1953- Aagosh

A love triangle, with Nasir Khan, Nutan and Shakila completing the vertices. Similar story was repeated (there could be earlier too, which when I find would be referring to) with her aunt Nalini Jaywant and Dev Anand in Munimji. Of course there was a gender reversal, the Nutan role was essayed by Dev Anand and the role of the third, Shakila by Pran in the later movie. The similarity however limits only in the basic concepts, skeleton. The treatment and the putting the flesh on the skeleton are entirely different.
The child replacement looks to be a social norm then, which was later overshadowed by the careless mothers (Nirupa Roy being the supreme careless one), who would simply lose the child, preferably in the Kumbh fair, but if there are none in the infancy of the child (usually twins, but even if not, multiple of different ages) then elsewhere, temple, railway station, or in the extreme, simply, ‘Just do it’.
At least three comes to immediate mind here, in two Nutan involved, this one (1953), Munimji (1955) and DIl Hi to Hai (1963) and I am sure there would be a many more, till our Chopra Sahab came up in 1965 (Waqt) to declare that there are other ways of weaning an infant.

The Director – R.D.Mathur was an ace cinematographer (Mughal-e-Azam, Pakeezah, Razia Sultan…). After graduating, he did his diploma in New York Inst. of Photography & Cinematography in photography cinematography and film processing and also for some time worked in Fox and MGM before returning in mid 30s to India and became assistant to the legendary Josef Wirsching. 

In Brief:

There has not been any exceptional acting in the movie. Nasir Khan, Shakila, and Shakila’s father (Rai Bahadur- I am not sure of the actor there) had been good, Leela Mishra- bad- too was good. Nutan had been quite above average, in patches. But then her prowess was growing, so that is expected – the promises are very prominent in this movie, unlike previous ones.

And she is quite comfortable in male presence (the girl is growing), though a bit playful than passionate. Of course started excelling in ‘stressed’ scenes.  
Not too badly made flop movie. Songs are sweet and melodious. Quite a few are a bit more than hummable, however none of these are heard in these days. But we don’t know, in the end, why movies are made hit or why do they flop in box office.

Technically this movie had less improbables than Munimji, but it was a flop and that was a hit. 
Direction/ conceptualisation for a change, had been good. Not much had happened, which if I put myself in the character shoe, I won’t have done. Even the fight (only one at the climax) doesn’t show Hero the type of fights in which any ordinary mortal would be unconscious, but hero not only doesn’t but has residual strength enough to beat villain to pulp (say in the similar Munimji?). Here it is one to one, and no one wins, hero withdraws, on heroine’s scream, to save vamp (Shakila). In the end villain dies by falling down on the exposed stones (of dam) trying to escape.
There are a few gaps and contradictions, but overall not bad. Could be seen once, and for us, fans (or fanatics ?) repetition is mandated.
Nutan’s acting prowess has just started blossoming. She has turned into a beautiful girl (womanhood is yet to catch up with her, as I mentioned elsewhere, may be her growth, she is tall by Indian Standards, may be the filling up of the body started a bit late).
She had been quite above average in some scenes, however the dots connected- to make an exceptional performance throughout is still away. She is now not so stiff with her ‘beloved’ as she had been in both Nagina as well as Humlog, and though still doesn’t look too passionate, she at least is playful and relaxed.
The movie copy I have (of VCD) is courtesy Mr Sumeet Gupta. The copy of the print of course is not very clear, there are some small breaks too. But I didn’t expect to get my hand on this film, so whatever I got is a bonus, of course except a few breaks it seems to be almost whole. The breaks of course I have to (and tried here to) logically connect.


