सत्यकाम

Many great men have exhorted the importance of following the path of truth, however arduous, in amazingly simple words (almost nonchalantly in many cases). Our holy relics, our Upanishads, and our two most significant historical texts- the Ramayana and the Mahabharata- too have averred vehemently that there is nothing greater than reveling in the knowledge and the spreading of truth. Hrishikesh Mukherjee, in his 1969 feature Satyakaam, pays homage to these thoughts by means of depicting the journey of a man who never wavers from this formidable path of truth.

Hrishikesh Mukherjee chooses a very complex subject and treats it in an unconventional manner. The movie is definitely a critique on our society and how we tend to ignore a lot of things while leading our lives. Through the ordeals of Satyapriya he makes a defining statement on how difficult it is for an honest man to live with his head high in today's materialistic and insensitive set-up. But at the same time through the dissonance and irritability of Satyapriya, he makes the point that it is futile to stop appreciating the life around us by becoming a cynic and seeing the worst in each and every thing. By the end of his life, Satyapriya becomes so obsessed by his ideals that he even started ignoring the interests of his own family. In a way God decided to end his trials and tribulations by giving him the lung cancer, after having given him enough time to fall in love with life. So Satyapriya can be seen as both a loser and as a winner. In my view he was more of a loser than winner, but I am sure people will form quite diverse impressions if they decide to watch this movie.

Because of my above view, I see don't see this movie as a perfect film. Although the narrative and story as such is unique and the intentions are definitely quite honest, I didn't like Satyapriya's character and was left disappointed by him- and it was his story. Of course it was how Hrishikesh Mukherjee must have intended it to be, but because of the way the story was treated, the movie failed to either inspire or educate or educate. It is lengthy and has many unnecessary sequences that don't really add up to the central theme. Also, Satyasharan's (Ashok Kumar) character is shown as caught between his Dharma and his traditions. He is neither here nor there- and so is the film in its entirety. The performances by the lead cast otherwise are indeed praiseworthy- Dharmendra especially more because he was Satyapriya- and he was the entire film.

Parting Note: More than a film, Satyakaam is a comment on the society in the form of a biopic of a fictional character. It is most certainly an important film and showcases the range of Hrishikesh Mukherjee as a director. But overall the film is not the classic that it promises it to be.

moviesandnomore.blogspot.in

Very good story. Powerful message of sacrifice by a young Engineer who never allowed himself to compromise on truth. The movie greatly influenced my life.

A fine movie by Hrishikesh Mukherjee and undeniably has his trademark - brilliant depiction of characters. Even an idealistic character like Satyapriya is shown to be human - indecisiveness when faced with the choice of saving Ranjana when she is forced to go the Prince's room, timidity when initially posed the question if he would marry her and face the society. The dialogues are excellent, a couple specially stand out - honesty is not a policy, it is a duty and right at the end when the grandfather admires how the mother Ranjana uttered the the truth, without any reservations, just as it stood. Dharmendra has given his one of his finest performances and Sanjeev Kumar is brilliant as usual. Sharmila Tagore looks beautiful but and her acting is decent. The movie overall is a must-watch for all Hrishida fans.

Hrishikesh Mukherjee's Satyakam was a veritable lesson on how to pull the viewer's emotional strings. Dharmendra was gifted his career's finest role (those of you who scoff at "Garam Dharam", visit his past with movies like Anupama, Chupke Chupke, Ankhen and innumerable others). He plays Satyapriya, an individual who values lofty ideals of truth above all else; his career, family and life itself. This movie could so easily have degenerated into a soppy melodrama, but Hrishikesh Mukherjee's skills are at the forefront. Satyapriya and his friend Naren (the inimitable Sanjeev Kumar) finish engineering college, and set out on different career paths. Sanjeev Kumar remains honest, but practical, and works hard to become successful. Dharmendra remains in his world of idealism and resolute resistance to compromise, and struggles through every step. Yet, not for a moment does he waver from adherence to truth.

In his very first job, he works for a debauch prince (this was set in the pre-independence/ early independence era). The prince desires to "own" Sharmila Tagore (the illegitimate daughter of his manager, David). Through chance occurrences, Dharmendra lands in a situation to protect Sharmila, but in a moment of weakness, wavers. The prince rapes Sharmila, and the idealistic Dharmendra then marries Sharmila.

How is this different from any other sixties flick, you ask? It is here that Hrishikesh Mukherjee's talent in portraying human nature, and developing characters shines through. Dharmendra, though the supreme idealist, is unable to accept Sharmila or her child completely, and even through his idealism, his completely human nature shines through.

Later Naren (Sanjeev Kumar) reappears, and beautifully personifies the every-day man, one of us, who would compromise (but only so slightly) in order to move ahead in one's career. Yet the compromise would be "practical", never something that would weigh on one's conscience. The contrast between the two characters is one of the movie highlights. Dharmendra is unable to accept these compromises, and the conflict is beautifully wrought out. Dharmendra eventually dies of cancer, and the film leads to its incredibly moving climax.

Ashok Kumar (Dharmendra's father) wants Sharmila Tagore's son to light Dharmendra's pyre. Sharmila (who is not accepted by Ashok Kumar) in a moment of stark honesty, says that the child is not Dharmendra's son, but is illegitimate. Satyapriya's honesty lives on.

It is one of those touching climaxes where it is far easier to let tears flow, than hold them back.

Satyakam is another Hrishikesh Mukherjee classic. Dharmendra is the main protagonist who gives the performance of his career in this film. We see no shades of the action man we get to see in later blockbusters like Sholay or Dharmveer. Here Dharmendra underplays a soft righteous man treading on the path of truth at every step despite conflict and hardship. Sanjeev Kumar plays the supporting lead extremely well, he had only done 17 odd films before this one.

Great performances and worth a watch!

Known for his bigger hits like Golmaal and Abhimaan, Hrishikesh Mukherjee is not credited much for this master piece. But this is truly a classic. Not the routine 'time pass' movie. It hits you. The cast is very good. It exposes the human weakness. A true "truth speaking" person does not muster courage to protect the exploited Sharmila only to later marry her. However, its later and she has been abused the prince. The predicaments shown are so common and so is the acceptance or compromise, hiding our weakness as 'being practical'. And yet SatyaPriya keeps fighting. Some of the scenes are so difficult to forget: - The big politician coming to Dharmendra's house and blessing him and when he leaves the pride with which Sharmila sees Dharmendra. - At the deathbed, when she fights with him to sign on the tender, and he signs it silently and then she realises her mistake and tears and it and he only smiles with satisfaction. - The scene where the son scolds the grandfather (Ashok Kumar) that he is telling a lie and the grand father realises the folly.

Don't watch for entertainment, this is for self introspection.