi’s words about how those who take pride in India should, in fact, feel ashamed at the way it treats the marginalised. Dutt, who was till then making crime films and comedies, took a dramatic, and somewhat nihilistic turn, with Pyaasa – the story of a poet let down by society.
Though the film and its songs are widely seen to reflect the loss of innocence, the fact is that the story was written as far back as 1947 and the Nazm Chakley, on which the song is based, was also written by Sahir much before the film
‘Phir Subah Hogi” (1958)
But Sahir was also an optimist, dreaming of a better world. In ‘Phir Subah Hogi’ – based on Crime and Punishement – he wrote a satirical take on Iqbal’s patriotism infused ‘Chin-o-Arab Hamara’. The first few verses of Sahir’s song speak of unemployment, homelessness and poverty, but the last stanza is a rousing call to join hands to create a new nation that the world would admire.
‘Hum Hindustani” (1960)
Republic Day parades, which had become very popular, showcased India’s ancient civilisation and military prowess. Images from the parade were often used in patriotic songs. ‘Hum Hindustani’ declared, that while the past was glorious, Indians should stop dwelling in it and forge ahead. Harnessing nature for the betterment of mankind was the way forward – ‘Abhi palatna hai rukh dariyaon ka, kitne parbat raahon se hain aaj hatane’.
‘Son of India’ (1962)
‘Aage hi aage badayeinge kadam’ was also the cry of the little boy Sajid Khan in ‘Son of India’. In the song ‘Nanha Munna Rahi Hoon’, he takes us through a journey of India, with its monuments, its fields, its big cities and yes, the Republic Day parade.
‘Phool Bane Angarey’ (1963)
But dark clouds were gathering. Tensions between India and China were rising and Indians, like their prime minister, felt betrayed. The armed forces were called upon to defend India. This was a time for valour and sacrifice, not just by the soldiers, but also their loved ones.
Such was the impact of the conflict and the loss, that within less than a year, the first film – with the war as the backdrop was – released. Though in the film China is not named – the soldier is called away to Korea! – the lines ‘Hamare ik padosi ne hamare ghar ko loota hai’ leave no doubt about who the aggressor is.
The industry participated in the effort to drum-up patriotic support in different ways. In this non-film song, prominent actors of the time sang ‘Awaaz Do Hum Ek Hain‘, somewhat like ‘Mile Sur Mera Tumhara’ in the 1980s. The central idea, however, was to promote national integration, not provoke divisiveness.