Tere Bina Zindagi Se

“Ever has it been that love knows not its own depth until the hour of separation.” – Khalil Gibran

Relations occur at the physical level. In relations, one, bounded by a set of rules, can be judged.

A Connection, on the other side, exists at a much deeper, unbounded level. In connection exists no rule.

Hoping for a connection, we mostly end up being in a relation.

Relations can end, but a connection lasts forever.

A connection can survive the end of relations.

In the film Aandhi, Aarti (played by Suchitra Sen) & JK (played by Sanjeev Kumar) are separated as a couple after being together in marriage.

Aarti now pursues her political ambitions. She is on an election campaign tour. During this tour, her stay is arranged in the same hotel, where her estranged husband, JK, is working.

As expected, their paths cross, and they both get to meet unexpectedly. Though they are separated as a couple, the connection between them still exists.

They decide to meet more often. Aarti‘s past relationship with JK is not known to the public, so Aarti cannot afford to get their meeting noticed. It could affect her reputation and, thus, the campaign. Her political career might get jeopardised.

They decide to stroll together after supper. During one of those meetings, Aarti pours her heart out through these soul-stirring lyrics written by Gulzar.

This song is a background song (not lip-synched one). It, in a way, is a reflection of their inner world. This song is spread across many nights of their meetings, establishing a gradual transformation of their feelings.

Aarti : Tere bina zindagi se koi shikwa to nahi, Tere bina zindagi bhi lekin zindagi to nahi…

For Aarti, JK is like her Shadow. Our shadow is a clear sign of our existence, though we may survive without it.

Her life is going on as routine, though, this is not what she had expected from it.

Acceptance is the first step towards the change one wants to bring. And, but in the moment of recognition, remorse and repentance might coexist.

This is Aarti‘s moment of acceptance.

Aarti: Kash aisa ho tere kadmo se chun ke manzil chale aur kahin, durr kahin ….Tum gar sath ho, manzilo ki kami to nahin…

An African proverb says, “If you want to go fast, go alone. If you want to go far, go together.”

Aarti, been in the fast lane, now wants to walk abreast. She wants to create a future of them together. When one sees a future from the present, the possibilities are infinite.

In this song, Gulzar shines bright, not as a songwriter but also as a director.

With just one word, he has created an assortment of mixed emotions. One single word ‘Kash‘ makes a domain full of hopes as well as doubts.

When it comes to spending words, writers are considered miser for no reason!

As a director, Gulzar selects the breathtaking ruins of Martand Sun Temple for shooting this song. The remnants juxtaposing the state of their relationships.

Till this point, the song is structured more like one-way communication. Only Aarti gets to talk while JK has been hiding his feelings until now.

Here comes the most iconic part of this song, which is like a segue of their feelings. Gulzar creates a common ground where they can collect the broken pieces.

This time he prefers to give them dialogues. And for the first time JK speaks.

JK (Dialogue): Suno Aarti, yeh jo phoolon kii belein nazar aatii hain na, dar-asal yeh belein nahin hain, arabi mein aayaten likhi huyi hain. Ise din ke waqt dekhna chahiye, bilkul saaf nazar aati hain, din ke waqt yeh sara paani se bhara rehta hai. Din ke Waqt jab ye…

JK presents an altered, beautiful image of the surroundings. He explores the possibilities of their meeting during the day, which would mean her accepting the relations in the wide open.

Also, it is another metaphor for their relationship! It resembles those beautiful creepers with flowers, but if one changes the perspective and sees with full clarity, it has a deeper connection and meaning like those aayats (Verses In The Holy Quran).

Aarti: Kahan aa paoongi main din mein?

She understands why JK is insisting on meeting during the daytime, but she can not yet take a risk on her political career.

JK doesn’t insist and offers another imagery, which aligns with their secret rendezvous happening in the night.

JK : Yeh jo chand hai na, isse raat mein dekhna. Yeh din me nahin nikalta .

Hasn’t he stated the obvious?

Yes. And he does it deliberately, that too with a chuckle. Comparing Aarti to a moon, JK highlights her importance in his life.

Aarti: Yeh toz roz nikaltaa hogaa

The rational thought process brings them to reality. Not able to hold anymore, JK comes out to accept it but stops midway.

“Haan lekin beech mein amavas aa jatii hai, vaise to amavas pandrah dinon ki hoti hai, lekin iss baar bahut lambii thii…”.

Aarti, sailing in the same boat, completes what he couldn’t say:

“Nau baras lambi thii naa?”

The fact is, they have been separated for nine years.

The pain, the yearning, the longing they have been through, it says all.

The song continues.

Aarti: Jii mein aata hai, tere daman mein, sar jhuka ke ham rotey rahein, rotey rahein…

Khalil Gibran had said, “Keep me away from the wisdom, which does not cry.”

People cry not because they’re weak, it is because they have been strong for too long.

Aarti is not able to keep steady on a lonely journey she had opted for. She is looking for solace but does not get the desired response from him. JK doesn’t want to concede.

She alleges:

Aarti:Tere bhi aankhon mein… aansuon ki… nami toh nahi…

JK tries very hard to conceal his feelings but gets caught.

He accepts:

JK: Tere bina zindagi se koyi, shikwa, toh nahi

Tere bina zindagi bhi lekin, zindagi, toh nahi

Living away from her has not been easy; the situation is the same for him too.

Watch Sanjeev Kumar‘s intense and scintillating performance during these lines; the struggle going inside is so apparent on his face. Watch this portion on mute and you will know what I mean. I am sure this will still shake the emotions in you.

JK and Aarti, both of them have now, emptied their emotions.

The past gets completed. And, a new future can be created here.

The scene cuts to another night of their meeting.

Having washed away all the dust, they can now see it clearly. Life can take a step ahead.

And the moment is now!

JK makes a request.

JK: Tum jo keh do to aaj ki raat, chand doobega nahi, raat ko rok lo, Raat ki baat hai aur zindagi baki to nahi…

She was the one who had moved out of marriage to fulfil her political aspirations, so JK wants her to decide if she wants to come back. It is her who has to take a decision.

This night of their meetings can be extended forever, but only if SHE WISHES. He can exchange his life for that extended night.

Here is another example of sagacity in wordcraft.

Meter wise “Raat ko rook loon (I will hold it ) or “Raat ko rok lein” ( we will do it together) would have fitted easily, but very carefully Gulzar selects the right word to say what he intends to, “Raat ko rok lo.”

Just to highlight the fact that the decision power lies with her! Gulzar’s brilliance shines through the small nuances.

JK: Tere bina zindagi se koyi, shikwa, toh nahi

Tere bina zindagi bhi lekin, zindagi, toh nahi

The song ends. Turning towards each other, they come closer.

The moment gets frozen.

The moment of their reconciliation.

They don’t say anything further.

But do they need to?!!!

https://www.youtube.com/watch?v=otSbGQIYgpQ