1992 saw the release of Meera Ka Mohan, headlined by Avinash Wadhawan, featuring the chart-busting disco-devotional O Krishna You Are The Greatest Musician of the World. Keeping the cine-goers glued to the theatres also was Kumar Sanu crooning In The Morning By The Sea for Ronit Roy and friends in Jaan Tere Naam. The year witnessed SRK doing one of his earliest roles as a hero in Hema Malini’s directorial debut Dil Aashna Hai. Then there was Amrish Puri singing Shom Shom Shamo Sha while playing a trumpet, sitar and drums in Anil Sharma’s Tehelka. Govinda and David Dhawan found each other with Shola aur Shabnam, and Madhuri Dixit discovered her breasts with Dhak Dhak Karne Laga in Beta. For people with more discerning taste, Meenakshi Sheshadri referred to Chiranjeevi as Tota Mere Tota in Aaj Ka Gundaraj, Rahul Roy became a tiger in Junoon and Salman Khan wore a golden colored wig to pirouette with his inner Thor in Suryavanshi. Obviously, some of us had fun growing up.
1992 was also the year of Jo Jeeta Wohi Sikandar.
The brilliant Mansoor Khan’s second cinematic outing offered a straightforward story. Sanju is a happy-go-lucky boy, smoking cigarettes and bunking classes, leading a carefree life with his carefree friends in Dehradun. His father Ramlal is the sports teacher at the lowest-on-the-rung Model School. There is a clear class divide between the hill town’s elite schools and their local counterparts – nowhere more apparent than the bicycle race on which the movie hinges. When Ratan, Sanju’s elder brother, has a near-fatal accident while preparing for the inter-college race, it becomes Sanju’s responsibility to take over and compete against Shekhar Malhotra, the flashy champion from the flashy Rajput College. Sanju feels the combined agony of his father and brother, turns around, prepares for the race, wins it, and in the process, discovers himself. Jo Jeeta Wohi Sikandar. End of story.
But despite this very basic storyline, Jo Jeeta… is perhaps the only movie from 1992 to have survived the test of time 30 years since its release. If you happen to watch anything made that year, you will be taken to a world that is distant, jagged, and often embarrassing. The stencilled heroes waltz between the plastic and the profane, flaunting a rather coarse machismo challenging Mr Richter. The heroines wear conical bras, their Saroj-Khan-nominated cleavages heaving extra hard to seduce them heartless heroes and their ripped muscles. The villains are odd, outlandish, and over-the-top, and perhaps the most entertaining architectural remains of the era gone by. The films speak a language that is totally different from anything around or about us at present.
NOT Jo Jeeta Wohi Sikandar.
Tag it with the “Smoking is Injurious to Health” warning, cut Deepak Tijori’s hair short, ignore some of the fashion faux pas that are the vestiges of the horrible ’80s, and hell, it will pass off as the real deal even now! It remains as fresh and relevant today as it was then. The simple story, the key messaging and its aftereffects, the lovely everyday characters, the bonding and affiliations, the victories and defeats, the joys and sorrows, the aspirations and ambitions… all of it is universal and identifiable. Now, and perhaps even 30 years from today!
In the multi-layered backdrop of teenage yearnings, of silent, unrequited and failed romances, of the angst stemming from class divides between the haves and have-nots, Khan recreates the world of The Archies in an Indian avatar, sans any artificial pompoms and cheerleaders. Just a dash of Farah Khan and Jatin-Lalit freshness, the velvety voice of Udit Narayan, the vulnerability and innocence of Ayesha Jhulka, Aditya Lakhia and Deven Bhojani, and, of course, the charm of Aamir Khan as Sanju.
Sanju is vain, selfish, and twisted. He exploits Anjali, his best friend, because he knows she is secretly in love with him. He takes Maqsood and Ghanshu, his close confidantes and partners in crime, for granted while playing their ring leader. He consciously cons Devika – the shimmering, sizzling Pooja Bedi – into believing he is the son of the multi-millionaire Thapar. He actually instigates a fight at his father’s cafe and gets it totalled. Sanju is everything a hero should not be.
But there is something about Sanju that only heroes can be. He is a non-conformist. The defiant cry of Jo Sab Karte Hain Yaaron, Woh Kyon Hum Tum Karein is inspiring if you don’t subscribe to the thought, and comforting if you do. Your heart beats for Sanju because there is a little bit of him in all of us. Or there is a little bit of Sanju that all of us want to be. Precisely why you feel sorry for him when he gets exposed in front of Devika. Or when Thapar yells at him in the presence of all of his guests. Or when Ramlal throws him out of the house.
