{"id":5298,"date":"2020-03-29T15:49:24","date_gmt":"2020-03-29T10:19:24","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=5298"},"modified":"2020-11-11T18:05:59","modified_gmt":"2020-11-11T12:35:59","slug":"johnny-walker-comedys-humane-face","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/johnny-walker-comedys-humane-face\/","title":{"rendered":"Johnny Walker: Comedy\u2019s Humane Face"},"content":{"rendered":"
\"Johnny

Johnny Walker<\/p><\/div>\n

Balraj Sahni sure had discerning eyes as he could visualise an artiste in Badruddin Jamaluddin Kazi \u2013 a bus conductor by occupation – dreaming to become part of the world of cinema. But Guru Dutt, to whom his name was recommended, could see a little more. He had the uncanny ability of\u00a0a genius, to see in the physical persona of Kazi the possibility of an adaptation that would run close in profile to the \u2018Johnnie\u2019 Walker that served as the logo of the celebrated scotch whiskey!<\/p>\n

For us Indians, this makeover of Kazi to Johnny Walker \u2013 slightly in-drawn shoulders, a stride that appeared a little stooped, a straw fedora hat, stylized Hindi \u2013 created the archetypal urbanite whose very presence rippled humour, who seemingly had a proclivity for drinks \u2013 conveying the impression of a man always a little tipsy! Indeed, he became another name for Comedy in Hindi cinema. And if there were ever an idol to symbolize mirth and laughter, it would not be surprising if it resembles Johnny Walker in appearance.<\/p>\n

However, Johnny Walker\u2019s greatness sourced itself much deeper than the distinctiveness of his physical persona. An innate sensitivity, a humaneness informed and radiated through his being. Guru Dutt must have seen that too \u2013 the comedian with a humane touch and by default, apparently effortlessly! One of his kind! Mehmood also aspired to become one. He invested a lot of effort in the film Kunwara Baap<\/em> and came up with a laudable performance. Yet, in a relative assessment his effort appeared a bit laboured.<\/p>\n

\"Johnny

Johnny Walker as Isa Bhai with Rajesh Khanna in Anand<\/em><\/p><\/div>\n

The point will come in clear light, if we recall, or revisit, that scene in Anand<\/em>, wherein Johnny Walker acting as Isa Bhai called on Anand (Rajesh Khanna) who was counting his last days. In this seven-minute scene, Johnny Walker lived at least four emotions \u2013 one emanating from the other \u2013 of surprise on discovering that Anand had cancer, his disbelief that he was in his last moments, his wearing a brave mask as he comforted Anand, and finally the catharsis! If Anand<\/em> gave Rajesh a high histrionic orbit that yet remains unscaled in this genre of films, it also gave Johnny Walker an opportunity to come up with his best ever performance \u2013 sublime, philosophical with an overlay of comedy!<\/p>\n

Johnny Walker\u2019s versatility was linear, unlike that of Mehmood who had a much larger histrionic sweep. Besides, Johnny Walker worked under a strict self-imposed regimen as to his demeanour. He was never loud. He never took recourse to slapstick and was never vulgar. Unlike many of the comedians before or after him who believed that being loud or vulgar was the soul of wit. No one could have fantasized Johnny Walker in a song of the kind Muthu kodi kawari hada<\/em>! Much later, when he was almost at the end of his acting career, he articulated his perceptions on the point, thus, “In those days we used to do clean comedy. We were aware that the person who had come to the cinema had come with his wife and children\u2026the story was the most important thing. Only after selecting a story would Abrar Alvi and Guru Dutt find suitable actors! Now it’s all upside down. They line up a big hero and find a story to fit in. The comedian has ceased to be a character, he’s become something to fit in-between scenes.\u00a0I opted out because comedy had become hostage to vulgarity. I acted in 300 films and the Censor Board never cut even one line.”<\/p>\n

\"johnny<\/a>

Johnny Walker speaking at the charity premiere of Kaagaz ke Phool<\/em> (1959). Seated at the back are music director SD Burman and Waheeda Rehman (Pic: SMM Ausaja Archives)<\/p><\/div>\n