Aagosh means embrace.
It can have several connotations, of the offshoot of this action, like holding a child on lovingly, “He/ She took the child in his Aagosh” or holding ones beloved in his (usually in a male dominated society it is he who is is supposed to, but it could be in rare instance her ) bosom in a tender embrace. The word has the warmth of body, comfort of touch and the protection of caring person all intermingled. It has less of a physical or bestial significance. Like our Nutan, it is too sublime to signify a body to the feeling. A child, the ultimate comfort and happiness is in the aagosh of its mother. For a grown up, there is nothing to beat the bliss of being in the AAgosh of his/her beloved. It is a sublime feeling than physical.
It often is in used in Ghazals and poetry, bringing out the senses, for example in a couplet, (Khamosh Dehlvi) , immortalised by Nusrat Feteh Ali Khan and Jagjit Singh (in separate Ghazals),
Neend to dard ke bistar pe bhee aa sakti hai
un kii aagosh mein sar ho ye zaroorii to nahiin
One can sleep even on the bed of (in) pains, it not compulsory that (always) one’s head should be on the beloved’s lap.
Or even recently in a song (movie Roy, Ajnabi kahein ki apna Kahein),
Ishare bhi chup hain, Zubaan khaamosh hai,
Sadaa gumsum si hai, Tanha aagosh hai,
The gestures are silent as are the voices. The call is mute (usually in deep and sad thoughts) and the embrace is lonely (empty).
After watching the movie, there is only one reason I could find of being named so however that would be in due course.

Back to the track- er reel

This is one of the quickly forgotten movies of Nutan in her forming years. The main male protagonist was Nasir Khan, the younger brother of Dileep Kumar and husband of the legendary actress Begum Para.
It was a love triangle, the third corner was Shakila. A not too successful actor, and later date heroine but in her early days she had been in roles either negative or with a touch of it (Aarpaar) before attempting the main protagonist. She is best remembered for Aar paar as moll of villain and CID and China Town, as heroine).
Of course in those days you have to have a villain too and- surprise of surprises (by today’s standard) it was the upright Police Chief (Iftekar- of course back then he wasn’t so upright – for example similar full fledged villain in Meri Soorat teri Aankhein, or lecherous assistant warden in Bandini). It shows that given chance the criminals too can join mainstream and in fact be more upright than others?
Another major role in the movie was a friend in need, Agha (who had essayed the role of a Muh boliin brother of Nutan – for non hindi speakers – a brother who is not a brother by blood, most of the time having no blood relation at all, but is a brother by all deeds. Here of course he has been in the role of a younger brother, but considering our frail, still, Nutan, even a younger in age, but quite well formed in body younger brother could help).
The movie starts with the song (Hemant Kumar and Indira Mirchandani) while the titles scroll by,

Titles end faster than the duration of the song recorded. So the last stanza is given to Agha, who jumps over a pile of logs to finish it. By now we know some back ground. The plot is somewhere in sub-Himalayan, Terai, where the characters are in tree felling (legal) and wood processing business. It is in the midst of lush forest and a beautiful, but not calm, since rapids could be seen, stream flowing nearby. This was the time the nascent nation was evolving, so obviously tree felling for wood, a major ingredient of infrastructure building, wasn’t a crime (Chipko andolan yet to start). They fell the logs, clean, convert into sleepers and then drop them into the river, and the sleepers swim (flow) to the main factory, somewhere downstream.

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The presumably owner was waiting for the song and the Rallentando to be completed (Director told so), the moment it is she walks in. It is Shakila, with a whip in her hand (all la Hunterwali) and clearly not too happy about the singing contest. After all which owner will be when the labours, in duty hours, instead of working are gambolling around?

 “Am I paying all of you to sing?”,

“But we are working madam”,

“Kameenee – dare to talk back on me?”  the whip is out.

However it didn’t manage to land on the offending girl. Someone held the tip from behind before it could complete the trajectory on the face or at least the body of the offending girl. Of course shocked at the audacity, of who knows whom, she turns back, to see a lovely Nutan.

Now, she is no more only eyes, and in the couple of years she had grown a bit. Though still lean, but no more a straight line. The curves have just started to appear, they did try to accentuate the non-linearity through the frock, hugging her thin waist, but still she is just trying to fill up. And does she look lovely!

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I could appreciate now, why despite the series of miserable flops the makers didn’t give her up. They must have seen the loveliness off screen, that she was not only eyes. Also the histrionics, which happens when one is in daily life, how the personal emotions are displayed on face, how the face talks without speech, might have been observed. Thankfully they never give her up as a lost cause and bet on her as the long term winner, and were they right !

