Teesra Kinara is a very good but underhyped and underrated, long forgotten movie which was released in 1986, just a few months prior to the death of Smita Patil. This is a triangular relationship-based story starring Anita Raj as the third angle alongwith Smita Patil and Raj Babbar being the first two. It is a relationships based story whose plot reminds me of a very good story - Pravaasi, written by famous literativist, Raangeya Raghav.
Poet and singer Raj Babbar, living a lower middle class life in Mumbai with his wife, Smita Patil and two small sons; happens to come across his ex-flame Anita Raj who is now a widow. They could not marry in the past because of the vast gap in their financial position and status. Smita Patil is a good housewife but she has no esthetic sense whereas Anita Raj had always kept his art in high esteem and always wanted to see him on top of the world. Re-meeting her gives new wings to Raj Babbar's ambitions and their increasing proximity brings about cracks in his marital life with Smita Patil. Misunderstandings keep on increasing between the two, ultimately leading to Raj Babbar's leaving his home and Smita Patil giving him divorce papers, duly signed by her, thus allowing him to live a free life with Anita Raj. How the separated couple reunites, is the climax.
The beauty of the narrative is that it is not based on any illicit relationship type plot. It is a neat and clean movie in which to some extent all the three protagonists are wrong and none of them is completely wrong. The threesome are all flesh and blood human-beings; neither angels, nor devils. Misunderstandings, unfulfilled expectations and communication gap result in breaking of a household but neither the wife, nor the husband is willing to take any wrong path. Even the ex-sweetheart of the hero who unwillingly becomes the third angle of the triangle, is not a vamp or a bad woman. She simply wants to see her first love getting all the name and fame he deserves. The relationship between the erstwhile separated lovers who have come across each other again by chance, is platonic, not sensual.
All the three lead actors have done absolute justice to their roles. Late Smita Patil has been one of the greatest actresses of all times and she scores again in this author-backed role. Raj Babbar had his own fan-following in the eighties, courtesy his rapist act in Insaaf Ka Tarazu and his positive roles in movies like Prem Geet and Mazdoor. He has done his job well and his chemistry with his real life love, Smita Patil, is simply excellent. Anita Raj has got a low profile role but this highly talented as well as highly charming actress of the eighties, is able to leave a mark yet. Her underplay in the climax when she gives Pooja Ke Phool (flowers used in the worship of God) to Smita Patil, speaks of her talent. The supporting cast has not much to do.
The movie maintains an undercurrent of emotions throughout. It's not tear-jerking, yet moves you naturally. The ending scene in which Smita Patil who had ceased to apply vermilion in her hair (which is symbolic of the marital status of a Hindu woman), faces her bed-ridden husband with her hair-parting filled with vermilion again, is very touching and an example of directorial excellence because a lot is said between them without a single dialogue and ending the movie then and there shows the narrator's better sense. The movie has been spared with unnecessary scenes and there is no unnecessary dragging of the storyline at any spot. The editor has used his scissors so lavishly that the narrative carries the viewer towards the desired end so fast as if to give him a feeling of being flown away by a swift water-stream. Emotional movies are usually slow but courtesy the over-enthusiasm of the editor, the narrative of this movie is crisp and brisk.
The cameraman-art director duo has portrayed the simplicity of the village life as well as the middle class areas of Mumbai very well. The dialogues in the movie are also praiseworthy. By listening to the songs of this movie only, I realised that for being an excellent piece of music, a song need not be a chartbuster. The songs of this movie are not chartbusters and they can be categorised as the forgotten songs now, yet lyric wise as well as melody wise, they are just very good. Late Anjaan and his son, Sameer have penned highly meaningful lyrics quite situational according to the narrative) containing very good words. Late Shyam Sagar and Uttam-Jagdeesh have composed the music which is melodious and according to the mood of the movie. Shabbeer Kumar and Anuradha Powdwal have beautifully sung the songs. Just listen to the songs like Jheel Rakhoon, Hum Kitne Khushnaseeb Hain, Koi Naam and Diya To Jale from this movie, silently and peacefully and you will realise their quality and strength.
All in all, Teesra Kinara is an emotionally appealing movie which will be liked by not only all the fans of Raj Babbar and late Smita Patil but also the people liking sentimental movies based on triangular relationships. The moral of this story is - be expressive in your relationships (especially marital) and don't allow any communication gap to creep in. Communication gap is the biggest enemy of all relationships, it is my clear and unbiased opinion.
A simple but excellent emotional drama.
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