Land of Lime

Part 3

Babhruvahana perhaps is most well known for its great lines and catchy songs, both romantic as well as battle field exchanges. I remember watching the film as a six year old boy and then reenacting scenes with my friends, Jaideep and Sanjay, (I haven’t seen either of them since our battle games more than twenty five years ago but they are somewhere in America) with bows and arrows we had made for ourselves, repeating dialogues that remained etched in our minds. Arjuna’s forceful denunciation of Babhruvahana for instance is a great line: Phada Phada Shikhandi enuta nudiyabedalo Mudha! My translation (O fool, do not call me Shikhandi again and again) or any translation for that matter will not do justice to the rhythm and effectiveness of that line.

It is not only then, but even all of last week, I have been singing constantly this one single line, which we can only take as Arjuna’s self description, in the face of Babhruvahana’s challenge: Asahaaya Shura Na Akshiina balano. Again, the translation (I am a brave warrior, who needs no assistance; my strength doesn’t become less) doesn’t do justice to the precision, rhythm as well as poetry of the line.

It is no surprise that Raj Kumar, who plays both Arjuna and Babhruvahana, dominates the movie through his acting and gets to deliver all the great lines as well as songs in the movie. The director plays a secondary role in the making of this film, but T.G. Lingappa, who wrote the script, screenplay and songs, is the unsung hero. The dialogues and songs are reminiscent of a rich theatre tradition from which not only the story but also the dialogues appear to have been borrowed.

The film is primarily dominated by two moods – romance and battle. In the first half, Arjuna romances Uluci, Chitrangada and Subhadra, battle is the dominant rasa in the second half, especially a series of exchanges between Arjuna and Babhruvahana constituting the highlight of the film. The romantic songs are melodious and catchy, and contain great lines. Romancing Uluci, Arjuna sings:

In your glance, I saw hundred desires
In the laughter of your heart, I forgot myself

It is not just the songs but the conversation between the lovers too builds up the mood. Arjuna, who has been brought to the underworld by Uluci, sees his portrait in her living quarters; when he realizes he is the object of her desire, he teases her: isn’t it wrong to desire a man whom you haven’t seen? She retorts immediately: isn’t it wrong to steal my heart?

But then dialogues and songs turn masculine, signaling the turn towards battle and testy mood. Through denouncing each other, both Arjuna and Babhruvahana not only narrate the story of Mahabharata, primarily describing or denouncing Arjuna’s accomplishments, and in the process redefining each other’s character too. As I mentioned in the first part, when Arjuna calls Babhruvahana son a Jarini (woman of loose character), a critical moment in the film, the latter has no option but to kill Arjuna, even if he is his father. Moreover, Arjuna’s rationale for questioning Babhruvahana’s parentage is because he surrendered to Arjuna, instead of facing him in the battlefied. He then questions Babhruvahana’s credentials as a hero: Avarivarannu konda matrakke avanu ajeyanalla (just because he has killed some heroes, he is not unbeatable). It is not only the denunciation of Babhruvahana that is significant here but also the self image of Arjuna as a great warrior.

Not surprisingly then, the highlight of the film is the song just before the battle when Arjuna and Babhruvahana question each other’s valor.

Babhruvahana begins:

Who doesn’t know the valor of your shoulders,
The secret of your victories in heaven,
Lord Srikrishna is responsible for all
That son of Yadus protected you, day and night,
Like shadow and he caused all your victories
Having now come without him you are equal to trina.

Arjuna responds by listing his accomplishments.

I am a brave warrior, who needs no assistance, my strength doesn’t lessen
I am the one who fought with Siva and obtained Pasupata arrow
I am the tiger who defeats those impatient enemies, this warrior, who strikes terror.

Ugrapratapi, Ugrapratapi (warrior, who strikes terror among enemies): this exclamation of Arjuna is also the moment for Babhruvahana to ridicule him.

In the assembly, when Draupadi’s saree was being snatched, where was your bravery?
You are the napumsaka, who wore bangles, danced thaka thai and taught dance.
You are the corrupt person, who without entering the discus formation with determination and breaking it sacrificed his son.
Where do you have the heart to kill real men.
I will spare you, without denouncing and now you may leave, shikhandi.

This exchange concludes with a final salvo from each of them, even as they release arrows.

I wouldn’t place Babhruvahana among the best films of Dr. Rajkumar, although it was a major box office success and the songs as well as dialogues from the film continue to remain etched in our minds. No doubt, the film articulates an ethical vision that all films Raj Kumar possess.

Cast: Dr. Rajkumar, B. Sarojadevi, Kanchana and Jayamala.