We say that camera always loved her face, but the way I look at is in the crucial phase of her life, camera hated her, or at least the cameramen did, and almost made the best flower ever to bloom in the garden to shrivel when it was just a pre-bud.

Now back to the warm embrace of the beauty, she looks smilingly at our heroine. She definitely from her dress is not a worker there, and she dared to hold the whip from landing on the other girl. She calls her sister (Rani Bahen), but she definitely is at a lower rung, by the demeanour of our boss, Rani (Shakila) who scolds her…

“All this is because of you, that they have become so lazy. And I believe that you are the person responsible and instigating them into being insubordinate and rebellious”

Of course we would know soon her place, when Nutan asks Rani (Shakila) to be more considerate towards the labours, like her father, Rani asks her to keep her place, “how dare a common ayah’s daughter think she is my sister and lecture me?”

The vibes between the respectful but strongwilled Ayah’s daughter and the tyrant owner’s daughter are obviously not in tune.

Agha is a perfect subordinate. He is foreman of the factory, yesman to the extent that when Shakila threw off the whip in disgust and walked away, he picks it up to give it back. He is also fiercely protective, and now worried about the current exchange, of his god-sister, Meera (Nutan). And when Rani  (Shakila) is out of the hearing/ observation range, he talks of his own mind, not very eulogising of her. Unfortunately, for him, as a foreman, his subordinates don’t give him proper respect and pull his legs, vcalling him jamandar (= sweeper), especially the girls, the chief amongst them is the girl, he is attracted to (Who is she ? Seems by the credits- an actress named Menaka ?), the one who was about to be whipped by Shakila.

Didi (Nutan) is of course widely loved in the factory, naturally, since she is the proverbial lighting rod, diverting the anger of Rani from them. The reason that Nutan has so much of dare too comes out, Rai Sahab, Shakila’s father and the still living owner, has a very soft corner towards Meera Didi (Nutan) and would see to it that Rani isn’t able to take any vengeful action on her

Meera (Nutan) has a childhood sweet heart too, whose photograph is kept by her and she looks fondly, who had left long back and disappeared from their life. Nutan has an involuntary habit of putting her palm on cheek, when lost in deep and pleasant thoughts.

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Her mom is a bit too harsh on her (Leela Mishra- yes the soft grandmother of later dates is a tough mother back then) and soft on Rani, despite the exact opposite behaviour of the two girls towards her. In fact every times Rani comes back home, she would come forward to greet her, to utter dislike of Rani.  On this day, when she was already angry at the transgressions she pushes the Ayah aside making her fall down. Meera rushes in and so does Rai Bahadur. The victim protects Rani, saying Meera is lying and she had actually slipped and fallen down, Rani wasn’t in the least responsible.

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Obviously Rai Bahadur has more faith on Meera, and in the resultant confrontation (“either she lives in this home or I”) the inevitable happens, and the only child Rani wins hands down against favourite of both parents (Rani’s) but not related Meera.

While they are packing, Rani comes in to ensure that they are actually leaving, catches Meera in the act of fondly watching the childhood photograph and tears it off, the parts of course collected by our Meera.

“Live in hut and dream of castles ?”

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It gives a hint, that the childhood friend, who left the village too was a “castle” person and hence affluent family. It can be surmised that after his father’s death, they left the village and went to town and then disappeared somewhere in the crowd. However at last stage of the movie there is a counter on the same jibe by Meera, contradicting this assumption,

“Back then he was a poor boy, how would I know that he would become such a big officer?”

Rai Bahadur and his wife tries to give some money to them, but obviously our upright Meera refuses anything not earned (though she had earned that technically, having been doing a free service to the factory for so long, only in exchange of shelter, food and clothing). Agha takes them to his home for night shelter.

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The house is of Agha’s uncle (since Agha has to take his permission every times he tries to put in a guest) He is the editor of a local (hand printed at his press) news paper of strong communist philosophy. He even comments on Nutan’s exodus “It always happens, when one tries to raise a voice against oppression, the voices are silenced”

Though Nutan wanted it as only that night’s shelter, and go back to their village (where? Later story doesn’t make it seem her mother would ever) next morning, the move was double vetoed. First by the mother, who doesn’t want to leave the village where Rani lives, and then Agha, who informs that the labour union has threatened to go on strike, if their beloved Meera Didi leaves the area. She has to stay with him.

