Hrishikesh Mukherjee’s timeless comedy Chupke Chupke turns 50

There was something about Hindi cinema in 1975. The range of genres that one witnessed in films that year was almost schizophrenic in nature – Deewaar and Jai Santoshi Maa, Mausam and Ranga Khush… one can go on. Nothing exemplified this better than two films that starred two of Indian cinema’s biggest stars but in roles so disparate that it beggars belief they were the product of the same time. 

 

Sholay, starring Amitabh Bachchan and Dharmendra, stunned audiences with its violence and ferocity. Approximately four months before Sholay fired the imagination of Indian viewers, the two stars — along with Jaya Bhaduri, who was a part of the film — featured in another film that could not have been more different. A laugh riot from the beginning to the end, Chupke Chupke is now considered a bona fide comedy classic of Indian cinema. Celebrating its 50th anniversary this month, marking half a century of its enduring appeal, Chupke Chupke continues to charm viewers with its wit, warmth and joie de vivre.

 

A Unique Concept in a Changing Cinema Landscape

Chupke Chupke was released in an era when the likes of Sholay and Deewaar were defining mainstream Indian cinema. The 1970s were a time when the Hindi film industry was in the midst of transitioning from the more light-hearted, musical melodramas of the 1960s to socially relevant, action-packed blockbusters. Within this changing landscape, Hrishikesh Mukherjee’s Chupke Chupke offered a refreshing departure with its blithe situational comedy and its focus on humour over spectacle.

 

The film’s narrative revolves around a newlywed couple, Parimal (Dharmendra) and Sulekha (Sharmila Tagore). The former plans an elaborate practical joke to fool Sulekha’s jijaji (brother-in-law) of whom Sulekha thinks very highly. The plot is deceptively simple but provides a canvas for a series of comedic situations that unfold in a traditional, middle-class household. What makes Chupke Chupke stand out is not just its plot but the way it handles its characters, the subtleties of humour, and the human dynamics at play. Fifty years later, one cannot but look back with nostalgia for a lost world in the way the film goes about addressing family relationships. It examines the dynamics between in-laws, the misunderstandings that can arise in a family, and how love and laughter can help resolve even the most tricky of situations. 

The theme of practical jokes — though central to the plot — also speaks to the importance of trust and mutual understanding in relationships. The humour is never mean-spirited or cruel; instead, it’s built on the bonds that the characters share. In a sense, Chupke Chupke embodies the idea that laughter is the glue that holds families together.

 

A Stellar Cast

Chupke Chupke is often remembered for its stellar ensemble cast, many of whom brought their own unique flavour to the film, making it a perfect blend of understated performances and comedic timing. At the heart of the film is the pairing of Dharmendra and Sharmila, who, despite not being the typical comic duo of the time, excelled in their roles as a newly married couple caught in a whirlwind of mischief and humour.

Dharmendra, known for his rugged image in films like Rakhwala and Sholay, portrayed Parimal with a mix of charm and vulnerability. His portrayal of a man in love who also has a playful side proved that his acting range went far beyond the action roles he was often associated with. Sharmila, on the other hand, brought elegance and grace to her character, creating a subtle yet impactful performance that complemented Dharmendra’s light-hearted performance.

 

The film also saw the comic brilliance of Amitabh Bachchan, who, during the mid-’70s, was transitioning from his early roles to the Angry Young Man persona he would later become known for. Bachchan’s role as Parimal’s friend who joins in his elaborate prank was a refreshing shift from his more intense roles and showcased his ability to master light comedy. His interactions with the ensemble cast are filled with delightful energy, turning each scene into a moment of pure comedic gold.

 

Another iconic figure in Chupke Chupke was the veteran actor Om Prakash, who delivered an easy-going performance as Sharmila’s brother-in-law. The entire supporting cast, which included actors like Jaya Bhaduri, Asrani, David and Lily Chakravarty, with Keshto Mukherjee in a brilliant cameo as, what else, a drunkard, also contributed to the film’s appeal, with their comic timing and effortless performances.

 

The Magic of Hrishikesh Mukherjee’s Direction

Known for his skill in creating movies that depicted middle-class Indian life with a gentle yet humorous touch, Mukherjee’s approach in Chupke Chupke was no different. The film is an excellent example of how he masterfully balanced upbeat comedy with emotional depth to create wholesome family entertainers.

 

With films like Anand (1971) and Bawarchi (1972), Mukherjee was already known for his ability to create relatable, human-centric stories with warmth. In Chupke Chupke, he took the concept of a family gathering and transformed it into a web of misunderstandings, pranks and comic situations. His deft handling of the script, the timing of the jokes, and the way he allowed the actors to play off each other resulted in a film that feels timeless, despite its reliance on traditional familial setups.

 

Additionally, the dialogue in Chupke Chupke, written by Gulzar, is often cited as being one of the key reasons for the film’s enduring legacy. The lines are witty, sharp and reflective of the characters’ personalities. Even the more mundane conversations are crafted to bring out humour, making each scene an enjoyable experience. In particular, the film’s use of shuddh Hindi as a trope – in the dialogues between Dharmendra and Om Prakash – has become the stuff of legends. The running gags and banter on language – the ribbing of the illogicality of English versus the rationale of Hindi – is particularly relevant in today’s era. 

