Mere Apne
Mere Apne is a 1971 Indian Hindi-language drama film written and directed by Gulzar in his directorial debut, starring Meena Kumari as an elderly widow who relocates to the city and becomes a maternal figure to two rival gangs of unemployed youth.[1][2] The film, produced by Romu N. Sippy, Raj N. Sippy, and N.C. Sippy, serves as a Hindi remake of Tapan Sinha's 1968 Bengali film Apanjan, adapting its narrative to critique urban social ills including youth disillusionment and the exploitation of the elderly.[3][4] In the story, widow Anandi Devi, portrayed by Meena Kumari, leaves her village after persuasion by distant relatives who seek to use her pension for their gain, only to face neglect in the city.[5] She forms bonds with leaders Shyam (Vinod Khanna, in his first leading role) and Chennu (Shatrughan Sinha), mediating their gang conflicts amid broader themes of joblessness and generational alienation reflective of 1970s India.[1][6] The supporting cast includes Deven Verma, Sumita Sanyal, and Asrani, with the soundtrack composed by Lachhiram to Gulzar's lyrics, featuring notable songs like "Jane Kahan Gaye Woh Din".[2] Acclaimed for its poignant social commentary on unemployment and loneliness—issues resonant even today—the film highlighted Gulzar's shift from lyricist to filmmaker, emphasizing realistic portrayals over melodrama and earning praise for performances, particularly Meena Kumari's restrained depiction of quiet resilience.[3][6] It also marked early screen appearances for actors like Danny Denzongpa, underscoring its role in launching key talents amid a cinema grappling with post-independence societal shifts.[1]Origins and Development
Literary Basis
Mere Apne derives its narrative from the 1968 Bengali film Apanjan, directed by Tapan Sinha, which served as the primary cinematic source for Gulzar's adaptation.[6] [7] Apanjan itself originated from a short story by the Bengali author Indra Mitra, published in the literary journal Desh.[8] [4] Indra Mitra, known for his works in Bengali literature depicting social realities, provided the foundational plot elements of an elderly widow navigating urban family dynamics and youth disillusionment amid socio-political unrest.[8] In adapting Mitra's story for Apanjan, Tapan Sinha incorporated real events from Bengal's Naxalite movement in the late 1960s, emphasizing themes of generational conflict and unemployment-driven hooliganism.[7] [4] Gulzar retained this structure for Mere Apne, shifting the locale to a generic North Indian town to broaden its appeal while preserving the story's critique of aimless youth gangs and familial neglect.[7] The literary core—centered on the widow's maternal influence attempting to bridge divides—remains faithful to Mitra's portrayal of empathy as a counter to societal fragmentation.[8] No specific title for Mitra's original story is widely documented in available accounts, but its publication in Desh underscores its roots in post-independence Bengali literary discourse on urban alienation.[8] This foundation enabled Mere Apne to address parallel issues of student unrest in 1970s India, reflecting causal links between economic stagnation and social rebellion without altering the story's empirical focus on interpersonal redemption.[4]Pre-Production and Direction
Mere Apne marked the directorial debut of Sampooran Singh Gulzar, who had previously worked as a lyricist and assistant director under filmmakers such as Bimal Roy and Hrishikesh Mukherjee.[3] The project originated as a Hindi adaptation of the 1968 Bengali film Apanjan, directed by Tapan Sinha and based on a short story by Indra Mitra, with Gulzar initially commissioned to translate the Bengali script.[7] Producer N.C. Sippy, a collaborator of Hrishikesh Mukherjee, provided Gulzar the opportunity to direct after reviewing his adapted narration, which streamlined the story by removing extraneous elements to emphasize themes of youth unrest and political disillusionment.[9] Gulzar reworked the script collaboratively with Indra Mitra, shifting the setting from the Naxalite-influenced Bengal of the original to a generic North Indian urban environment to broaden its resonance while preserving the core narrative of generational conflict and unemployment.[7] [9] His directorial vision prioritized realism, aiming to portray "restless youth versus politics" in a manner "closer to life" rather than adhering to the musical conventions typical of Hindi remakes at the time.[9] This approach reflected Gulzar's intent to critique societal exploitation of the jobless, drawing from the original's controversial undertones without direct replication.[7] Pre-production was handled by N.C. Sippy alongside Romu N. Sippy and Raj N. Sippy, with Raj serving as assistant director.[9] Challenges included securing lead actress Meena Kumari, who was persuaded by Romu Sippy despite her health issues, underscoring the producers' commitment to Gulzar's choices over alternatives like Nimmi or the original Apanjan casting suggestions of Kishore Kumar and Waheeda Rehman.[9] Gulzar's preparation drew on his prior experience in scriptwriting and lyrics, enabling a focused development process completed ahead of the film's 1971 release.[3]Production Process
