Arth

Mahesh Bhatt was one of the finest filmmakers of the 1980s in the Hindi film industry. Most of his films of that period, whether it's Arth, Saaransh or Kaash, dealt with subjects most people have to deal with in their lives. Arth is one of his finest works and is perhaps the most famous of his films of that time. The movie is mainly about marriage, infidelity and divorce, but it also deals with other relevant issues through some of its minor characters. These issues are handled exceptionally well by Bhatt, who keeps everything genuinely life-like and pays attention to details. Arth depicts a world which is real and authentic and it captures the urban lifestyle of that time with complete precision. The dialogues, the characters and the situations are very simple and realistic. That may be the main reason Arth is so moving and riveting. It has the ability to captivate and enthrall simply because it is very easy to relate to.

Arth may particularly inspire women to fight for their rights, but it can equally hearten any individual to never give up, showing that there always is a way of starting everything afresh. The story shows consistent development and is very interesting to see, particularly because its realism allows the viewer connect to the story. The film's main protagonist, Pooja Malhotra, is a true example of that. She is first a dependent wife who cannot even imagine her life without her husband, then a broken woman who mourns his betrayal and abandonment, still hoping to get him back. And finally, after coming to terms with herself, she understands the meaning of life and realises her own strength and ability to stand on her own and do it her way without anyone else's support or mercy. Pooja is a brilliantly written character which is well developed and the viewers highly anticipate the moment she makes a place in the sun.

There's one person who owns Arth and makes it the memorable picture it is today. It is of course Shabana Azmi, who delivers one of the finest performances of Indian cinema. The power of her portrayal seems to come in equal parts from her understanding of the character, and of course from the fact that she does not just act, but becomes. With ease and conviction she transforms into a simple woman who deals with problems in her life. Despite her heartbreak, Pooja never loses her sense of optimism and is brave enough to summon up the courage and fight for her dignity and for her right to find new happiness in life. Pooja's pain, suffering, honesty, growth and ultimately her coming of age, are very real and involving, and that's simply because they are portrayed with rare subtlety, depth and sincerity by Azmi, who, by the way, looks absolutely beautiful, authentic and graceful throughout the movie.

Azmi utterly dominates her scenes, and some of them are unforgettable. Just see Pooja's phone call to Kavita, when she begs the latter to give her husband back to her as she has nothing without him; just see Pooja's devastation and the astonishing pain in her tearful eyes upon seeing her husband with his lover at a party during the poignant Ghazal "Koi Yeh Kaise Bataye"; just see the subsequent scene in which she gets completely inebriated, attacks Kavita and publicly calls her a whore. These scenes show emotional conditions few actresses could master. Apart from other scenes between Pooja and her husband post their separation, another great scene is the one when Pooja goes to meet Kavita. The scene, devoid of clichés, shows both Kavita's conscience and Pooja's forgiving nature, and at the same time we see that Pooja has finally overcome her divorce from her husband and does not hold any grudge.

An equally great actress, Smita Patil delivers an incredibly convincing performance as the mentally unstable actress Kavita Senyal, a role that is smaller but even more complex than that of Azmi. Patil is amazing, performing the most difficult of scenes with unsettling intensity. She displays something very disturbing within her, and yet balances it with naturally played feelings of guilt and moments of sanity. While watching Azmi and Patil share the screen, one can see a competition between the two, a healthy one I mean, not the sort of childish rivalry between the young actresses of today. They were true actresses and unlike the new girls in the industry who may fight over who's had more hits, they competed to enhance the quality of their performances, and this extracted the best out of them. Kulbhushan Kharbanda is excellent as Inder, the infidel husband whose own weakness and confusion lead him to self-ruin.

