Himself sporting a big fat moustache, he believes: “Moustache is the mirror of human-soul and mind.” And in order to obtain and maintain his job worth a salary of 950 rupees (a princely sum back then), Ram Prasad indulges in a number of jugaads, including sporting a moustache, lying to his boss that he knows nothing about sports and movies, and even shaving his moustache and acting as his imagined rebellious twin, Lakshmanprasad when spotted by his boss at the stadium. Ram Prasad’s old-fashioned and eccentric boss Bhavani Shankar (Utpal Dutt the great) demands that only those men who sport a moustache be employed in his office. In Gol Maal, moustache is another very important symbol. It’s interesting how the concept of the circular motion is used in completely different contexts in Anand and Gol Maal. It possibly tries to speak of how the ladder, instead of being used to climb on to a higher realm, is simply rotating in the same rut over and over again. I think this is a symbol of life itself, as well as the title of the movie, which literally means ‘round’. Just as Ram Prasad’s car overtakes him, it hits the ladder, which begins to circle over the poor man’s head. On the other hand, in the climax chase scene in Gol Maal, while Ram Prasad drives his car rashly on the streets to escape from his eccentric boss, we can see a person walking by with a ladder in his hand.
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For instance, in the movie Anand, the symbols of a flute-player passing by the road, and the wheels of a bullock-cart are possibly indicative of time passing by rapidly, and the tragic end of Anand inching closer with the passing days. The motives of these symbols may differ in different situations. Symbolisms and deeper motives are an integral part of Hrishikesh Mukherjee films. Here there's even a tongue-in-cheek dialogue wherein Ram Prasad tells his sister: “Doctor maama mere liye naukri kya dekhenge? Khud apne liye 65 saal mein chhokri nahi dekh paaye.”, which roughly translates to “How will Doctor uncle search for a job for me, when at the age of 65, he hasn't been able to look for a woman for himself!”
In Gol Maal, David plays Doctor maama, the only guardian and mentor to Ram Prasad (Amol Palekar) and his sister. And as a result, while Annie is extremely bold and self-assured, Uma is quiet, introverted and submissive. Here, his character as the happy-go-lucky father of Annie (Shashikala) is blatantly contrasted with that of Uma’s father, also a widower, who, unlike Moses, accuses his daughter of his wife’s death. And it's almost always the adorable actor David who plays these roles - Kedar aka Doctor maama in Gol Maal (1979), the jovial elder brother Haripad bhaiya in Chupke Chupke (1975), and of course, Moses, the widowed friend of Uma’s (Sharmila Tagore) father in Anupama (1966).
Vola! You have the perfect recipe for a typical old Bollywood movie.Īlmost every other Hrishida movie I've watched comprises of these happy-go-lucky elderly characters. Rafi or Mukesh (and later Kishore Kumar), a main vamp (Bindu or Helen) to complicate things even further, and a whole cup of fight sequences and unimaginable stunts in the climax. Burman or Laxmikant-Pyarelal tracks rendered most beautifully by either of the Mangeshkar sisters and Mohd.
And then, add in two spoonfuls of misunderstanding, some classic S.D. Enter the villain (most likely Pran, our all-time favourite orotund-voiced villain) who wishes to possess the woman very badly, and is often flanked by his faithful henchmen who help him to achieve the same. So most of us Indians are only too familiar with the typical formula that a Bollywood film consisted of - a good guy, strong, dedicated, honest, and of course, mumma’s boy (read Nirupa Roy or Sulochana) an ‘extremely good’ woman - sweet and shy, sometimes mischievous but never crossing certain unsaid but omnipresent boundaries, mostly belonging to a wealthier family than the hero, threatened by the villain, and of course, typically submissive and marriageable.
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