The reason it has held so well is because it’s real, a part of the lived experiences of the audience, and holds a mirror to their lives. “Till date, I get calls when someone watches it,” he says. Piya Ka Ghar, says it feels fresh even today.
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You can subscribe for free here ‘Because it’s real’Īnil Dhawan, who played the lead, alongside Jaya Bachchan, in There were the Perreira-Braganza families ofīaton Baton Mein (1979) that came to define Bandra households, whileĪpne Paraye (1981) looked at the fissures within a family that can lead to its eventual disintegration.Īlso Read: Get 'First Day First Show', our weekly newsletter from the world of cinema, in your inbox. Khatta Meetha (1978) that looked at the hell that breaks loose when two widowed people decide to get married much to the consternation of their kids. Priyatama (1977), about a young couple on the verge of divorce, or Hamari Bahu Alka (1982) explored a similar theme - a couple’s search for privacy - although driven by entirely different compulsions.įamily and the skein of relationships within its folds remained a lifelong concern for Chatterjee. Piya Ka Ghar (1972), where newly married Malti (Jaya Bachchan), used to the expanse of her village home, finds it disconcerting to have no privacy with her husband Ram (Anil Dhawan) in the matchbox flat which houses all the members of the family together.
He, along with Hrishikesh Mukherjee, became the torchbearer of light-hearted, entertaining, middle class family dramas that offered a parallel narrative to the mainstream Angry Young Man movies on the one hand and the radical, path-breaking, artistic and experimental concerns of the New Wave. Teesri Kasam in 1966) continued to remain Chatterjee’s creative comrades and friends, though he himself opted to embrace what has since been called the middle-of-the road cinema. Kaul, Kumar Shahani and Basu Bhattacharya (whom Chatterjee assisted in One of the lesser known facts about the film is that it starred Mani Kaul in a rare, major acting role. Uski Roti from the same year - is regarded as having ushered in the New Wave movement in Indian cinema.
Sara Akash, set in a joint family in Agra, was about a young, incompatible couple, forced into an arranged marriage, trying to adjust to domesticity and gradually getting to discover each other. Filmmaker-screenwriter Basu Chatterjee could well be called the quintessential family man of Hindi cinema of the 1970s and 1980s.
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