Despite his self-imposed constraints, Johnny Walker was the first comedian in Hindi cinema who enjoyed an acting space of his own. Apparently and invariably, he was the hero\u2019s Man Friday, yet the film significantly drew on his presence for its success. Guru Dutt, his friend and mentor too, gave Johnny Walker the freedom to draw on his own varied experience while executing a role. Taxi Driver, Aar Paar, CID, Mr & Mrs 55, Chhoo Mantar, Chori Chori, Pyaasa, Kaagaz ke Phool, Chaudhvin ka Chand, Naya Daur, Mere Mehboob<\/em> are some of the better known films in which he was cast. In Chhoo Mantar<\/em>, he was the main lead. His last film of note was Chachi 420<\/em> (1998) but he was just a shadow of his previous self.<\/p>\n

Johnny Walker passed away in 2003. But his prime period as an actor spanned only about two decades \u2013 the \u201850s and the \u201860s, even as his most memorable performance was in the year 1971 in the film Anand<\/em>. Yet Johnny Walker is not dated, he continues to enthrall. That\u2019s a little surprising, as he was not a hero, except in one film Chhoo Mantar<\/em> which did not do well at the box office. Johnny Walker\u2019s greatness lies in the fact that he remains contemporary through his songs. Some of the songs filmed on him are classy and transcend the cinematic contexts as to their reach and impact. They stand alone, are autonomous. Their appeal is trans-generational.<\/p>\n

The following seven songs, deconstructed in their respective cinematic, as also larger contexts, bring out this point.<\/p>\n

\"Johnny<\/a>

Johnny Walker and Guru Dutt (Pic: Facebook)<\/p><\/div>\n

Champee! Tel maalish<\/em><\/strong><\/h2>\n

Is this not the best filmed song on Johnny Walker? And is it not Rafi\u2019s best for him? The first three words uttered by Johnny Walker, Champee! Tel maalish<\/em>, to launch the masseur that he is in this film, engage instantly and set the tone and momentum for the song that follows.<\/p>\n

I guess Sahir\u2019s application as he wrote this song was no less than his application in Jinhe naaz hai hind par wo kahaan hain<\/em>. While Tel maalish<\/em> offered balm and hope to those feeling undone by the daily trials and tribulations (the tang-aa-chuke-hain- kashm-kash-e-zindagi-se-hum<\/em> types), the latter lamented the apparently irredeemable fate and dehumanizing existence of women in their oldest profession!<\/p>\n

\"Johnny

Johnny Walker and Waheeda Rehman in Pyaasa<\/em> (Pic: IMDb)<\/p><\/div>\n

And while writing C<\/em>hampee<\/em>, Sahir wrote not only an unsurpassed advertisement for a hair oil, he also highlighted an India specific USP \u2013 a home grown equivalent of acupressure (C<\/em>hampee<\/em>), which could have been included in the Incredible India campaign for the promotion of tourism overseas. The three lines are:<\/p>\n

Tel mera hai mushki, ganj rahe na khushki
\nJis ke sar par haath phira doon, chamke kismet uski<\/em><\/p>\n

Promoting Indian head massage to treat alopecia and scalp dryness, Sahir recognised that as a harbinger of good luck \u2013 Jis ke sar par hath phira doon.<\/em> Though one can argue as to why did not Sahir try this on his own head?<\/p>\n

And when Sahir says Sar jo tera chakraye, ya dil dooba jaye<\/em>, he is not far from the truth. Google lists the following benefits of the Indian head massage: helps prevent migraines, headaches and back pain; promotes hair growth; detoxifies the body by stimulating lymphatic drainage; relieves sleeplessness, restlessness, insomnia, anxiety and depression and boosts memory capabilities.<\/p>\n

This song has been used as a parody in an advertisement of Navratna<\/em> oil, done by Amitabh Bachchan. Sar jo tera chakraye<\/em> is an iconic song and can never be equaled.<\/p>\n

Champee! Tel maalish<\/em><\/strong>\u00a0(Pyaasa,\u00a0<\/em>1957) SD Burman\/\u00a0Sahir \/ Mohd Rafi<\/span><\/p>\n