Ijaazat (1987) is a film by Gulzar. The film, celebrated for its poetic storytelling, nuanced performances, and soul-stirring music, offers a profound study of human emotions and the complexity of love. When viewed through the lens of the biology of filmmaking, the film's various elements work together like parts of a living organism, contributing to its unique emotional and aesthetic impact.
The DNA of Ijaazat lies in its script, which is based on the story Jatugriha by Subodh Ghosh. It revolves around Mahendra (Naseeruddin Shah) and Sudha (Rekha), a couple who meet in a waiting room after years of separation, and as they reminisce, their complicated past unravels. The script shifts between flashbacks and present-day interactions to narrate their emotional journey. The script ensures that its core elements evolve naturally as the film progresses.
Gulzar’s perfect nervous system is evident in the film’s emotional responses and sensory impact. There is no overt displays of emotion. Many things are expressed through gestures, silences, and glances. Aj undercurrent of longing and unresolved emotion run throughout the film.
Ashok Mehta’s cinematography acts as the circulatory system, carrying the visual essence of the film’s mood and atmosphere. The film’s intimate setting—the rainy waiting room—creates a claustrophobic yet emotionally charged space that heightens the sense of confinement both literally and metaphorically. The rain serves as a recurring motif, symbolizing the flow of memories and emotions.
Sujit Sen's cut and paste technology works very well for the film. The film alternates between past and present with seamless transitions, allowing the audience to absorb the complexity of the relationships over time. The editing carefully balances these two timelines, giving the audience enough space to reflect on the depth of the characters' emotions while maintaining a cohesive narrative flow.
The music by R.D. Burman and Gulzar’s lyrics, are the heartbeat and rhythm of Ijaazat. Songs like “Mera Kuch Saamaan” are not just musical interludes but integral to the emotional texture of the film. The songs serve as a form of poetic dialogue, expressing the unspeakable emotions of the characters. The sound design complements the atmosphere, with the constant sound of rain echoing the characters’ inner turmoil.
The performances by Naseeruddin Shah, Rekha, and Anuradha Patel (who plays Maya, the disruptive love interest) are the muscle and movement of the film. Naseeruddin Shah’s restrained—torn between his love for his wife Sudha and his unresolved feelings for Maya—has to be seen to be believed. My all time favourite Rekha’s performance as Sudha exudes dignity and grace. I would give the highest marks to Anuradha Patel as Maya. Her sense of free-spiritedness is unmatched.
The primary setting of the film—a waiting room at a railway station—serves as the structural backbone of the film, providing a physical space for the characters’ emotional confrontation. It acts much like a skeleton, a framework for the film’s emotional journey.
The soul of the film is reflected in the concept of "Ijaazat". The film does not rely on melodrama but instead uses subtlety and poetic introspection to tackle the emotional wounds left by broken relationships.
In its biology, Ijaazat is a living, breathing entity. It is a testament to the art of filmmaking. Rebirths don't interest me. Films like Ijaazat should not be remade. Kuch kapde baar baar pahanne ke liye nahi, sirf ek baar pahanne ke liye bante hain.
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