Mujhe Jeene Do: An impassioned plea to live and

let live
Mujhe Jeene Do, released in 1963, was produced in the
backdrop of an amnesty call given by Vinobha Bhave and Jai
Prakash Narayan, the Gandhian Sarvodaya leaders, for the
dacoits of Chambal valley to surrender and come back to the
mainstream. The film, directed by Moni Bhattacharya, who had
served as an assistant to Bimal Roy, with Sunil Dutt and
Waheeda Rahman as leading protagonists, represents the most
authentic depiction of dacoits' lives, whereas other films of this
genre were, as is the wont in Bombay films, far away from
reality and projected a glamourised version of the valour and
bravery of bandits in a romanticised manner, in a typical makebelieve world. Though of a commercial genre, the film
portrayed the grim situation of the dacoit-infested world of
Chambal valley in a realistic manner.
The film shot in the backdrop of the harsh rural countryside of
Bhind Morena, in the actual ravines, is a poignant tale of a
transformation of a bandit or an outlaw to a compassionate and
considerate human being as he falls in love with a woman. For
centuries, the harsh rural countryside, unforgiving, scarred by
caste conflicts and social inequalities provided a backdrop for
simple, hard working and poor people to take recourse to not so
peaceful means to seek redressal for myriad injustices, when
rural elites and the powerful landed aristocracy ensured that all
levers and instruments of power remain firmly in their control
and vice-like grip and where they ruthlessly imposed their
diktats on the poor and dispossessed, which created a fertile
environment for exploitation, brutality and lawlessness. That it
would end in a tragic denouement for those who were
unfortunate enough to be caught in this unending cycle and
whirling vortex of violence and had no means of escape, would
once again tragically come alive when at the end of the film,
the bandit pays with his life even when he had the intention to
surrender, as it proved once again that violence only begets
violence. The film is an impassioned and clarion call to give up

arms for a peaceful and lasting solution to deep rooted and

resilient social and economic problems, structural societal
problem as they are, as violence at the end is counterproductive and serves no purpose.
Vinobha Bhave and
Jayaprakash Narayan were deeply influenced by Gandhijis
doctrine of nonviolence and spearheaded the movement to
bring the outlaws within the mainstream. They were inspired by
Gandhijis unique contribution to give us the democratic space
to find solutions in a non-violent manner to our myriad
problems. We may not have succeeded, but Gandhi still
remains relevant as we hold on to the belief of peaceful, nonviolent resistance and transformation, to critical dialogue rather
than extremism and confrontation to seek answers to injustice
and exploitation. The film with its seemingly unending spiral of
violence and plea to 'live and let live' is a tragic reminder to the
humanity that finding solutions to what appears to be
intractable societal problems, with a long history and legacy, in
a democratic and nonviolent manner is the only way ahead for
us.
The film portrays the predicament and uncertainty of an
outlaw, who sincerely attempts at seeking rehabilitation for his
past crimes, for the sake of his family. The tragic denouement
of an outlaw facing the long arm of law brings home the harsh
adage that once an outlaw, always an outlaw, and even if
someone sincerely atones for his past mistakes, there is no
redemption, as the society and the legal system, a colonial
legacy, is ruthless, unforgiving and devoid of any humanity. The
changeover which comes even to a hardened outlaw like the
role played so effortlessly by Sunil Dutt, when he meets, or
rather kidnaps a beautiful courtesan, in a heart rending role by
Waheeda Rahman, is unbelievable as he undergoes a genuine
change of heart. The birth of son brings a remarkable
transformation and also that when his wife is saved from a
lynching mob by none other than the wife of a local landlord
whom he had gunned down, shakes him to the core, hurts and

jolts his conscience so much that he vows to surrender, before

he is treacherously gunned down.
Sunil Dutt in a lifetimes role of a dacoit brings out all the
shades of a complex character, as he undergoes transformation
and genuinely attempts to atone for his past life. Waheeda
Rehman is vulnerable as well as comes across as a strong
woman, as she goes through the tribulations, uncertainties and
fears of being an outlaws wife as tragedy lurks around.
The most memorable part of the film which makes it an all time
classic is, however, its music, heavenly and sublime. The
musical scores are by Jaidev, and with the astounding lyrical
philosophy of Sahir, takes the music to another level, so
unique, so memorable, so appropriate to the occasion. Lata's
Raat Bhi Hai Kuch Bheegi Bheegi and Tere Bachpan Ko
Jawani Ki Dua Deti Hoon mesmerise and hyptonise us into
another world. This makes watching the film, and listening to its
mesmerizing songs, an unforgettable experience. In Tere
Bachpan ko Jawani ki, an heart wrenching melody, Sahir very
poignantly captured the dilemma of a mother, which is
universal and cuts across all divides, who is anxious to give a
better and safe future to her child while realising all the time
the insecurity and tragedy unfolding as the child cannot avoid
the unhappy legacy of being a dacoits son, as death lurks
around for the outlaw, who runs for cover and meets with death
even when he goes to surrender, unarmed. Could there have
been anything more poignant than this lilting melody, this ode
to motherhood?
The other sublime song Raat bhi hai kuch bheeghi bheegi' is
one of the most beautifully and sublimely picturised
compositions. In the hands of Sahir, with his astounding lyrical
philosophy, and the great Jaidev with his heavenly notes, even
a mujra song, sung by a courtesan, which is primarily to titillate
and entertain her clients, and in the hands of lesser men is,
more often than not, reduced to being cheap, vulgar and gross
and catering to the lowest common denominator, becomes

soulful, mesmerizing, hypnotizing, captivating. The song is

beautiful in every respect: Lata Mangeshkars mellifluous voice,
Waheeda Rahmans grace, beauty, her sensuousness, her
delicate frame and her apparent vulnerability, the picturisation
and cinematography, all make it an abiding classic. The black
and white photography heightens its beauty. Both Sunil Dutt
and Waheedas expressions are unforgettable and as the
tension builds up in the backdrop of the gun wielding dacoits
eyeing each other, the audience anticipates a tragedy to unfold
or to end up with violence and bloodshed. Only Sahir could
write such poetry, Jaidev could compose such a marvelous song
and what can one add about the spiritual voice of Lataji? Where
is such music and melody and where is such poetry these days?
Hosh main thodi behoshi hai, Behoshi may hosh hai kam kam,
Tujko paney ki koshish main, Dono jahan sey khoye gaye ham
It is just sheer lyrical magic! Who can reach such literary
heights these days? Tum aao to aankhayn kholay soyee
huee payal ki chham chham. Taptay dil par yun girti hai teri
nazar se pyar ki shabnam. Jaltey huey jangal par jaisay barkha
barsay ruk ruk tham tham