Casting Decisions
Gulzar, making his directorial debut with Mere Apne, insisted on casting Meena Kumari as the central character Anandi Devi, the elderly widow, overriding producer N. C. Sippy's preference for Nimmi.[9] Initially inspired by Chhaya Devi's portrayal of a similar role in the Bengali film Apanjan (on which Mere Apne was loosely based), Gulzar sought an actress capable of embodying quiet resilience and emotional depth; Kumari, despite her advanced illness, was persuaded by Sippy's son Romu to participate, marking one of her final on-screen appearances before her death in 1972.[1][10] For the rival gang leaders Shyam and Chaino, Gulzar selected Vinod Khanna and Shatrughan Sinha, both relatively new to leading roles, to capture the raw intensity of urban youth disillusionment. Khanna, previously known for antagonistic parts since his 1968 debut, was chosen after Gulzar and Sippy viewed his work in Man Ka Meet, appreciating his potential to blend aggression with vulnerability in an empathetic lead— a departure from offers to established stars like Sanjeev Kumar and Rajesh Khanna, who declined.[9] Sinha, suggested by Romu Sippy, complemented Khanna as the antagonistic Chaino, though Sinha later expressed dissatisfaction, feeling Gulzar favored Khanna and opting not to attend the premiere.[11] Supporting roles emphasized emerging talent: Danny Denzongpa made his film debut as a gang member, while actors like Asrani, Paintal, and Dinesh Thakur (from Pune's theatre scene) were cast for authenticity in ensemble scenes depicting slum dynamics. Deven Verma played Kumari's husband, leveraging his comedic timing for contrast against the film's social realism.[9] These decisions prioritized narrative fit over star power, aligning with Gulzar's vision of unpolished, relatable characters amid 1970s youth unrest.Filming and Technical Execution
Principal photography for Mere Apne was completed in 40 days on a modest budget, reflecting the constraints typical of independent Hindi cinema productions in the early 1970s.[12][1] The shooting schedule emphasized efficiency, allowing director Gulzar to capture the film's urban decay and interpersonal dynamics within a tight timeframe. Cinematography was handled by K. Vaikunth, who employed straightforward, naturalistic framing to underscore the story's gritty realism and emotional intimacy, marking an early collaboration that Gulzar would continue in subsequent projects.[13] Editing by Waman B. Bhosle and Gurudutt Shirali focused on rhythmic pacing that balanced tense confrontations with poignant reflective moments, contributing to the film's elegiac tone without relying on elaborate post-production effects.[13] The production utilized black-and-white film stock, which enhanced the stark portrayal of socioeconomic strife in an unnamed North Indian town, with references to locales like Kydganj, Muthiganj, and Rajapur suggesting influences from Allahabad's bustling neighborhoods, though specific shooting sites remain undocumented in available records.[14] Art direction by Ajit Bannerjee recreated modest interiors and street environments to evoke post-independence urban alienation, prioritizing authenticity over visual spectacle.[15] Sound recording integrated location ambiance with Salil Chowdhury's score, though advanced design techniques were limited by the era's technology.Cast
Principal Actors and Roles
The principal role of Anandi Devi, an elderly widow known as Auaji who attempts to reform delinquent youths in an urban slum, is portrayed by Meena Kumari.[2] Vinod Khanna plays Shyam, one of the aimless young men under Auaji's influence.[2][16] Shatrughan Sinha enacts Chaino, the leader of a rival group of unemployed youths.[2] Sumita Sanyal appears as Lata, Shyam's love interest.[2][16] Deven Verma portrays Niranjan, Auaji's opportunistic nephew who houses her.[2][16]| Actor | Role |
|---|---|
| Meena Kumari | Anandi Devi / Auaji |
| Vinod Khanna | Shyam |
| Shatrughan Sinha | Chaino |
| Sumita Sanyal | Lata |
| Deven Verma | Niranjan |