Awtar Krishna Kaul’s “27 Down (1974)” stands as a singular achievement in Indian New Wave cinema. Released as his only directorial venture, the film adapts Ramesh Bakshi’s novel “Athara Sooraj Ke Paudhe.”
It is a poignant exploration of urban alienation, personal sacrifice, and the relentless pursuit of dreams. The film delves into the complexities of love, duty, and societal expectations. It portrays the struggle between individual aspirations and familial obligations, set against the backdrop of the bustling Indian Railways. The narrative is a reflection on the loneliness and anonymity of life, the psychological dislocation caused by decisions of others, and the acceptance of one’s destiny.
The Story
The film is based on the Hindi novel “Athara Sooraj Ke Paudhe” by Ramesh Bakshi. It follows the life of Sanjay (M.K. Raina), a railway ticket checker who has abandoned his dreams of becoming an artist to support his family. The story unfolds on the 27 Down Bombay-Varanasi Express, where Sanjay reminisces about his past and his relationship with Shalini (Raakhee), a Life Insurance Corporation employee he meets on the train. Their budding romance offers Sanjay a glimpse of hope and happiness amidst his struggles.
However, family obligations and societal pressures, especially his overbearing father, separate them. The narrative ends with Sanjay’s spiritual despair in Varanasi, symbolizing a life unfulfilled. The 27 Down train route frames his journey, connecting past and present.
The Genius Of Awtar Kaul
Kaul directed “27 Down” with a focus on realism and introspection. He structured the narrative around Sanjay’s journey on the Bombay-Varanasi Express, using flashbacks to unravel his life. He avoids melodrama and focuses on subtle human emotions without putting them into words. The film delved deep into the psychology of characters but didnot pass judgment. It left that to the viewers.
Kaul shot on live locations, capturing the rhythm of train travel to mirror Sanjay’s inner turmoil. His American training influenced the minimalist approach, blending Western experimentalism with a deeply Indian story and rustic setting. The black-and-white choice enhances the film’s stark mood, reflecting life’s contrasts.
Performances
M.K. Raina plays Sanjay with great restraint and groundedness. You hardly see his expressions amid a full beard, often downcast eayes and timid demeanor. But you can feel that behind the calmness there is a sea of emotions, regrets, resignation and anger. Rakhee Gulzar portrays Shalini, Sanjay’s brief love interest, with subtle grace, her natural acting capturing their fleeting connection. Her body language, clothes, which were her own, and minute nuances made Shalini one of the most authentic portrayals of a middle-class character.
Om Shivpuri, as Sanjay’s authoritarian father “Anna,” brings intensity and a quiet menace to the role. His reading of Letter and his recitation of Geeta’s shloks are a master class in voice acting. Anna’s precise manipulation of Sanjay, along with his physicality as a cripple, is also noteworthy. Sadhu Meher, Rekha Sabnis, and Sudhir Dalvi in supporting roles enhance the ensemble’s realism.
A Technical Masterpiece
The film uses a handheld Arriflex 2c camera, operated by cinematographer Apurba Kishore Bir, to capture spontaneous moments on moving trains and platforms. The production design by Bansi Chandragupta, known for Satyajit Ray’s films, recreates railway life with precision. Sound recordist Narinder Singh crafted a mono soundtrack, integrating train noises and dialogue for atmosphere.
Editing by Nilesh Vellani employs jump cuts to transition between flashbacks and present scenes. This technique mirrors Sanjay’s fragmented memory, avoiding linear storytelling. The pacing remains deliberate, allowing viewers to absorb the protagonist’s inner life. The cuts align with train movements, reinforcing the motif of endless journeys.
Cinematography
Apurba Kishore Bir won the National Film Award for Best Cinematography. He used wide lenses and handheld shots, inspired by “The Battle of Algiers,” to depict the platform’s chaos and calm. The contrast between crowded platforms and empty tracks symbolizes Sanjay’s isolation. Bir cleverly captured natural light and shadows for a beautiful artistic effect. Some of his shots remind me of the great VK Murthy, the cinematographer of Gurudutt‘s Pyaasa, Kaghaz Ke Phool and Sahib Bibi Aur Ghulam.
Dialogue
The dialogue, adapted from Bakshi’s novel, stays minimal and naturalistic. Sanjay’s lines, like “Phir koi pull hai kya? Shaayad pull hee hai,” reflect his philosophical drift. Conversations with Shalini and his father carry weight, avoiding theatricality. The script balances Hindi with English phrases. Although most of the dialogue remains grounded and relatable, sometimes the babbling of Sanjay seems very bookish, a trait of many arthouse films.
Music
Hariprasad Chaurasia and Bhubaneswar Mishra composed the music, featuring classical influences. The song “Chuk Chuk Chuk Chuk,” sung by Ravi Kichlu with lyrics by Nand Kishore Mittal, mimics train rhythms. Anjali Chaudhuri performs thumri and dadra pieces. The soundtrack avoids commercial beats, aligning with the film’s tone.
Critical and Commercial Reaction
Critics praised “27 Down” for its lyrical quality. The New York Times noted its “accurate and humorous images” of Indian life. The British Film Institute’s “Sight and Sound” lauded its location use. Commercially, it struggled, appealing to a niche audience due to its arthouse style.
“27 Down” won the National Film Award for Best Feature Film in Hindi and Best Cinematography in 1974. It received the Ecumenical Jury Prize at the Locarno Film Festival. Recent screenings at IFFI 2024 and Moscow’s GES-2 festival affirm its enduring recognition.
What Makes the Film Unique
“27 Down” stands out as Kaul’s only film, a one-off masterpiece. Its black-and-white format, rare in 1970s India, sets it apart from technicolor trends. The handheld camera and live shooting create a documentary feel, limiting its commercial appeal but enhancing artistic value. Kaul’s death shortly after release adds a layer of intrigue, freezing his legacy in a single work.
The film explores urban alienation, echoing Albert Camus’ themes. It addresses societal pressure, with Sanjay’s father enforcing a stable job over art. The loss of innocence emerges as Sanjay submits to duty, losing Shalini. Gender dynamics appear subtly in Shalini’s independence. The train motif symbolizes life’s repetitive struggles.
27 Down on IMDB
