The art of turning a film into a script

Nasreen Munni Kabir has emerged as an indefatigable chronicler of popular Hindi cinema. From her early breakthrough book on Guru Dutt to the Movie Mahal series which introduced Britain to Bollywood, Kabir has documented Hindi cinema's great personalities and movies.

She has also pioneered the documentation of the film script, which involves painstakingly noting down the dialogues of a film and translating them into English. She tried the experiment with Mughal-e-Azam and now she is back with the dialogue of Awaara which she calls 'Raj Kapoor's Immortal Classic'.

There is no denying Awaara's place in the Hindi film pantheon of greats, though the film can be a bit emotionally overwrought. For my money, Shri 420 is a more deeply satisfying film and is as good if not better in parts. But that is a moot debate. Awaara had a philosophical idea at its core: do genes decide a person's character or does upbringing matter, which formed the background to a love story between a rich girl and a petty thief.

All the usual ironies of Hindi cinema were present but the end result was not cliched and the credit for that goes to the then 27-year old Kapoor.

Awaara had terrific songs, stupendous acting, superb sets, breakthrough photography and most of all, bold and strong dialogues which held a deep resonance. Writer KA Abbas had imbued it with his leftist ideals, which gelled well with Kapoor's own sensibilities, and resonated with a young nation just out of the trauma of Partition. Yet questions do arise. Does the dialogue deserve a book of its own? Does the idea of printing these dialogues in four different ways -- in English, Hindi, Urdu and finally in Roman script but in Hindustani -- work?

In an industry not known for pre-scripting, any such effort can only be post-facto, i.e. taken off the film since so much is written right on the set. That shows because the cinematic instructions are few and far between and any commentary is the author's (Kabir) own comments drawn from her extensive knowledge and research. This is a strength and a weakness. In the end that really doesn't matter, because Kabir is an excellent guide and a veritable storehouse of information. The opening essay and the end notes have lovely trivia and also analyses of several scenes, including the famous dream sequence.

Awaara became a worldwide phenomenon, a cult film in Russia, Turkey and many other countries. Students and lovers of Hindi films, especially from the Golden Age, should read and imbibe from this book. It reminds us about an era when Hindi films had style, content and heart and were not simply a gigantic marketing exercise.