Ramlal is a strict father. He is also guilty of playing favourites. Which explains Sanju’s continued insubordination and insolence. The father is the system, the man. Sanju is the rebel, while Ratan follows the norm. To such an extent that when Sanju leads the pack in the Sheher Ki Pariyon Ke song, the elder brother voluntarily plays the second fiddle. The love between the siblings is not cardboard, melodramatic, or overtly emotional. And yet, when Ratan is admitted to the hospital, Rooth Ke Humse Kabhi tugs at your heartstrings and tears the ventricles out.
The rich-poor divide and the continuous hostility toward the poor – the pajama chhap – is a recurring theme in the film. Khan chooses a rather interesting cinematic device to reveal Sanju’s poverty to Devika. A dance sequence featuring a Chaplinesque Sanju, complete with tattered clothes. But you see the light at the end of the tunnel when you hear the Model School team mouthing the lines, Yeh Maana Abhi Hain Khaali Haath, Na Honge Sada Yahi Din Raat, Kabhi Toh Banegi Apni Baat, Arre Yaaron, Mere Pyaaron. It is almost poetic, Devika’s changing expressions as Sanju lives up his penury!
Jo Jeeta Wohi Sikandar appeared at a time when the reforms that would result in opening up our economy had just been initiated. We were still reeling from the garishness of the ’80s, but the theme of class inequality that populated the films of the ’70s still endured. Jo Jeeta… was perhaps the first film that brought home class inequality the way many of us actually experienced it. Not the way Amitabh Bachchan did, raging against the machine and the system. You weren’t fighting for scraps on the streets or refusing to pick coins off the road, but you did feel a twinge of jealousy when you saw someone in a nice car you couldn’t own.
For an entire generation of cine-goers figuring themselves in the 1990s, Jo Jeeta Wohi Sikandar was, therefore, not just a film. It inspired us to stay happy, take risks, not follow the norm, know and appreciate the value of success, and, well, work towards it. Jo Jeeta Wohi Sikandar was, in many ways, a lesson in life. And one realises this even more so now, looking back.
POST SCRIPT: 1992 was also the year a numerically sound Ajay Devgan checked on the audiences’ Jigar, Sunil Shetty made his debut in Balwan, Akshay Kumar started playing the Khiladi, and Sanjay Dutt figured the joys of romancing the wet sari in Yalgaar. We were one lucky lot, clearly! :)
When I moved to Mumbai in the 90s, I had a singular agenda. I wanted to kill Aditya Narayan. He was fast turning into the resident kiddy voice of Bollywood, mouthing inanities like Atli Batli Chakhlo Chakhli Chakhlo Vadapao, Khao Jalebi Oh Baby, Babu Ko Bhi Lao and Sim Sim Pola Pola Sim Sim Pola, Fine Flat Flute Pipe Petula Petula, Drum Drum Tubelet Symbola Symbola on us unsuspecting victims, and his entire vocal fold oscillation system needed to be amputated for the greater good of the mankind. The idea was also to use the opportunity to steal all the pansy purple and ruby red bandmaster blazers owned by his dad Udit Narayan and then burn them with acid. After shredding them into a thousand little pieces, that is. Unfortunately, I could not quite succeed in my mission. I had to let the father-son duo live because one needed the Biharis in the city for Raj Thackeray to get angry at, later in our lives.
I live to regret my decision.
Because just when I thought Aditya’s larynx, pharynx and trachea had been tamed and converted into Udit Narayan without his moustache, being aptly utilized in Zee TV’s singing monstrosities, Narayan Jr. made a fresh comeback to Hindi Cinema with Vikram Bhatt’s Shaapit The Cursed, as the leading man, no less, which I caught on cable TV the other day. The film also had Rahul Dev playing Professor Pashupati, a professor of Paranormal Studies. So, yes, it was an intellectually stimulating work of art, indeed, as all the films made by all the Bhatts are. But we are digressing already. Twenty minutes into the movie, Aditya does this morbidly ecstatic dance of extreme elation with an umbrella, swaying his limbs like some spastic sex-toy on stimulating substances. I swear by my middle class gods I am not exaggerating this. He jumps with joy, he goes back and forth, he makes random circular motions. AND he kisses the umbrella like some hungry African kid just hitting puberty. All to express his love for some girl in leotards.