The expenditure? By closing down the loss making newspaper is not acceptable to Meera, she offers to work at the factory as an ordinary worker. Time for a sad song- asking the One above, why is He so harsh on some – why do you make a garden green while the other withers?

Sweet song- rendered by Asha on sweet Nutan… the potentials of her usage of eyes are now in picture. The camera doesn’t focus only on eyes, but on full face. She calls out to the One above- looking into nothingness and asking him for the reason of His partiality.

Agha listens gloomy while the mother didn’t look sympathetic to her child’s pain.

Next morning there is a breaking news, by Uncle, there had been some reports of illegal felling and a forest officer is getting posted there. Agha is give the task (as assistant editor, nominated by his uncle, just then) to go to the village and distribute the newspaper. On the way he meets the Munim, and from the copy the Munim comes to know of the arrival of the forest officer he rushes to inform Shakila and also the local black marketeer, the kingpin behind illegal felling Mahendar (Iftekar), incidentally the local manager of Shakila/ Rai Bahadur.

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Meanwhile the ban on singing and dancing- had been put on notice board, threatening a strike. However again Meera comes in picture and the strike call is aborted.

Shakila meanwhile on her forest ride, meets an unknown person asking for direction. She should have, but doesn’t make an educated guess about a decently dressed man, despite having read the news paper. Of course his behaviour, bordering on eve-teasing, would have anyway turned her off. Shakila stomps- rides- off, spraying mud on him.

The poor man, Nasir Khan, walks on, finds the nearest house, an inn of Agha’s girlfriend’s, and interrupts their romance by walking in without knock. There another god-brother sister relation (between Nasir Khan and Agha’s girlfriend is created, not very necessary, but may be to clear the airs. Anyway Agha too was getting suspicious.

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Agha takes Nasir, his Brother in law (through girlfriend) for his factory tour. There the childhood sweethearts meet, Nutan cleaning the wood, and Nasir walking by. The eyes lock, unsure. Then some childhood habit of Nutan was used by Nasir to conform. He uses it and involuntarily Nutan follows.

Meanwhile Shakila drops in, finding the rowdy on road in her factory, she evicts him. The rowdy however comes to her home, demanding washing charges, asking her to send the money to his addres (he gives his card) which Shakila tears off and throws off, and misses the chance to have the first claim on the childhood sweetheart. That is unlucky, but natural, if one’s stalker gives his address card, what would a girl, that too as fiery as Shakila, would do?

Meanwhile Nutan is in flashback, in which the photograph was taken by the Rai bahadur of the three children. The Ayah (Leela Mishra) comes in and gives all the dolls to Shakila (baby), and Nasir has usual dialogue for the deprived other girl  “Don’t be sad, when I grow up…”

Then a song of the flashback period, not necessary in this case for the story, though it doesn’t jar, but it slows it since it is only of memoir purpose and not to move the story forward, though the two young children did dance well on the  song stage acted by them, on the Radha Krishna theme,

Under similar condition- a much more mature faraway look, Nutan had been on prose and not poetry, again recalling the child-hood “Ammi, I too want my birthday to be celebrated, I will too sit on your lap and eat Kheer- Sweet Porridge – a mandatory item to be given on birthday in Bengal, on the lap of the mother, while still lap-able.

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However still the faraway look on Nutan’s face had just that much of longing and ache- reignited as the childhood sweetheart was back, and both recognised each other.

Of course the hero wasn’t going to let go of his sweet heart in a hurry, and while she was lost in thoughts, he was there. Both had some sweet recollections, and then our Leela Mishra was there. It was clear that, whether the others wanted or not, she wanted the tie between Rani and Ashok (in the above sweet talks we could finally know that his name is Ashok).

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The background of Ashok isn’t clear. He had an aunt (Chachi) who, as per Leela Mishra would always carry Rani on her lap and say “I will get my Ashok married to Rani”. That’s not what a maid servant or house-hold staff would dare say. This part is puzzling.

off the subject- but she is still clearly a kid, she can’t stand steady, she had been moving the body like kids do, while other talk, and she isn’t allowed to . Director didn’t tell her to stand in attention (focus), or maybe she just couldn’t? Of course the movie has been kept as it is means director didn’t mind ?

