Upkar

"Upkar" is a classic Indian film directed by Manoj Kumar and released in 1967. It is a patriotic drama that explores themes of social inequality, patriotism, and the importance of selflessness in society. The movie stars Manoj Kumar, Asha Parekh, and Pran in lead roles.

Set against the backdrop of rural India, "Upkar" tells the story of Bharat (played by Manoj Kumar), a patriotic villager who believes in serving his country and fellow citizens. He works hard to uplift his village and improve the lives of the people around him. The film follows Bharat's journey as he faces numerous challenges and fights against injustice and corruption.

One of the notable aspects of "Upkar" is its strong and compelling storyline. The narrative effectively portrays the struggles faced by Bharat and the choices he makes in order to bring positive change to society. The film's emphasis on patriotism and the need to prioritize the welfare of the nation over personal gains struck a chord with audiences, making it a popular and influential film of its time.

Manoj Kumar's performance as Bharat is commendable. He brings depth and sincerity to his character, effectively conveying Bharat's determination and selflessness. The film's supporting cast, including Asha Parekh and Pran, also deliver noteworthy performances, adding to the overall impact of the film.

The music of "Upkar" is another highlight. Composed by Kalyanji-Anandji, the songs of the film became immensely popular, particularly the patriotic song "Mere Desh Ki Dharti," which has become an iconic anthem in Indian cinema.

Overall, "Upkar" is a thought-provoking film that presents a powerful social message. It highlights the importance of unity, selflessness, and the responsibility each individual has towards their country and fellow citizens. The film's engaging storyline, strong performances, and memorable music contribute to its enduring appeal. "Upkar" remains a significant film in Indian cinema and is considered one of Manoj Kumar's most iconic works.

Nothing much but outstanding. This was golden era of Indian cinema.

In the mid-sixties, India faced double trouble. On one hand, Pakistan attacked our frontiers, on the other, there occurred a scarcity of foodgrains in the country. In such a scenario, then prime minister of India, late Laal Bahadur Shastri gave a slogan to the countrymen - Jai Jawaan ! Jai Kisaan ! (hail the soldier, hail the peasant). It was to underscore the importance of both the functions - safeguarding the frontiers as well as increasing the foodgrains production and inspiring the Indians to do something worthwhile for the motherland in any of these two ways. Since he himself was a man of principles and respected throughout the country by one and all, his call for keeping fast on Monday (to reduce consumption of foodgrains) was wholeheartedly responded by the public. And in the war too, India emerged triumphant.

Actor Manoj Kumar got the idea of making a film through his slogan only (and the situation prevailing in the country) and he debuted as a filmmaker (producer-director) by making Upkaar (1967) whose script is nothing but the expansion of this slogan only, containing all the Bollywoodish formulae to entertain the typical Indian movie buff.

Upkaar (obligation) is the story of a peasant-cum-soldier (Kisaan-cum-Jawaan), Bhaarat (Manoj Kumar) who despite being well-educated, prefers to go for peasantry in his parental village whereas his younger brother (step), Pooran (Prem Chopra) moves out for higher studies and gets spoilt. Bhaarat's maternal uncle (Madan Puri) is a wicked man who had earlier killed their father and now he alongwith the money-lender of the village (Kanhaiyalal) fills poison in the mind of Pooran against his elder brother. Pooran gets separated from the family with his share of the land. Heartbroken Bhaarat gets consolation from his (step) mother, Radha (Kamini Kaushal), his well-wisher, Malang Chacha (Pran) and a lady doctor, Kavita (Asha Parekh). He gets engaged to Kavita. However Pakistan's attack on the nation provides him an opportunity to serve the motherland in a different form. He joins army and gets badly wounded in the war. To his greatest pain, his hands are removed in the surgical operation to save his life. However, Pooran realizing his fault becomes the ointment for his heartache. Pooran returns back to the family and becomes a peasant.

The title refers to the obligation of the motherland upon its citizens and indicates that we should be ready to repay the obligation whenever the need arrives. The importance of the land (which was considered no less revered than the mother in the traditional Indian villages) as well as peasantry has been underscored pretty well in the movie albeit in a filmy way. And the hero's character as Kisaan (peasant) is more powerful than his character as Jawaan (soldier) in the later part of the movie.

This maiden directorial venture of Manoj Kumar is the best product served by him to the Indian audience because in none of his later movies, he could touch the heights that he achieved in this movie. It is because the script of this movie is very good (courtesy the slogan of the then Indian premier). Since Manoj Kumar's approach towards patriotism has always been superficial and loud (pseudo, to be exact), he could not make great patriotic movies and always presented formula-based flicks. Upkaar is no exception. Here also entertainment only is delivered in the colourful packing of patriotism but this fact is not felt by the viewer.

Family bonds have been dealt with in this movie in a very sentimental and impressive manner. The relation between the brothers and how money and personal ambitions break it, is simply touching. The climax is also very sentimental and impressive.

