When Hindi cinema trains its cameras on itself — whether in Kaagaz Ke Phool, Khoya Khoya Chaand or Luck By Chance — the resulting mood is rather dark and brooding. In Guddi, renowned director Hrishikesh Mukherji showcases Mumbai’s film world; and while he does shine a torch on crushed dreams and the grit behind the glamour, it is a largely benign view. The Hindi film industry seems to be overcrowded with intrinsically decent and eccentrically delightful characters. Perhaps that’s where the film’s appeal partly lies.
A star-making performance
And of course much of Guddi’s enduring appeal is also contained in the endearing central character of an everygirl whose dilemmas are accessible to most. In a star-making turn, Jaya Bhaduri essays the role of a filmstar-crazy teen tornado who reluctantly gives up her obsession for matinee idol Dharmendra (playing himself) and finds herself drawn to her man-next-door fiance. The realisation that even glamorous male movie stars are nothing but hard-working human beings leading rather banal, mundane lives is gradual and painful for the innocent Guddi, and marks her passage to adulthood and maturity.
The teacup-sized Kusum aka Guddi is a spunky senior schoolgirl and Jaya Bhaduri (though she was 23 at the time) is perfectly cast. On Jaya’s first day of shooting with Dharmendra, he came up to her and asked, “You are the heroine of the film? Tumhari umar kya hai (How old are you?)” But Jaya was already a film student and Hrishikesh Mukherji had visited the Film and Television Institute of India, Pune, to meet Jaya at her principal’s recommendation before signing her on for the titular role in Guddi (1971).
Guddi is seeped in film culture; ‘Mala Sinha bhi pehenti hai’ (Mala Sinha also wears this), she says when she wants to wear a frock. And she is obsessed with her favourite actor, Dharmendra. But there is also a sensitive and sensible side to her. The motherless Guddi has been brought up by her Bhabhi (Sumita Sanyal) who indulges her, and the youngster reciprocates her love by being good at academics so that Bhabhi is not blamed for neglecting her.
But when Bhabhi fixes up Guddi’s match with her engineer brother Navin (newcomer Samit), Guddi is shocked. Hrishikesh Mukherji and co-writer Gulzar take care to underline the cultural imperialism of films on the minds of some in the audience by making Guddi mouth some delightfully filmi lines. When the matchmaking is announced, Guddi dramatically runs to the terrace and tells Navin: ‘Yeh shaadi nahin ho sakti’. When he asks for an explanation, she pleads, ‘Mujhe majboor mat karo’. Finally, she reveals that she is in love with film star Dharmendra.
Behind the scenes sweat
Guddi’s sagacious Mamaji (Utpal Dutt), a Professor Of Experimental Psychology, works out a solution. He meets Dharmendra and asks the initially reluctant but surprisingly co-operative actor to help his star-struck niece. The twosome now plot and plan to get Guddi to see the behind-the-scenes sweat and grime of a film crew that goes into manufacturing the make-believe world of films.
After a series of visits to the studios with Navin in tow, Guddi is shorn of her illusions as she gets a reality check on films and film people. A villain in films (Pran) may be a nice guy in real life; an onscreen miser (Om Prakash) may be totally different in person. Meanwhile, Dharmendra too sportingly does his bit to build up Navin in her eyes — including losing to him in tennis — and Guddi finally starts questioning her choices.
As a film industry insider, Mukherji also handles with pathos the depiction of the wasted lives of a struggler chasing a mirage. Asrani plays Guddi’s friend’s brother who runs away to be a hero, but ends up an extra. Dharmendra’s speech about the impermanence of film while standing in front of a burnt shell of a studio is also potent.
Hrishida had already worked with Dharmendra in landmark films like Anupama (1966) and Satyakam (1969) and persuaded his star-friend to ingeniously play himself; a master stroke of casting because few stars would be convincing in the role of a star who invests so much time on a fan. Mukherji also got several stars like Dilip Kumar, Rajesh Khanna, Amitabh Bachchan, Mala Sinha, Biswajeet, Navin Nischol, and Vimi to put in special appearances, showing them toiling under harsh lights in the studios.
Utpal Dutt’s turn as Jaya’s caring but scheming uncle kick-started his memorable career in Hindi films. On the other hand, the film was veteran composer Vasant Desai’s last major hit. Vani Jairam’s playback singing in songs such as Hum ko man ki shakti dena and Bole re papihara were much appreciated.
New wave
Jaya Bhaduri’s art held little artifice at a time when big wigs and glamour reigned supreme. But she could project wide-eyed innocence without a false note. Guddi’s giggly, girlish character became closely identified with Jaya. Though it sometimes constricted the range of roles she was offered, it made her a very popular star.
Amitabh Bachchan was pencilled in to play Jaya’s hero originally. But Hrishikesh Mukherji wanted a totally new face to play Navin’s role and Amitabh had become famous in Mukherji’s own Anand so the director decided against casting him. Later, Amitabh went on to become Jaya’s husband in real life.
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