Meanwhile Leela Mishra – with an excuse, goes away, while our Agha barges in and of course identifies the budding romance, but anyway he can’t say anything for his elder sister, so with a significant look and statement “now he won’t escape anymore” , he stops. However he had come to offer a job of supervisor to Ashok and he does that. As far as his place of stay was there, he became another paying guest in Agha’s home, of course only after his uncle (the Editor of the revolutionary paper) permitted.

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Now I have a gap in my copy. I assume that Leela Mishra had gone to Shakila, got her updated on everything. Obviously Nasir was immediately called and he won’t be let go till he had dinner. While over in the hut, Nutan waited for him with the food.

Baithein Honge Raste Pe Wo Aankhen Bichhaye ,  Har Aahat Pe Sochte Honge Saajan Aaye

He does arrive, but well fed, unaware that there was one hungry, waiting for him to feed and then eat. Our hero had been so well fed, that despite the indirect hint from our girl to at least break a bread with her, he declines. And saying good night he departs.

Nutan askes her to stay there but he tells that Agha had arranged for him to sleep in the balcony of the hotel (his girlfriends) and if he doesn’t he might get angry and his job will be lost. Leela Mishra gets up in the sound, and by when she comes he has left.

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She tried to put a seed of suspicion “He has come from Rai Sahab’s home, won’t they have offered him a place to stay? He lied to you” though the heroine was sure, in fact unfortunately too “Ashok never lies.”

So much of confidence! Our Leela Mishra doesn’t like it at all.

Dreaming of him, Meera wakes up in the middle of the night. No soliloquy of course whether directly or from background, that the poor man might be cold. She gets up, pauses for a moment, thinks something and takes the sheet and walks out to the hotel. Of course the varendah is empty. She looks expectantly at it and then the expression changes to sadness, she looks towards a lit window (I assume Rai Bahadur’s) and walks back.

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Next day while Ashok is looking around trees, may be to identify the ones to be cut, he runs into Iftekar. Suspicious at finding a stranger, Iftekar asks questions, confirming his suspicions that this is his rival, Ashok. However he is a bit mollified when Ashok tells him that the childhood friendship has gone with childhood, now it is only boss and subordinate. But that is for a moment. Shakila walks in there and scolds Iftekar in front of everyone.

Now we come to know of Ashok’s identity. Though with directorial error, the initial information was a forest officer, but now he is introduced as the purchase officer of their major customer. Though his queries again seems to be of a forest officer – these trees here seems to have been recently felled…

I am overlooking it as lack of research, only rankling but not affecting the story. Both ways he is the person who could make or break them and needed to be handled with care. As the purchaser he has to ensure that young trees are not cut before the grains are properly formed, and as forest officer too he has to do that for another reason.

Iftekar is unhappy to say the least, being insulted by the girl, he wanted, basically for the property,in front of all, and to top it, it looked clear that despite the assurance Ashok was not only his competitor but the winning horse. Something needed to be done. Of course the Munshi was there to assist him, in whatever he planned.

In the evening our lovers meet, of course Meera doesn’t ask for explanation of his night-out at Rai Bahadur, and seemed to be content to have him beside him, for the usual eternal love promises.

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Her face has started talking though not as loudly and clearly as it would do a few years hence. There is still ache in the face, the faraway look in eyes. These must have made the flop heroine to be selected again and again. The twin – beauty and the talent, both in excess, are a bit rare commodity.

Meanwhile our Ayah Mom (Leela Mishra) has our own plans, she goes to Rai Bahadur’s home and fixes up, virtually the marriage of Rani with Ashok. In the returns, she gets, may be first time, a good behavious as well as a present from her. However while coming back she sees a strange person on the way and is frightened by him and escapes hiding- clearly someone from her past.

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Of course not much of suspense is maintained, it is her husband, a regular drunkard. Once for money, even when she was pregnant she was getting badly beaten up. Fortunately rescued by neighbours – looks like neighbours back then were more empathetic, at least in movies.