The supporting cast--from Raj Kiran who plays the aspiring singer who falls for Pooja to Mazhar Khan, Dina Pathak and Kiran Vairale who play minor parts--is superb. But the one who stands out is Rohini Hattangadi, who plays Pooja's nameless housemaid. People often overlook Hattangandi's role, but she is pretty much a reflection of Pooja. Given a role of very minimal screen time, she plays a lower-middle class woman who herself is married to a drunkard who abuses and cheats on her. And she does it with great skill, getting the mannerisms, the dialect and the hopes of people of her region and class exceedingly well. She manages to convey so much of her character's essence, whether it's her way of accepting her fate, her dreams of building a future for her daughter, or her compassion towards Pooja's state (despite having pretty much the same problems and even worse), that it's hard to believe she is there for only 20 minutes. Truly a remarkable feat.

Arth is a fascinating picture about realisation, relationships, and the power of the overcoming human spirit. It proves the talent of all those who were associated with it, and the ending is terrific. A classic gem which deserves the highest of praise, that's it.

Arth is a brilliantly made film. I guess no other director in Bollywood, other than Mahesh Bhatt, had the guts to portray their real life relations on screen. By deciding to portray his relationship with actress Parveen Babi on screen, Bhatt comes up with a timeless masterpiece that rests on the shoulders of two of its able performers: Shabana Azmi and Smita Patil.

Arth is the story of a woman (Shabana Azmi) who is trying to come to terms with her separation from her husband (Kulbhushan Kharbanda) who is having an affair with a schizophrenic actress (Smita Patil). Bhatt intelligently weaves a grand saga of emotions because he is aided by nothing other than his own life's story.

Talking about the performances, this is undoubtedly one of Azmi and Patil's best performances. Azmi leaves no stone unturned in trying to convey the turmoil within her as she is dealing with the separation from her husband. Patil, despite a shorter role compared to Azmi's, leaves a great impact as a depressed, disillusioned actress. She shows why she was one of the best actresses of the 80s. Kharbanda is equally competent as a weak man, torn between two women. Rohini Hattangadi lends ample support as a maid whose life mirrors the life of Azmi's character in the film. Raj Kiran is good too as Azmi's admirer in the film.

The editing is brilliant. Praveen Bhatt's cinematography is outstanding. The memorable soundtrack by the Ghazal duo, the magnificent Jagjit Singh and Chitra Singh leaves an everlasting impact on the hearts of the viewers.

Overall, Arth is a must watch!

My Rating : 9/10

I've seen this movie twice now and thoroughly enjoyed it both times. 'Arth' is one of Mahesh Bhatt's finest and captivated me from the start.

If you don't mind slow-burning drama, certainly seek this out, it is semi-autobiographical (about Mahesh Bhatt's extramarital relationship with Parveen Babi) and with great performances from everyone.

Moving, riveting and simply a classic of parallel Indian cinema. Absolute Must-See.

One of the finest movies of India, Good acting, nice background score, and very good directing is the bonus point of this movie. The story of this film is also realistice. Amazing movie.

there are very few Indian films that confront real situations, without cheating the audience, treating them like children or giving them what they want instead of what they need. 'arth' is one of those few films.

the story is a simple and timeless one, yet one that is rarely explored in Indian film. what makes it so great is that each side of is represented, with two female points of view, another rarity in Indian film. but the performances are what bring this great story to life. the acting is superb, especially by shabana azmi and smita patil - two women with excellent performances in the same film, which is yet another rarity.

the film is well directed, and mahesh bhatt highlights the emotional impact of the situation very well. not a single shot is wasted and the story unfolds at a perfect pace.

at no point is 'arth' clichéd or predictable, and it tells the story as it should be told. the ending was one that would have made so many other films excellent, yet the storytellers were afraid to tell it. this is the thing i admire most about this film, it never cheats the audience and treats the situation as realistically as possible. most importantly, each of the main characters is three-dimensional, and the film examines each of these characters and their states of mind very well, rather than having them react to events.

the writing, directing, and acting in this film are absolutely perfect and this film is easily one of the best Indian films ever made.