Kalyanji Anandji's music is one of the greatest assets of this movie. It contains the evergreen patriotic song - Mere Desh Ki Dharti Sona Ugle Ugle Heere Moti (sung by Mahendra Kapoor) for which lyricist - Gulshan Bawra had got the national award. Deewaano Se Ye Matt Poochho (Mukesh), Har Kushi Ho Jahaan Tu Jahaan Bhi Rahe (Lata) and Aayi Jhoom Ke Basant (Asha, Manna Dey etc.) are other notable popular songs. However my personal favourite is Kasme Vaade Pyar Wafa, Sab Baaten Hain Baaton Ka Kya (Manna Dey).

Manoj Kumar became Bhaarat forever for the movies of his banner with Upkaar. He has done well and in my view, this is the second best acting performance of his career (the best is in Shaheed). Asha Parekh, Kamini Kaushal, Prem Chopra (who has always been an integral part of Manoj Kumar's movies), Aruna Irani (a village girl, engaged to Pooran), Manmohan (Dr. Kavita's brother), David (army major) etc. have done well. The baddies (and the comedians) are over the top.

But the character that became immortal with this movie is Malang Chacha who gave a pleasant turn to the career of the most hated villain of Bollywood, Pran. Pran has performed the role of the handicapped, carefree and outspoken Malang Chacha so well that you can never forget him after watching this movie. The song - Kasme Vaade Pyar Wafa has been picturized on him only.

Frankly speaking, Upkaar is sheer entertainment wrapped in patriotism. Still the movie is highly admirable and despite the change in times, relevant even today in several ways. The family bonds, the importance of the ancestral property, the love for the motherland, the sentiment of sacrifice etc. have not got outdated with time. It still appeals and should not be missed by the people interested in watching golden oldies. It has a great repeat value and the first time watcher will definitely like to watch it again.

Upkaar is a sadly overlooked film in canonical film studies, despite its popularity. It has probably been played on TV on independence day in India more than any other film.

Manoj Kumar as the faultless Bharat is the epitome of 'Ram Rajya' and Asha Parekh is the immaculately subservient partner. Prem Chopra is the brother gone astray, turned over by the collusion of the western influences of the city, and the evil moneylender/landlord (and thus, both evils are one!). Several symbols of nationhood, benevolent military, self-sacrificing mothers (and westernized wenches) present a complete, unadulterated picture of the struggles of the righteous in a rising nation-state. See Chinese propaganda films of the Great Leap Forward, the farm-worker parallels are astonishing.

Interestingly, this was not just a turning point in Manoj Kumar's career (he practically turned to a staple screen patriot after this), but also in Pran's career - usually playing villain, Pran excelled here as a disabled farmer, a role that entirely changed his own career path in the Hindi film industry.

This movie was a trendsetter in many ways. Born out of a meeting between then prime minister Lal Bahadur Shastri and Manoj Kumar at the screening of his immensely popular Shaheed in 1965,the story was written in a 24 hour period on the filmmaker's train journey back to Mumbai and released 2 years later after the prime minister's demise.

The issues tackled in the movie were extremely significant at the time,with India facing acute food shortages in addition to fighting multiple unprovoked wars in a short span of time. Some stay relevant even today. Though there is a trend currently to treat patriotic films with extreme viewpoints,many dismissive, this movie is far from being jingoistic.(I do admit I prefer realistically picturised movies over CGI generated visuals,even in the so called patriotic ones) .It might seem formulaic to some because movies that came after followed this formula. This is a movie of a more innocent and non jaded time and needs to be viewed as such. For example,a city girl wanting to stay in the village might be perceived today to be docile or all sacrificing but one really has nothing to do with the other ,even today. An example in real life is the husband -wife doctor duo of Prakash Amte and Mandakini Amte. And never in the movie is it indicated that she's giving up her career. In that she's actually a more 'modern' female character than many portrayals of her in contemporary movies as the gali spewing,drinking,cigarette smoking bindass girl,who's supposed to be a tomboy but looks like she's spent hours in a salon,who also in real life would probably never get a job,because oops!... in our efforts to look contrived modern, we forgot to get an education along the way! In contrast this movie handles a lot of topics with sensitivity and maturity, each character representing a differing viewpoint. No woman is falling at any man's feet to get his 'charno ki dhool' and the dialogues between the protagonist/doctor or doctor/brother with regards to courtship and marriage are surprisingly matter of fact. I especially like that it lacks the typical over the top mother- son melodrama of most Hindi movies. Here the mother is less emotional than the older brother about dividing the land ; there's also no overdrawn dialogue between the two when the older brother leaves town. There is also no unnecessary west vs east mischaracterization in absolutes(there is a perfectly good natured non Indian character and a number of unsavoury Indian ones). Most performances are good,the standout is Pran as Malang chacha, especially because he was playing against character. This movie, to its credit is a well written original,unapologetic tale about who we were then as a country,talking more about what it should mean to us, about recognizing it's needs and our duty as citizens towards fulfilling them and most importantly about what dreams are really worth chasing.