Exactly the point at which the nauseatingly exasperating memories of the past began to haunt me, frame by frame, shot by shot, sound by sound. Doobi Doobi Dub Dub.
And what an onslaught it was. Of actors who were not meant to be heroes. Of heroes who were not meant to be in the movies. Of movies which were not meant to be in existence. Of existences that were… okay, I need to stop this. It was as if Bollywood’s bad chromosomes had suddenly decided to descend into my brains all at one go, punishing me for getting myself reintroduced to Mr. Narayan. Of course, I do realize that all film industries have good actors and bad actors, and Hindi film industry cannot be an exception. We have the histrionics and hysterics of Dilip Kumar, Amitabh Bachchan, Shah Rukh Khan and the likes. And then there are the better actors. But I don’t think any industry can flaunt as many also-rans and almost-rans as we do.
Back to the attack, though. The first set constituted of people who believed they had the right to plunder our posteriors with their plasticity because of their family connections. The list was extensive, endless and on-going. From Sunil Dutt’s brother Som Dutt (He debuted in Man Ka Meet along with a small time actor called Vinod Khanna who played the villain.) to Mahendra Kapoor’s son Rohan Kapoor (His father sang Mere Desh Ki Dharti, he danced to Oh Miss De De Kiss. Fair enough.) to Suneil Anand (Dev Anand’s numerically-adjusted son, trained extensively in Hong Kong under Grandmaster Sifu Leung Ting in Wing Tsun Kung Fu. Don’t blame me. Wikipedia says so.) to Uday Chopra and Kishan Kumar, the legendary brothers of Aditya Chopra and Gulshan Kumar respectively, to Faizal Khan (He acted with his brother Aamir Khan in Mela. Then they got separated. Mela.) and Sohail Khan (Salman Khan with a flatter face, flatter nostrils and flatter acting skills.) in recent times.
Then there were the independent invaders, the strugglers who got lucky enough to assault the viewers with their talent, or the lack of it. Legend has it that the theatres would erupt in wild applause when the 70s hero Anil Dhawan would get whacked by the villain Shatrughan Sinha. The decades that followed saw actors like Arun Govil (Of tobacco teeth and Maganlal Dresswala dhotis fame. Also Advani’s best friend.), Dheeraj Kumar (Debut film: Raaton Ka Raja. I rest my case.), Vijay Arora (Romanced with Zeenat Aman in Chura Liya and played Meghnad in Ramayan. Botched them up with equal earnestness.) and later Deepak Parashar, Deepak Malhotra (Famous last word: Pallo.), Inder Kumar, Avinash Wadhawan, Ronit Roy, Sudesh Berry, Vikas Bhalla, Hemant Birje and Chandrachur Singh at various points of times of our lives. A lot of these guys were resurrected later in their careers by Ekta Kapoor. That must be exciting.
The last category was that of the rich boys. Have money, will make movies. Cases in point: Harman Baweja (The robot dance moves of Love Story 2020 got rejected by the audiences. Which is why an Oscar nominated director made What’s Your Raashee with him.) and Jackie Bhagnani (F.A.L.T.U. and now Rangrezz). If you don’t have a rich father from the industry, get one from outside of it. Or so did convey Anuj Saxena (Heir to a mega pharma company. Heard of this film called Chase? Neither has he. He produced and acted in it.) and Sachin Joshi (Aazaan, Mumbai Mirror. Son of Gutkha King Jagdish Joshi. It shows.). The Naseer Khans and Kamaal R Khans of the world were next in line. Naseer, a supposedly partially-blind actor, made this film called Shadows. He was later put behind bars for some chit fund fraud, though I wish they had arrested him for this film. Kamaal R Khan made Deshdrohi, the sole reason why the North Indians believe the North Indians should be out of Mumbai.
Now imagine all these guys entering your mindspace one after the other in a never-ending space time continuum, displaying their mojos. From Kiran Kumar to Kush Sinha. From Mahendra Sandhu to Mimoh Chakraborty. As you simultaneously shed tears and witness the Aditya Narayan thingamajig on screen. Bad acting, awkward screen presence and a personality painful enough to give you haemorrhoids.
Yes. I wish I had taken care of the boy when he was younger. I am sure YOU do now. :)
(Had written this piece for Outlook magazine. That explains the length of the article. Or the lack of it.)