| katra katra milti hai - katra katra jeene do || A Night full of memories |

 

‘Aadate bhi ajeeb hoti hai

saans lena bhi kaisi aadat hai

jiye jaana bhi kya rivayat hai

jiye jaate hai, jiye jaate hai

aadate bhi ajeeb hoti hai’

(Aadat/ Maya’s nazm – Gulzar)

Ijaazat was a loose adaptation of a Bengali short story by Subodh Ghosh named 'Jotugriha', which is the name of the house of the Pandavas in the Adi Parva of the Mahabharata, built such that it would go up in flames one day. Sudha and Mahender, too had a home once, a home that couldn't be saved from the tempest of the past. Released 34 years ago, this is a film that continues to enchant us - perhaps because there's a bit of the past left in each of us. 'Aadate bhi ajeeb hoti hai'.

34 years of Sudha, Mahender, and Maya. 34 years of Ijaazat.

Every time I think of Ijazaat, I remember what an author friend had told me (in reference to the film): "I think of the world as Anuradha Patel's face, janish. That it can take the extreme ravages of sadness and still not be bitter. That it'll still have grace."

This movie is a masterpiece that deserves its own post. However, this song is another thing. Beautiful sung by Asha, the composer used the echo in the song to emphasize the depth of life being described.  Every single line in the song opens your mind to myriad of thoughts. Yet, whenever I hear this song it leaves me with goosebumps, raises the hair at the back of my neck. I am yet to find out if that feeling is because I like to live life in moments or is it because it makes me feel that life is nothing but these bits and pieces only. Whatever the reason, Gulzar was definitely at his best again.

Just look at what the opening lines itself mean.

Katra Katra Milti Hai, Katra Katra Jeene Do

Zindagi Hai (Zindagi Hai); Behne Do (Behne Do)

Pyaasi Hoon Main Pyaasi Rehne Do (Rehne Do Na), Rehne Do

Tranliteration:

Drop by Drop it is given, Drop by Drop live it

It is Life (It is Life); Let it flow (Let it flow)

Thirsty am I, Be it so, Just be it so

Ijaazat is a mix of emotions, a film that speaks to us because we understand each individual. We understand why Sudha wants to run away from the waiting room first, but then involuntarily arranges Mahender’s things. It is this same habit – the impossibility of separating ourselves fully from the person we used to love, that once made Maya call Mahender even after they were supposed to forget one another, the ring of the telephone suddenly a threat to Sudha – breaking silences and moments of marital bliss. ‘Ghar bhi to waiting room tha,’ says Mahender to Sudha at the station – remembrance of a home that was built on uncertainty, a home where one must wait endlessly for the other to forget.

Despite a few things in the film that today’s world shall not agree with (the scene where Sudha touches Mahender’s feet makes me uncomfortable every time I watch it), it is interesting to note that Ijaazat has firmly stood the test of time. The story, its people, the music of Gulzar-Pancham, the cinematography of Ashok Mehta (who also did a quick cameo in the film wearing his iconic hat) – all of it has been loved over years and generations. Perhaps because each of us continue to carry a lot of the past within ourselves, and never really stop caring.

Tumne To Aakash Bichhaya, Mere Nange Pairon Mein Zameen Hai

Kal Ki Bhi Tumhari Aarzoo Ho, Ho Shayad Aisi Zindagi Haseen Hai

Aarzoo Mein Behne Do, Pyaasi Hoon Main Pyaasi Rehne Do (Rehne Do Na)

More read : 

O sanam          Wish you were here             Ray and his music

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