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At least, Leela could recognise her husband, despite almost looking like a Sikh, otherwise with just a minor make-up the villain fails to identify the hero ! (or even the heroine, for  whom he would have been lusting after).

Meanwhile the girls are getting frisky, and of the boys at least one. Agha wants his girl out for a moon light walk and throws stone on the window pane to get her out. Unfortunately the father wakes up and looks for the culprit. Fortunately Nutan walks in and is get caught, out for her moon light walk, though alone. She pretends that she had been throwing stones, but in the post father retirement, her secret is out to the original stone-man (Agha) and his girl. However since his hero is missing, possibly to Rani’s house, she goes back. In fact she was already on way back disappointed.

Next morning in the factory all the hell break loose. Already gossip between Rani and Ashok has started, in shock, Meera injures her hand. There is a melee, their most beloved person being involved.  Rani and Ashok arrive and hear it. Ashok rushes there, but by the time Ashok could reach, Meera has been taken home.

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Ashok rushes to Meera’s home, where Meera refuses to have anything with him, and also refuses to believe that he is purchase officer or living in the official guest house and not at Rani’s home. Ashok physically kidnaps her and takes to the Guest House where the doubts are clarifies and after some sorry, forgive me, tears and finally an not too uncommon oath “I take an oath on your blood, Meera, I was and will for-ever be your and so on”

Of course in the end the girl teasingly runs away, all the way to the hotel, and hidesl below the counter. Of course Ashok hot on the trail reaches there but couldn’t see the hiding girl.

Meanwhile the gossip of his affair with Rani is known all around and Agha, being the protective brother, confronts him, having guessed the soft corner he had towards Meera earlier, which she had reciprocated.

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Meera had to come out of the hiding to clarify everything and also to tell who Ashok really is. Confusions cleared, now after a long time (at least as per my video) now there is a break, and in the hotel, the song breaks in

Here my copy has some discontinuity. What seems to have happened, through the parts is that Iftekar is informed of the affair between Rani and Ashok. However he doesn’t really believe it, he thinks that Rani is manipulating him since he is Purchase officer. However due to the business aspect and also to play safe, he has to manage him, by hook or crook, elimination wasn’t ruled out either if everything fails.

At that moment by chance Nasir comes over to his home for some investigation purpose. Iftekar seems to have tried to bribe him. However he failed in that. Of course he played safe saying that the offer was due to the instruction from top. After Nasir leaves, he and the Munshi decides that since he didn’t bite the bullet of gold, the bullet of lead should now take care of him, since already he has lost around 25K rupees, (of those times) due to his inability, in Nasir’s presence, to carry on the business as usual.

Nasir meanwhile, in the evening, goes to his usual rendezvous place. The lady love arrives after some waiting, and walking in a shallow stream, they sing,

However it isn’t possible to hide the things for long, and in between the song, somehow, Shakila lands up there, watches it all, and obviously isn’t amused. She calls the Ayaha and asks her to control her daughter. Our Leela Mishra, of course has much more brain than her,

“Don’t use force, the fire of love would become stronger. Nothing has been spoilt yet, if you use brain.”

Accordingly Shakila uses her, or Leela’s brain.  Next day she goes all the way where Nutan is peeling wood, sits with her and then pulls her over to her office, apologising for her behavior and wishing to make amends for it.

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She pulls her off the work, takes her to another estate, a bit far away and practically pleads her to manage it, saying she is unable to handle all the job, now as a sister won’t she help her, else this whole property would be simply lay waste and may be stolen too. With so much of apologies of course Meera didn’t have much of choice. She only says that she would stay in her own home and not here. That is promptly accepted and the matter rests there with Nutan moved off from Nasir. And now the problem (Nutan) taken care of, Shakila now has to handle Nasir. It is simple, she knows the place of randezvous and comes there to seduce him.

A bit later – she had to come all the way from the other place, Nutan too lands up there, and watches what is happening. Nasir of course tries to avoid, but obviously can’t be rough and from distance what Nutan sees, looked to be, not too protesting at the attention.

