Anupama

A heartbreaking tear-jerker that explores life and death through the eyes of a young woman who has lived as a burden to her estranged father. Both, Dharmendra and Sharmila Tagore establish their signature acting in this movie.

Anupama (1966) : Brief Review -

Hrishikesh Mukherjee's attempt to make "Bimal Roy Cinema" as a tribute. Anupama, widely known as Hrishikesh Mukherjee's one of the Greatest Achievement is sort of Bimal Roy Cinema and to confirm it there is tagline at the beginning, "Dedicated to Bimal da". Anupama has soul connected to a Woman's strained life just like Bimal Roy films had but Hrishi da makes it more of a love story than a social topic. In Anuradha he gives tribute to all Women who have sacrificed their everything to make men successful and so it became universal concept but that's not the case here for Anupama. The film is about a girl whose mother immediately after her birth so the Father blames her for this loss and even the girl starts believing it as her own fault. Then finally sunshine called Love comes into her life and encourages her to Live incomparably. Anupama has many emotional moments where you can't hold your tears, one is when you realise her pain, another one when Dharmendra sings painful poem. In climax it feels like film misses something, don't know what exactly, may be Father-daughter final face off or acknowledgement or maybe social message. Otherwise it is a very good emotional drama keeping all qualities upto the mark. Sharmila Tagore is fantastic in this shy yet full of life role, Dharmendra shines as a poet and a man with principles, Shashikala is in top form in her favourite zone of chatterbox and free minded girl. Dialogues writing is are pure class, i don't see nothing wrong about it rather many dialogues are overwhelming and ahead of time. Hrishikesh Mukherjee's direction is nice, he covered all elements with his intelligence. The shortcomings are unacceptable though. Anupama should have had more appealing social issue and then it would have left stronger impact.

RATING - 7/10*

By - #samthebestest

I believe that calling this movie a tear-jerker does not do justice to it -- this is world class cinema at its finest that sensitively portrays a range of human emotions. Certainly the interaction between father and daughter towards the end comprise the most poignant scenes in this movie, and they have been both written and picturized in a manner that is deeply touching.

Although the movie takes its own time to develop the characters thoroughly and although you wouldn't expect anything less from Hrishikesh Mukherjee in that regard, I did feel that the movie could have been shortened a little bit. Also, Shashikala's role seemed a little exaggerated.

In general, the movie is a gem and I wish viewers all over the world could be introduced to such Hindi classics for a true appreciation of the range of "Bollywood" movies over the years.

I had really fond memories of this film but on revisiting it I was actually taken aback at how many problems it had.

The bad: 1. Shashikala played a most exaggerated character and got annoying after a while, plus she acted 18-20 years old and was clearly an older woman.

2. The story was melodramatic and exaggerated.

The good: 1. It is a Hrishikesh Mukherjee film - loaded with pluses.

2.Sharmila was awesome as Uma - the traumatized silent girl; she was beautiful and extremely competent at showing emotions without words.

3.Dharam was best in the idealist roles. Here he is just so good - often seen in a singlet with holes, and never stylish but always full of his own inimitable style.

4. Tarun Bise, David, Deven Varma all did a good job.

5. The music was fantastic - Bheegi Bheegi fiza, Yaa dil ki suno duniya waalon, Aisi bhi baatein.

On balance a good film, watchable for the lead pair, the songs, but surprisingly not one of the best from the maestro.

Besides being a very watchable film, it is a must-have for all serious students of Hindi cinema. The film is dedicated to Bimal Roy (practically the entire crew is comprised of people who worked for Roy) and in this film, Hrishikesh Mukherji's narrative style is clearly reminiscent of Roy's style. Hemant Kumar's music from this film is practically legendary, as are Kaifi Azmi's lyrics. The film has a few flaws -- it starts and ends beautifully, but could have been tightened up around the middle. The lead duo, Sharmila and Dharmendra, are adequately good, but it's the support cast that really carries the film. The director spends time working on the relationships between the cast - Deven Varma and Shashikala, despite (or because of) the latter's slightly annoying excess, have surprisingly good chemistry, and David, doing his classic overgrown bachelor is dependably great. The film is stolen though by Tarun Bose, who plays the lead character's troubled father to perfection.

The thing that strikes out about the film is how well it comes together as a whole -- the cinematography, screenplay, the music, the editing and the acting. To the credit of Mukherjee and Roy alike, the film epitomizes the Black & White class drama that so strongly influenced Indian popular cinema in the post-independence era. I cannot recommend the film enough.