 

Cinematic Style and Music

Led by Jaywant Pathare, the film’s cinematography played a crucial role in shaping its visual tone. Chupke Chupke was shot primarily in indoor sets, and the cinematography effectively brought out the warmth and familiarity of the characters’ surroundings. The lighting and camera angles enhanced the cosy, familial atmosphere, complementing the intimate scale of the film.

 

The film’s soundtrack, composed by the legendary Sachin Dev Burman, is delightful. The song Chupke chupke chal ri purvaiyya became iconic, and its melody captured the essence of the film’s light-hearted romantic atmosphere. There’s also the classic Mohammad Rafi-Kishore Kumar duet Sa re ga ma at the outset – with friends Dharmendra and Bachchan in fine form – that sets the tone for the two main characters as also the film. 

 

In an era of fast-paced filmmaking and digital content, Chupke Chupke is a reminder of how classic storytelling, well-rounded characters and effortless humour can create an experience that transcends time. Its influence is evident in modern-day comedies, and the film has often been cited by directors and actors as an inspiration. In retrospect, while it might not have been a commercial success of the magnitude of Sholay and Deewaar at its time of release, Chupke Chupke has carved out a special place in the hearts of those of us who watch and rewatch it. 

 

 

चुपके चुपके चली पुरवाई

20वीं शताब्दी के सातवें दशक के खूब खून-खराबे वाले एक्शन के दौर में ताजा हवा के शीतल झोंके की तरह आई थी हृषिकेश मुखर्जी की ‘चुपकेचुपके’ । स्वस्थ हास्य और परिवारबोध से परिपूर्ण क्लासिक सिनेमा का उदाहरण बन गई इस फिल्म के 50 साल पूरे होने पर संदीप भूतोड़िया काआलेख...

 

वर्ष 1975 में फिल्म निर्माण की शैली के लिहाज से हिंदी सिनेमा जैसे किसी दोराहे पर था। एक तरफ ‘दीवार’ थी तो दूसरी तरफ ‘जय संतोषी मां’, इसी तरह ‘मौसम’ और ‘रंगा खुश’… बस सिनेमाई विरोधाभासों के नाम गिनते जाइए। इसका सबसे बेहतर उदाहरण थीं दो फिल्में,  दोनों में हीभारतीय सिनेमा के दो सबसे बड़े सितारे थे, मगर उनकी भूमिकाओं में इतनी भिन्नता थी कि यह विश्वास करना मुश्किल है कि वे एक ही समय कीकल्पना थीं!

यह वह वक्त था जब अमिताभ बच्चन और धर्मेंद्र की फिल्म 'शोले'  ने दर्शकों को अपनी हिंसा और उग्रता से स्तब्ध कर दिया था। जबकि 'शोले'  केचार महीने पहले,  अमिताभ बच्चन और धर्मेंद्र (साथ में 'शोले'  में उनकी सहअभिनेत्री जया भादुड़ी भी) एक और फिल्म में थे, जो मिजाज में बिल्कुलअलग थी। शुरू से अंत तक हंसाने वाली, ‘चुपके चुपके’  अब भारतीय सिनेमा की कामेडी क्लासिक मानी जाती है, जो इस महीने अपने प्रथम प्रदर्शनकी 50वीं वर्षगांठ (11 अप्रैल, 1975) मना रही है।

‘चुपके चुपके’  उस दौर में रिलीज हुई थी जब 'शोले' और 'दीवार' मुख्यधारा के भारतीय सिनेमा को परिभाषित कर रही थीं। हल्की-फुल्की, संगीतआधारित नाटकीय किस्सागोई पर एक्शन भरे ब्लाकबस्टर्स भारी पड़ने लगे थे। इस बदलते परिदृश्य में, हृषिकेश मुखर्जी की ‘चुपके चुपके’  अपनीहल्की-फुल्की सिचुएशनल कामेडी और स्वस्थ हास्य से ताजगी भरा बदलाव लेकर आई। फिल्म की कहानी एक नवविवाहित जोड़े परिमल (धर्मेंद्र)और सुलेखा (शर्मिला टैगोर) के इर्द-गिर्द घूमती है। परिमल सुलेखा के जीजाजी (ओमप्रकाश) को मूर्ख बनाने के लिए एक मजाकिया परिस्थितिउत्पन्न करता है, जिन्हें सुलेखा बहुत सम्मान देती है। कहानी सरल सी लगती है लेकिन ‘चुपके चुपके’  को जो बात खास बनाती है वह यह कि यहफिल्म अपने पात्रों, हास्य की बारीकियों और मानवीय संबंधों को कैसे संभालती है। एक अर्थ में,  ‘चुपके चुपके’  इस विचार की प्रतिपादक है कि हंसीवह गोंद है जो परिवारों को एक साथ जोड़े रखता है।

