Payal Ki Jhankaar

Payal Ki Jhankaar is a lovable movie directed by Satyen Bose, based on the Indian classical music and Indian classical dances with a rural and simple backdrop, quite true to the Rajshri tradition. Late Tarachand Barjatya made it in 1980 taking erstwhile child artist Komal Mahuvakar in the lead role of a teenager village girl having inborn dancing talent in her. Another erstwhile child artist Alankar Joshi was taken opposite her. However neither this movie shows any romance between them, nor any opposite sex attraction of the teenagers of barely 15-16 years of age. This is a classic movie which touches the chord of the heart of all those who believes in the Indian Guru-Shishya tradition and who love Indian classical music and dances. It's completely free from vulgarity, violence and meaningless sequences.

The plot belongs to an orphan teenager Shyama (Komal) whose only inspiration and motivator is her buddy Gopal (Alankar) who always boosts her morale to sharpen her inborn dancing talent and make it big in the world of music and dance. How she does it after getting proper education from a low profile Guruji who teaches, not for money, but to develop new talent from among the youngsters who have the passion for dance. Staying away from all the pump and show, he prefers acting as an able jeweller for the young dancers, cutting and carving the uncut stones and converting them into beautiful and precious jewels. Shyama's devotion to dance, her relentless practice and guidance and blessings of Guruji coupled with Gopal's motivation lead her to win a high profile dancing contest between herself and an internationally renowned dancer, Veena.

Komal Mahuvakar has been a great classical dancer alongwith being a renowned child artist of the seventies. In this, the only lead role of her career, she has infused life through her innocent mannerisms and enchanting dances. She looks quite beautiful too and her on-screen chemistry with Alankar is extra-ordinary. Alankar and others have supported her well. The songs picturised upon her have been sung by Sulakshana Pandit. The voices of Sulakshana, Yesudas (sang for Alankar) and many others alongwith touching lyrics of Maya Govind, highly melodious music by Raj Kamal and simply adorable choreography have created an aura which mesmerises the audience. My favourite song of this movie is - Jin Khoja Tin Paaiyan. The other songs viz. Saari Dal Dai Mope Rang, Dekho Kanha Nahin Maanat Batiyaan, Jhirmir Jhirmir Saawan Aayo, Sur Bin Taal Nahin etc. are also excellent; lyric wise, melody wise and of course, choreography wise. The heart-winning dances of the movie were directed by Badri Prasad.

The movie depicts ages old Guru-Shishya tradition of India (Knowledge aspiring pupil living with the learned teacher with a high emotional bond between them). The interactions between the characters involving the dynamics of human emotions like devotion, respect, affection, jealousy, competition, repentence etc. have been portrayed with utmost sincerity and naturality, without going over the top even for a moment. As per the ancient Indian tradition, Shishya's elevation to heights in the world is the real satisfaction and fees for the knowledge-imparting Guru. True Guru does not want anything else. Dr. Raahi Masoom Raza has written touching screenplay with hilarious dialogues on the story of Govind Moonis.

This movie is a compact one (hardly two hours duration). It engrosses the viewer throughout and there is not a single boring moment in the movie. From beginning to end, the movie is filled with such scenes that fill the viewer's heart with sublime feelings. The scene of reappearance of passion in Shyama's dance upon sight of Gopal, portrays innocent untold emotions which can only be felt. The last scene in which Guruji asks Shyama to dedicate her award to her childhood buddy, Gopal who has been her first Guru, is simply superb. The movie also gives a message to the young artists that running after name and fame before seasoning and sharpening your art is wrong. One should not go for contests or public performances with incomplete or half-baked knowledge of the art. In my view, this stand taken by the narrator is exemplary for the talented but raw artists.

I recommend this movie to : 1. Viewers fond of watching neat and clean, simple movies based on emotional plots. 2. Those who are interested in the Indian classical music and dances. 3. Those who want to watch a good movie based on the ancient Guru-Shishya tradition of India. 4. Those talented youngsters who want to make it big in life, having the passion but not the adequate resources.

This simple yet heart-conquering movie was chosen as the Indian entry for the Oscars in 1980.

The moral of the story is - you maintain your passion, resources themselves will approach you. In other words, where there is a will, there is a way.

This is a wonderfully Indian movie about art and devotion and commitment to it. The story touches all those that truly love dance, especially Katthak. Katthak (also spelled 'Kathak') is a north Indian dance form that blends grace and emotion with intricate footwork that goes in delightful accompaniment to intricate beats played on a percussion instrument. The central character is a young orphaned girl, Shyama, raised by her uncle and his not so cordial wife. The only silver lining of her loveless existence is the friendship, support and faith of a boy named Gopal. Gopal inspires and encourages Shyama to dream beyond the confines of her simple village life and urges her to seek tutelage under an able dance guru.

The highlight of the movie is the dance performances of Surinder Kaur, playing the role of Veena and Komal Mahuvakar (as Shyama). The songs are also very soothing, mostly being based on classical music. Underneath all of this lovely music, dance and refreshing story is the theme: What does the true artist ultimately seek ? Fame, fortune and glory by exhibiting one's talent and skills to the world ? Or the sheer joy that lies in unfolding the secrets of that art as one worships it with ones devotion and commitment ?

The last sequence of dances is simply gorgeous. It is a competition between two dancers, one much senior to the other. They dance first in Odissi style, then in Kathak, and finally in a UP- village style.The junior artiste wins, not surprisingly.

Simple songs accompany the Odissi and the Kathak styles, but the words are profound. See the movie again and again for the last 15 minutes.

This sequence also reminds me of a competition between two dancers in Mughal-e-Azam.