Since the dawn of time, love triangles have governed human lives, and Hindi films are no exception.
However, “Aadmi” (1968) is one of the few films that explores the psychological tension between good and wrong, remorse and obsession while telling a simple plot.
As a result, while a casual viewer may appreciate it as an absorbing family drama, it displays the nuanced interplay of human feelings in opposing situations to a careful observer.
Despite its length, the film holds your attention with its twists and turns, making for a satisfying cinematic experience.
“Aadmi,” directed by A. Bhimsingh and produced by P.S. Veerappa, shines because the film’s lifelike characters, played by Dilip Kumar, Waheeda Rehman, Manoj Kumar, Simi Grewal, and Pran, not only share screen time but also give several moments of riveting brilliance.
“Aadmi” centers around an uncomfortable, inscrutable yet affluent Rajesh (Dilip Kumar), orphaned at an early age, whose life is altered by weird fate interventions, leading to incomprehensible periods of suffering.
His personal anguish is compounded when his childhood sweetheart, Meena, dies unexpectedly, and the family replaces her with a doll, claiming that Meena had changed into a doll after death.
Young Rajesh is enamoured with the doll and guards her with unwavering devotion, but when a young neighbourhood child mishandles the doll, he murders him in a fit of wrath.
Years later, an adult Rajesh falls in love with a woman named Meena (Waheeda Rehman), but he keeps the doll in his closet.
He marries Meena with the blessing of his closest buddy, Dr. Shekhar (Manoj Kumar), who overlooks the fact that he is Meena’s sweetheart due to his debt to Rajesh for financial assistance.
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Rajesh is paralysed in a vehicle accident shortly after, and when he learns of Shekhar and Meena’s love affair, his violent desires are reawakened, despite the fact that he is still haunted by his prior guilt as a killer.
The ensuing struggle in his heart and home comes together to create a fascinating drama with some superb acting performances.
While Waheeda Rehman does justice to her character as a youthful, carefree girl who transforms into an organized housewife, Pran is the perfect evil practitioner with his motions, and even Manoj Kumar, despite his restricted arc of expression, is able to depict a disgruntled lover.
The renowned Dilip Kumar, on the other hand, dwarfs everyone in contrast as he masterfully bares Rajesh’s endless pains, shame, and obsessions.
The Dostoevskian complexity of facial expressions, as well as the shifting tone inflections of sarcasm, agony, guilt, and wrath, are valuable silver-screen pearls.
The numerous dialogues between him and his pals, as well as his wounded psyche, reveal Dilip’s vast variety of dramatic qualities.
Conclusion
Many consider “Aadmi” to have one of the most unforgettable scenes in Indian cinema, in which Dilip Kumar, confined to a wheelchair, tells his wife about the loss of his childhood sweetheart and the boy’s murder.
While it’s true that the situation was constructed by the director’s imagination, there’s no disputing that Dilip’s mesmerizing line delivery is what transforms the action into a hauntingly gripping, emotional drama.
With the help of superb stunt work and cinematography by Faredoon A. Irani and adroit editing by A. Paul Durai Singham, the dialogue team, which includes the legendary Akhtar ul Iman, was able to elevate an ordinary love triangle to booming heights.
Despite two immortal melodies such as Rafi’s soulful cry “Aaj Puranee Rahon Se” and a duet “Kaisee Haseen Aaj Baharon ki Raat Hai” by Rafi and Talat, the music by Naushad was a major letdown.
Overall, “Aadmi” was a little entertainer for all ages, despite the serious tone.
