'Sangam': A trendsetting love triangle in Bollywood
The movie also had unforgettable songs, eyecatching international locations, and standout performances from lead stars Raj Kapoor, Vyjayanthimala and Rajendra Kumar
By Asjad NazirJun 17, 2023
When romantic drama Sangam was released on June 18, 1964, it became a huge blockbuster success. The love triangle, regularly listed as one of the greatest Bollywood movies ever made, had iconic moments, and influenced many filmmakers in subsequent decades.
The movie also had unforgettable songs, eyecatching international locations, and standout performances from lead stars Raj Kapoor, Vyjayanthimala and Rajendra Kumar.
Eastern Eye decided to celebrate the film’s 49th anniversary by presenting 20 interesting facts connected to it.
The story of Sangam was penned by Inder Raj Anand during the making of Raj Kapoor’s directorial debut Aag (1948). Kapoor initially had planned the film as Gharonda in the late 40s, with himself, Dilip Kumar and Nargis in the lead roles. He revived that passion project as Sangam in the 1960s.
Dilip Kumar and Raj Kapoor became huge stars after the release of record-breaking film Andaaz (1949), but never worked together again. Kapoor was keen on starring alongside Kumar in Sangam, which like Andaz was a love triangle, but he refused. Kapoor had even offered him the first choice of roles.
poster of the movie
Nargis rejected the female lead because she had retired from acting and broken her real-life relationship with Kapoor.
Kapoor had narrated the Sangam story to Vyjayanthimala, telling her she would portray a character named Radha. After a while Kapoor sent a telegram to her, asking ‘Bol Radha bol yeh sangam hoga ya nahin?’ and she replied ‘Hoga, hoga, hoga’. That question and answer would inspire the film’s famous song Bol Radha Rol. It would be the last movie Kapoor would star in opposite her.
The then relatively unknown Feroz Khan was promised the second lead if Rajendra Kumar had turned it down, but he didn’t. Khan was later cast in Arzoo (1965) with Rajendra Kumar, which was also a love triangle.
Interestingly, hit 1961 movie Aas Ka Panchhi had a similar storyline of a military man returning to find the woman he loves has moved on, with Sangam leads Rajendra Kumar and Vyjayanthimala playing the two key roles.
Kumar with Vyjayanthimala
Hari Shivdasani played a supporting role in the movie. Shivdasani’s actress daughter Babita would later marry Raj Kapoor’s son Randhir, and their daughters are of course Karisma and Kareena Kapoor.
Sangam was the first prominent Indian movie to feature the Indian air force. It was also the first Indian film to be shot around Europe at eye-catching locations and would inspire other Bollywood producers to do the same.
The English-German song Ich Liebe Dich-I Love You by Vivian Lobo appeared in the film. It would later inspire Ram Teri Ganga Maili (1985) track Sun Sahiba Sun, a film Raj Kapoor also wrote and directed.
The film’s song Bol Radha Bol would inspire the title of a 1992 movie starring Raj’s son Rishi Kapoor. Other Sangam songs that would later inspire film titles include Har Dil Jo Pyaar Karega, Dost Dost Na Raha, O Mehbooba, Mujhe Budhha Mil Gaya and O Mere Sanam.
Lata Mangeshkar didn’t like the lyrics of the song Mujhe Budhha Mil Gaya, which she sang and unsuccessfully tried to get them changed. She didn’t like how the song was picturised and refused to watch the movie. Speaking of Mujhe Budhha Mil Gaya, it was the first Bollywood film song where the heroine tried to seduce the hero with sensual outfits and dancing. The song blurred the lines between the heroine and vamp. Some analysts looked deeper and saw a metaphor of a young wife trying to arouse an older man.
The songs were composed by music duo Shankar Jaikishan. Legend has it that Jaikishan had a falling out with lyricist Hasrat Jaipuri, who wrote him a letter with the lines ‘yeh mera prem patra, padhkar tum naraz na hona’, which was then turned into a song for the film.
Har Dil Jo Pyaar Karega was originally supposed to feature the vocals of Lata Mangeshkar, Mukesh, and Mohammed Rafi. But Rafi and Mangeshkar were not on talking terms at the time, and Mahendra Kapoor was used instead.
Kapoor withVyjayanthimala
14. Sangam was the first colour film featuring Kapoor and his last big success as a leading man.
15. Sangam was the first film actor and filmmaker Kapoor edited himself. He received a Filmfare Best Editing award and would edit all his subsequent films himself.
At nearly four hours long, Sangam became the longest commercial movie released at the time. It was the first Hindi film to have two intervals. That didn’t stop it from becoming the highest grossing Bollywood film of that year.
At the film’s premiere a fight broke out between Kapoor and the writer Inder Raj Anand. In the heated exchange Anand slapped Kapoor and he subsequently got the writer a Bollywood ban that resulted in him losing 18 films. This later caused the writer to have a heart attack and the two patched up.
Sangam song Bol Radha Bol was declared as the best Bollywood song of 1964 by massively popular radio countdown show Binaca Geetmala.
Mumbai’s famous Sangam cinema is named after the movie, as Kapoor was a frequent visitor.
Sangam was remade in Telugu and Kannada languages as Swapna (1981). It was also remade in Turkish as Arkadasımın Askısın(1968)
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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