She rushes off, not waiting till the end, when Nasir would rebuff Shakila, to cry her heart out. Such a klong songless period is compensated by the back to back songs, as Nutan walks besides the river and sits down to shed tears,

Next morning Nutan comes back at her old work place, peeling the wood. Surprising, till Shakila turns up. She is, though rebuffed, not aware that Nutan knows her manipulation. She again comes to her, apologising. It looks she was supposed to send the cart to pick her back home, but she, in some work, plainly forgot it and now came to apologise for her carelessness. Now the situation is more complicated, and need tougher handling. She tells that ‘dad’ told that to properly take care, she must stay there and not come back. Of course under the current situation Nutan is least bothered of it and readily agrees.

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Meanwhile Nasir in search of Nutan, comes to Agha cum Nutan’s home. There Agha is sitting on the stairs, glum. Nasir asks the reason—“were you too waiting for someone out whole night ?” signifying that after getting rid of Shakila, he waited for Nutan, who, heartbroken, didn’t obviously bother to turn-up. Nasir of course immediately gets information that Nutan is in Akashjangal, and turns up there and finds Meera coming from a field trip with Shakila.

Nutan avoids him and goes to office, leaving Shakila with Nasir. Who wants Nutan and not Shakila so goes after her. In office he pulls her arm to turn around and demands explanation for not coming last night. As Nutan, a bit harshly tells him that he shouldn’t touch girls like this. Before things are sorted out or worsened, Shakila, watching what was happening comes in and reprimands Nutan.

“He is no more our childhood friend, he is a big officer now, you shouldn’t behave like this” putting any possible reconciliation on hold and then pulls him away and back. She also insults, through words, “:fter all she is uneducated, our ayah’s daughter, how she would know how to talk to an officer? Forgive her”

However the story is simple and not much unbelievably convoluted. Everyone is almost doing what is almost natural. Nasir too does the natural, he shifts his headquarter, in a tent, to Nutan’s domain, Akashi Jungle.  Iftekar, finding things are not going his way, comes to Nasir, and invites him to some plot of land to show for next lot of deforestation, putting all the blame for misdeeds on the bosses. Shakila too naturally comes to meet Nasir.. “you might leave me and come here but I won’t”, and Nutan, being informed that Nasir has shifted to her home, comes to the tent to spy over the happenings, or may be natural curiosity?

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But finding Shakila there walks away, to again shed tears alone

Next morning Nasir walks over to the place Iftekar called him, where tree felling is going on where he is going to. Nutan observes at tries to warn him, but before she could, a tree, as planned by Iftekar, falls on him.

Nasir saves himself in the nick of the time. Nutan rushing in at the incidents and finding him safe, can’t control herself for a brief time, before composing herself and walking away, Nasir in hot pursuit. But confusion couldn’t be cleared so soon. People were shouting at the fallen tree.  It is found that though Ashok is saved, his servant has been injured by the tree. He is taken to hospital and is declared out of Danger. When Nutan comes home and tells the incident, the Indian wife, Leela Mishra, has to be beside  her husband, whatever may be the type, and goes to the hospital where her husband is lying unconscious.

Agosh (23)

The spouses meet. The husband apologises, tells that he has left liquor the day she left him. Then he asks of the child, that she was carrying inside her then.

However she, on a flimsy ground, that she had told Nutan that her father is dead and now can’t make him alive, refuses, relenting only when he promised that he won’t tell that he is her father (Of course this was not necessary after coming out of hospital he could have searched him out).

Iftekar meanwhile wasn’t idle, failure in first attempt wasn’t going to deter him. However the journalist, Agha’s uncle has already investigated and brought out Iftekar’s involvement, and told Ahgha. In between second attempt is made. While inspecting the works, a roll of logs fell down on Nasir and again he had a providential escape.


Nutan wants him to go away, to save himself, but he refuses. Meanwhile Nutan meets her father in hospital. Of course it was one sided, he knew but not she. She in the mean while attempts with him, asking him to make his boss go away. Her mother interferes, why should he go away just because she wants him to.


Shakila again lands up in Nasir’s tent, and Nasir finally tells in plain English (or Hindi) to Shakila that he loves and will love only Meera. Which ecstacic Nutan’s father overhears an promptly goes and tells his wife. It isn’t good for her though since she wanted Ashok to marry Shakila.

