A convergence of all who mattered at Shiv temple – the hero Shankar (Dilip), the heroine Rajni (Vyjyanthimala), the friend of the hero Krishna (Ajit) who turns his enemy circumstantially, the conspiring sister of the hero Manju (Chand Usmani)! The two males seeking the divine intervention as to who wins the hand of the fair maiden – the heroine here!
A Sahir bhajan – Aana hai to aa – beckoning the men of faith, and the others too, to come, if they can, and surrender – attends on the high drama played in silence inter-se the four players, each, except the heroine, engrossed in his/her own anticipation/apprehension/machination! The bhajan, sung by a faqir at the temple threshold, comprises three stanzas, together articulating the respective mental states of the players. The first stanza sums up the two friends:
jab tujh se na suljhe tere uljhe hue dhandhe
bhagwan ke insaaf pe sab chod de bande
khud hi teri mushkil ko woh aasan karega
jo tu nahi kar paya wo bhagwan karega!
The friends have indeed left it to Him, and are in surrender.
The penultimate para is my favourite, it speaks perfectly for the heroine who is absolutely oblivious to the fact that she is being treated as a love trophy. Yet she loves Shankar, the hero. On the point, the stanza is so explicit: kehne ki zaroorat nahi aana hi bahut hai, iss dar pe tera sheesh jhukana hi bahut hai, jo kuch hai tere dil mein data ko khabar hai, bande tere har haal petere maalik ki nazar hai…!
The concluding stanza is interesting: bin maange bhi milati hain yahan man ki muraaden, dil saaf ho jinaka woh yahan aa ke sada de, milata hai jahan pyaar wo darbar yahi hai, duniya ks sabse badi sarkar yahi hai… This implicitly raises the means-and-end question. Manju is clear in her heart, yet employs a method unethical to preempt her love Krishna succeeding to the other woman Rajni! In the divine scheme of things, the purity of means or the lack of it, it seems, does not impact the outcome. Rajni therefore accrues to the hero Shankar prima facie owing to subterfuge on the part of Manju! One can take this to be a divine wish. But what about Krishna? He too is surrendered to Him with a clear heart ?! Or is it that HE too is not taken in by the one-way love?
Be that as it may, this bhajan has a stand-alone status, independent of its cinematic context, for each of its stanzas enunciates a gospel.
This bhajan also incidentally raises a question: Was Sahir a believer? Perhaps, he was not, at least he did not believe in the religion ridden with dogmas and rituals. Perhaps, he did consider the possibility of an omniscient over-riding dispensation – of a world that was not an outcome of chaotic impulses – as could be evident in this bhajan – one of the best in its genre – Aana hai to aa… The four words aana hai to aa is no ordinary construction. The cinematic context of the song notwithstanding, the fiercely independent spirit of Sahir is still discernible in it: Come if you can, if you must, it is your choice! Sahir is not submissive, is not servile even while handling the God!
Aana hai to aa…
Originally written on 10 August 2018
Exceptional thinker and writer Vijay Kumar was with The Ministry of Tourism, New Delhi, where he resides. He enjoys his children, dotes on his grandchildren, and loves Hindi film songs with meaningful lyrics.