मध्यवर्गीय भारतीय जीवन को एक कोमल लेकिन हास्यपूर्ण स्पर्श के साथ दर्शाने में कुशल हृषिकेश मुखर्जी की ‘चुपके चुपके’  को इसकी अद्भुतस्टारकास्ट के लिए याद किया जाता है, जिनमें से कई ने इसे कला और कामिक टाइमिंग का बेहतरीन मिश्रण बना दिया। धर्मेंद्र, जो 'रखवाला' और'शोले' जैसी फिल्मों में अपनी दमदार छवि के लिए जाने जाते हैं, ने परिमल को आकर्षण और संवेदनशीलता के मिश्रण के साथ निभाया। प्रेम मेंपागल आदमी की उनकी भूमिका ने साबित कर दिया कि उनकी अभिनय सीमा एक्शन भूमिकाओं से कहीं परे है जिनसे वे अक्सर जुड़े होते हैं। दूसरीओर, शर्मिला ने अपने पात्र में ऐसी गरिमा डाली जो धर्मेंद्र के हल्के-फुल्के अभिनय को संतुलित करती थी। परिमल के दोस्त के रूप में फिल्म मेंअमिताभ बच्चन की हास्य प्रतिभा भी दिखाई देती है, जो उस कालखंड में एंग्री यंगमैन की छवि में आ रहे थे। अनुभवी अभिनेता ओम प्रकाश ने शर्मिलाके जीजाजी के रूप में सहज प्रदर्शन किया। जया भादुड़ी, असरानी, डेविड, लिली चक्रवर्ती सहित केश्टो मुखर्जी (जिनकी फिल्म में कैमियो भूमिका थी) ने हास्य टाइमिंग और सहज अभिनय के साथ इसे सदाबहार फिल्म बना दिया।

'आनंद' (1971) और 'बावर्ची' (1972) जैसी फिल्मों के साथ हृषिकेश मुखर्जी हमेशा ही गर्मजोशी भरी अनूठी कहानियां फिल्माने के लिए जाने जातेथे। ‘चुपके चुपके’  में, उन्होंने पारिवारिक विचार को गलतफहमी, शरारत और हास्यपूर्ण स्थितियों के जाल में बदल दिया। स्क्रिप्ट का कुशल प्रबंधन,  कमाल की टाइमिंग और कलाकारों को खिलंदड़े मिजाज बनाए रखने की छूट ऐसी फिल्म में परिणित हुई जो क्लासिक है। इसके अतिरिक्त,  गुलजारद्वारा लिखित फिल्म के संवाद चुटीले होने के साथ पात्रों के व्यक्तित्व को भलीभांति स्थापित करते हैं। यहां तक कि साधारण संवादों को भी हास्य कीभावना से तैयार किया गया है, जिससे प्रत्येक दृश्य एक आनंददायक अनुभव बन जाता है। विशेष रूप से, फिल्म में शुद्ध हिंदी का उपयोग (धर्मेंद्र औरओम प्रकाश के बीच) सिनेमा का पाठ बन गया है। यहां भाषा पर अंग्रेजी की तर्कहीनता बनाम हिंदी की तर्कसंगतता के मजाक आज के समय मेंविशेष रूप से प्रासंगिक हैं।

जयवंत पठारे के नेतृत्व में फिल्म की सिनेमैटोग्राफी ने इसके दृश्य स्वरूप को आकार देने में महत्वपूर्ण भूमिका निभाई। ‘चुपके चुपके’  मुख्य रूप सेइनडोर सेट्स में शूट की गई थी और सिनेमैटोग्राफी  ने पात्रों के चारों ओर गर्मजोशी और परिचय भाव को अच्छी तरह से व्यक्त किया। सचिन देव बर्मनद्वारा रचित फिल्म का संगीत आनंददायक है। गीत 'चुपके चुपके चल री पुरवइया'  की धुन जैसे फिल्म के हल्के-फुल्के रोमांटिक माहौल को कैद करतीहै। इसके अलावा, परिचय में मोहम्मद रफी-किशोर कुमार का डुएट 'सा रे गा मा'  धर्मेंद्र और अमिताभ बच्चन की अद्भुत जोड़ी के साथ-साथ फिल्म केटोन को स्थापित करता है।

आज तेज गति वाले फिल्म निर्माण और डिजिटल कंटेंट के युग में ‘चुपके चुपके’  यह याद दिलाती है कि कैसे एक कुशल निर्देशक, काबिल कलाकारऔर कहानी का बढ़िया ट्रीटमेंट एक ऐसा सिनेमाई अनुभव रच सकते हैं जो कालातीत हो। पीछे मुड़कर देखें तो, भले ही इसे 'शोले' और 'दीवार' केसमान व्यापक व्यावसायिक सफलता नहीं मिली हो,  मगर ‘चुपके चुपके’  ने हमारे दिलों में खास जगह और वह खास प्रशंसक वर्ग बना लिया है, जोइसे बार-बार देखते हैं!

 

( लेखक संस्कृतिकर्मी हैं)

This article is published in Dainik Jagran