Another eaves dropping, Nutan on the steps hears this and obviously is over the moon and in that condition meets Shakila, who obviously is not, and whips Nutan for the transgression into her right before walking away.

Of course no sympathy was expected from mother and she doesn’t get that either, in fact opposite, “if you obstruct Rani’s life further, I will strangle you.”


Dejected, unhappy weeping she goes out and wanders in the forest, where she meets her (unknown) dad. He is furious, to say the least at her condition, and assuming it is her mother, he goes over to confront. There he comes to know it was Shakila and not the mother. His blood was already boiling at his daughter’s condition and it now further heats up. He takes a knife and goes in search of her, Leela Mishra following trying to stop it. As a last resort she had to expose, (which we had guessed) that in fact  Shakila is their daughter and Meera is Raibahadur’s. Leela had replaced them in infancy to ensure that her daughter gets all the riches. Only I didn’t know that the moles (or birthmarks) are passed on through generations (!). But something ha to be there to prove to the father that he is the father ?


Shakila rushes to only probable person who can solve, Iftekar. Iftekar is ready to help. If she signs on a blank paper, he will kill Meera. Of course he wanted Shakila for the property, if that he gets, he doesn’t mind Ashok getting her.  Meanwhile all the matters are clean-breasted at Raibahadur’s and obviously first mother and then Rai Bahadur rushes out – – “Meri Beti”


And it is the climax now, on the dam, Meera is there, her waterfront place, with her sweetheart, may be (but we are not privy to), talking sweet nothings. Iftekar waits from them, above the dam, and when they reach the river bank and sit, tries to shoot Meera. Afraid that Ashok , who is just beside her, could be killed in the attempt, Shakila tries to stop him. Iftekar of course wants both dead, and clearly tells her. The thorn in your path is Meera and mine is Ashok. In the melee, the pistol slips and falls down, in the river far below.

With pistol gone, Iftekar quickly improvises. He looks around and now finds another method, he could open the floodgate of the dame and wash out the lovers in the flood water.


Shakila tries to stop it too. But is physically overpowered. But the screams alarm our love birds, and Nasir leaves his lady to investigate. 

Meanwhile Shakila falls down but then climbs up to the gate and jams her body in the opening way to stop the opening, and in the process is killed. The manly battle too has to happen, and it does as Nasir rushes up to meet the challenge, who is more than willing to meet him.

However unlike normal climax, the fight is not long drawn, or rather it is with twist, of course the end is same. Meera had observed Rani and calls (screams) at Nasir to save her. Nasir leaves the fight leaving the Dam again at Iftekar’s mercy. But not for long, alarmed by the screams, the people from factory rushes in, led by Agha, to take care of Iftekar. Iftekar falls down trying to escape on the stone-bank below.


With villain dead and gone, time for family union,



And the teary speech by the father – Shakila’s actual..i.e. Leela’s husband- it goes on the ooft repeated lines—because of my sins and your greed- you wanted your daughter to be rich and stole some one elses? Now see the result.

The child that you should have in your Aagosh– you gave it off)



5 thoughts on “1953- Aagosh”

  1. Wow, Somak, this is absolutely fabulous! Many many thanks for this huge piece of work! I especially appreciate all the photos of course, and the very impressive length of your commentary. A wonderful piece of work!

    1. Thanks, i went into detail since this is a forgotten movie. As I told you in your site, it was a plain lucky thing to get the movie VCD, and once I could find probability, I just couldn’t had the heart not to ‘own’ another piece of her. And , we are least possessive of her, in fact we want her to be shared with as many persons as possible, may be some new facet of her would come out from another of our recruits? Who knows.

  2. how do i begin a blog having a fictitious writer, parody/comedy/comment on current affairs politics and so on?

    1. First think of a catch name of the blog- not as complicated as mine 🙂 , a simple one, which could be hit by google search but not mixed up with dictioneries which would come first in the search engine sequence, pushing your down to footer. While registering of course all your names would be there, that can’t be helped but use a separate nom-de-plume and none would ever know the actual name of the blog owner, unless there are particularly offensive thing which would activate the law enforcers. For example even in this case, except some people who know, no others would be aware of my identity. Get hold of a secre certificate to avoid hacking.

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