‘Padosan’: Celebrating 56 years of Bollywood’s timeless comedy classic
Directed by Jyoti Swaroop and starring Saira Banu, Sunil Dutt, Kishore Kumar and Mehmood, the film was a resounding hit when it was released to great acclaim on November 29, 1968.
Stills from PadosaN
By Asjad NazirNov 25, 2024
THE classic comedy Padosan is widely regarded as one of Bollywood’s funniest and most entertaining films.
This timeless tale of love, rivalry and musical battles revolves around a simpleton in love with his beautiful neighbour. It also features a music teacher vying for her affections, a spirited singing guru, and a host of colourful characters.
Directed by Jyoti Swaroop and starring Saira Banu, Sunil Dutt, Kishore Kumar and Mehmood, the film was a resounding hit when it was released to great acclaim on November 29, 1968.
Eastern Eye celebrates the film’s 56th anniversary this week by highlighting why the laughter-filled film remains iconic.
Elevation: Padosan was a Bollywood adaptation of the Bengali-language film Pasher Bari (1952), itself based on a short story of the same name. The Hindi comedy was one of the rare remakes that elevated the original material, taking it to even greater heights. Writer Rajinder Krishan and director Jyoti Swaroop infused new elements into the story, enhancing its characters, jokes, and music, which made it uniquely their own.
Storyline: The clever story of buffoons hopelessly in love with a woman out of their league predated Hollywood’s There’s Something About Mary (1998) by decades. Its hilarious tale of misunderstandings, music, and rivalry between two suitors was an epic battle of wits, enriched with superb songs, memorable moments, and vibrant characters. The timeless premise has continued to entertain audiences over the decades.
Music: This full-fledged comedy also boasted a magnificent musical score by the legendary RD Burman. The soundtrack included iconic songs like Mere Samnewali Khidki Mein and Main Chali Main Chali, which remain popular to this day. The standout number Ek Chatur Naar Karke Sringar, featuring Kishore Kumar and Manna Dey, is often cited as Bollywood’s greatest comedic musical duel.
Characterisation: The film’s unique characterisation was one of its biggest strengths. Sunil Dutt set aside the traditional heroic image to play the simpleton Bhola, while Mehmood presented the first memorable south Indian-inspired character in Hindi cinema with his portrayal of Master Pillai. Kishore Kumar, as the energetic Guru, lit up the screen with his fiery performance. The supporting cast also delivered unforgettable portrayals that left a lasting impression.
Direction: Jyoti Swaroop masterfully blended slapstick comedy, situational humour, great music, and memorable characters to deliver the finest film of his career. The well-paced screenplay kept audiences engaged from start to finish, while the director elicited stellar performances from his cast. For many actors, their work in Padosan remains among their finest.
Kishore Kumar: The standout performance in Padosan came from the singing sensation, who showcased his versatility as the eccentric Guru. His high-energy portrayal, complete with improvisation, expressive facial movements, comic timing, and singing, brought the role to life. Legend has it that his performance was so strong that some scenes were edited out to avoid overshadowing the lead protagonists.
Hilarity: At its core, the aim of Padosan was to make audiences laugh, and it delivered in spades. The film was packed with witty dialogues, slapstick comedy, situational humour, and larger-than-life characters. Memorable moments included Bhola (Sunil Dutt) lip-syncing to a song while Kishore Kumar’s character, Guru, sings from behind a curtain, blending comedy and music seamlessly. The film’s humour also relied on clever wordplay, facial expressions, and unexpected moments that came together to create a laugh riot.
Styling: The quirky characters that formed the soul of Padosan were reflected in their unique styling. Saira Banu’s glamorous outfits became iconic fashion statements, while Sunil Dutt’s simpleton look underscored his character’s innocence. Mehmood’s transformation into a south Indian music teacher was both striking and effective. The attention to visual details added richness to the film and made it stand out among its contemporaries.
Culturally rooted: Padosan was firmly grounded in Indian culture at a time when Bollywood films were increasingly incorporating Western influences. From the traditional outfits worn by the cast to the music and characterisations, every element of the film celebrated Indian diversity. Mehmood’s portrayal of a south Indian character brought regional representation to the forefront, while the story also tackled familiar cultural quirks such as language barriers and regional differences, resonating deeply with audiences. Outfits worn by Saira Banu also became empowering style statements.
Legacy: By breaking the established rules of commercial Hindi cinema, Padosan inspired countless comedy films in subsequent decades. Its structure, characterisation, and style of humour became a blueprint for many future projects. Bhola’s naive and innocent persona inspired similar characters in later films, and Satish Kaushik even admitted that his award-winning role in Saajan Chale Sasural (1996) was based on Mehmood’s Master Pillai. The animated series Guru Aur Bhole drew inspiration from Kishore Kumar’s and Sunil Dutt’s characters in the film. Unsurprisingly, Padosan has been featured on numerous lists of the greatest Indian movies ever made, and there has been consistent talk of a remake for decades.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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