एक आना मतलब चार पैसा

“Do Paise ki Dhoop, Chaar Aane ki Baarish. Gulzar is telling you to spend your paisa on dhoop, baarish anyway is dearer”

Tapestry of love and emotions is as such that it transcends the realms of a man-woman binary. Do Paisa ki Dhoop, Chaar Aane ki Baarish is one such evincing tale of warmth, compassion, love and a complex relationship knitting together a gay man, a prostitute, and a special kid — all three emulating a not so normal family. Outcasts to be precise. It is a harsh reality of life that sex workers are still looked down upon, a special kid considered a burden, and a gay man needs fixing. The film does not shy away from exposing the crude words and harsh actions we subject to the likes of the three characters. The characters are simple, real, and mired with flaws just like any one of us. They are unable to accept each other for who they are, what their identity is and what defines them in their essence. The struggle is not of accepting themselves but the other. I think this is what most of us also do. We accept our being but refuse to see someone who is not our self. What makes the movie a beauty is the gradual bonding, care and love they express for each other in this bitter-sweet relationship. We have so many relationships where we say or do unkind things and yet crawl back to them for the warmth and affection it showers.

If love can not be defined merely by a romantic relationship, then what is love?

Is it Debu’s (gay lyricist) forgiveness that allows him to let go of a man who has broken his heart, a man who he thought is for “the keeps”. When someone breaks your heart, does it pain like a glass tearing your flesh apart or is it like a struggle while the ship is sinking? Or is it his acceptance of Juhi (the prostitute) despite all the flaws and rawness that screams of her character through the red lipstick. Is it his care and nurturing for Kaku, the pivotal outcast that acts as an adhesive to this unusual family? Maybe it is Kaku’s stifled words he spoke for the first time — Ma — for Debu and not his mother. Is Juhi’s oscillating role of being a caregiver and provider for her son, not love? Surely, Juhi wearing a diaphanous saree did try to fix Debu with her sensual moves but is it so bad? She was trying to make it a family — a normal family, ignorant that Debu is unable to reciprocate the feelings for her.

When a film runs, an hour or two doesn’t matter, I feel as if the world around me has collapsed into a colour palette speaking through the ebbs and tides of the movie. The movie is underpinned with tones of blue, red, and yellow. The stark red that Juhi wears ticks Debu off and he tries to “subtle her up” with a shade of nude lipstick and sophisticated off-white saree. Juhi, however, is more concerned about her waning youth. Off-white saree or red lipstick, she wants a client — warna ghar kon chalaayega, tumhaare na bikne waale gaane.

When I was a kid my Nani used to say that it rains when Bhagwan Ji is either sad or is washing their clothes. I am still trying to figure out which one of either two is correct. Albeit Deepti Naval thinks it to be the former. When Debu, Kaku and Juhi are falling apart, entangled in their misery and inflicting their pain on the other — it rains. The blue shades take over, God’s crying their hearts and the yellow balloon filled rickshaw passes by as if love is escapable. The yellow balloon filled rickshaw that comes and goes by in the movie makes me wonder if love is nothing but a fleeting moment. Is it something that never lasts? And if it doesn’t why is it the most sought after thing in the world? Do the little balloons that can be burst into nothingness by a teeny-tiny pin mean that doses of happiness can be stopped too?

“Nothing Lasts. Permanent kuch nahi hota hain, harr cheez badalti rehti hain. Haa par wo jo permanence ka illusion hota hain na wo accha lagta hain”

The auto has no checkpoints where it stops, it is constantly on the move, and is it so bad? Just because something doesn’t last for life or for as long as we want it to be, does it mean it wasn’t beautiful or worthwhile? Maybe just a feather’s brush was all that was needed to make us feel. Maybe even a second of passion is enough to make this unbearable world liveable.

Hum hain rahi pyar ke, humse kuchh na boliye
Jo bhi pyar se mila, hum usi ke ho liye

What touches me the most in the movie is Debu’s unrelenting endeavours at making his lyrics, his words, his tunes matter despite all the commercialisation that exists in the industry. He cares not the bit about sellers being item songs and the fact that beggars can’t be choosers — as long as his art is appreciated. The bits and pieces of poetry, music, songs and lyrics spread all over the movie is like chocolates snuck by some fairy all over the house just for you to relish in its sweetness. It is this sweetness that brings Juhi and Debu closer while they reminisce lines of Kaifi Azmi, Gulzar, Shailnder, and all the gems that existed and continue to remind us of the delightful simple times.

Problems are always humongous while happiness is those tiny moments stolen here and there. If troubles are mountains then rivers, valleys, waterfalls, beaches, flowers and all those myriad little things are what happiness is. It is okay to be daunted by the mountains but as well might enjoy the journey. No?

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Hello, I am shifting from Medium to a new platform Substack: https://substack.com/profile/74161918-nikita?r=185jpa&s=r&utm_campaign=profile&utm_medium=web

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