50 Years of Bawarchi: A tender comedy on the purpose of life

Hrishikesh Mukherjee’s Bawarchi, opens up with Amitabh Bachchan’s booming narration, as he introduces us to a chaotic household, ironically named Shanti Niwas. Starring, the first superstar of Bollywood, Rajesh Khanna, and the ever-enchanting Jaya Bachchan, in what can reluctantly be called central roles, Bawarchi, is actually a film that follows the life and tribulations of the residents of Shanti Niwas. Unlike other, Rajesh Khanna films, Bawarchi, isn’t all about him, instead, it’s all about what he can do for others.

Today, as it completes 50 years, it’s vital to reflect on why this Mukherjee-Khanna collaboration is relevant even today, after half a decade. Bawarchi is unlike any of Rajesh Khanna’s works, not even like his hit collaboration with Hrishi-da himself, Anand. However, they do have certain similarities to them, that reflect on Hrishi-da’s oeuvre, but more about that later. As of now, let’s look at how Bawarchi, breaks away from the quintessential Rajesh Khanna cinema, and yet remains to be one of his finest films.

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At the peak of the superstar’s career, the maverick Hrishi-da decided to strip away Khanna’s dreamy-eyed star power, and magnetism, by casting him in an absolutely mundane role, of a cook. Inspired by a Bengali film, Galpa Haleo Satyi – Bawarchi, ventures into exploring Khanna’s uncomplicated simplicity that’s as charming, as his usual mannerisms. His protagonist, the cook, Raghu, isn’t an ordinary cook, but rather a jack of all trades, or in fact even master of all trades. A smooth talker, philosopher, and a happy-go-lucky fellow, who walks into Shanti Niwas, and in a miraculous way manages to save the residents of the house from themselves.

These residents include the patriarch of the house, Shivnath Sharma (Harindranath Chattopadhyay), his three sons and their families. The eldest son is Ram Nath (A.K Hangal), a head-clerk, who has Sita Devi (Durga Khote), as his wife, and Meeta, a kathak dancer for his daughter. Then, we have Kashinath, the school teacher and the second oldest son of the household. He has a wife Shobha Devi (Usha Kiron) and a young son. The youngest son of the household is, Vishwanath (Asrani) who is an aspiring music director. Alas, we have the kind, but orphaned granddaughter of Shivnath Sharma – Krishna (Jaya Bachchan) who is in love with a wrestler, who also comes to tutor him.

Now, in this madhouse with so many personalities failing at living together, enters Raghu who wins over everyone with his delicious delicacies, and even more, delicious chit-chat. In a repeated dialogue, Raghu explains to the members of the household, very subtly how, everyone does their work, but there’s unparalleled joy in doing others’ work. This leads to everyone helping out each other, a refreshing sight from the usual bickering that goes around and about. He brings this family closer to each other, and in the process makes them realise how often in life, it is the little things that matter more.

On that note, you cannot help draw parallels between Anand and Bawarchi, even though story-wise they couldn’t more different. While Bawarchi, comes across as a satirical treatment of the profound joys of life, Anand borders more on the poetic and metaphysical conversation around life and death, with dialogues like jab tak zinda hoon tab tak mara nahi, aur jab mar gaya toh saala mein hi nahi.

Nevertheless, these two brilliant collaborations between Hrishikesh Mukherjee and Khanna, do have a few similarities that provide a testament to how Hrishikesh Mukherjee, cannot help but adorn his films with some of his distinct touches, like the larger theme of happiness and laughter is the cure to all disease – whether it’s Anand’s lymphosarcoma of the intestine or the Sharma family’s daily squabbles and differences, laughter can cure anything, or at least make it easier. Both Anand and Raghu, are charmers, with a broad smile always plastered on their faces, even whilst they carry a rather saddening truth inside them. They both seem to be happy-go-lucky folks, who make profound statements here and there, enlightening those around them on the real essence of life. While Anand, goes around singing, Babumoshai, zindagi badi honi chahiye lambi nahi! Raghu educates that it is so simple to be happy, but so difficult to be simple.

Bawarchi holds all of Hrishikesh Mukherjee’s iconic elements – right from middle-class families, and grounded plot devices rather than melodramatic monologues, to creating a world where the goodness of heart, and learning the importance of the gift of life are way more crucial than fighting goons or emerging as the saviour. In his cinema, the saving needs to be done not of one’s body, or material, but of one’s heart, and moral compass.

The film is a tender comedy, filled with sarcasm, and lyrical conversations, about the purpose of one’s being, but never does comical drama, venture into the zone of preaching and sermonising life lessons. You’re laughing your heart out when the film penetrates your subconscious and teaches a sense of purpose, as well as the essence of life. Rajesh Khanna and Jaya Bachchan, are artists of immense caliber, even though the former is often not given enough credit for acting competency, that is usually overshadowed by his godly stardom. However, the truth of the matter is that Rajesh Khanna, may have seen unprecedented stardom, but he has also always been a charming actor who can evoke emotions from the deepest corner of your heart. Hrishikesh Mukherjee, as I mentioned earlier, is a maverick in every right, and it’s arrogant for me to even comment on his stature, because for an artist like him, words and accolades shall always fall short.

Takshi Mehta is a freelance journalist and writer. She firmly believes that we are what we stand up for, and thus you’ll always find her wielding a pen.

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