Sangam (1964)

Absolutely Fantastic

It's entirely possible that sending the audience out feeling lousy was intentional

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The film never slows down or bores, plunging from one harrowing sequence to the next.

It's very much one of Raj Kapoor's films – not only starring in it he produced, directed and even edited this one. There's his usual awkward slapstick amidst all the tragedy on display, resulting in a very episodic film, full of good things and interesting but also as corny and dull as you can imagine too. Classic Hindi love triangle – beetle-browed Gopal (Rajendra Kumar) and bagpipe-loving Sunder (Kapoor) love Radha (Vyjayanthimala), Radha has utter antipathy to Sunder and loves Gopal and vice versa but Gopal also has an all-consuming man-love for Sunder (and vv) and wants to stand aside to let him have Radha instead. In the main it's all done well even though it's been done much better many times before and since, but the cast were saddled with some enormous plot-holes, mood-swing non sequiturs and just plain silly bits. For example when Sunder is a pilot in the cockpit of his military airplane and noisily taxi-ing off with Vjyayanthimala running after it to shout after him that she didn't love him is either hilarious or hideous depending on your mood. At one point he's presumed dead and Gopal and Radha start to make romantic hay, but Sunder returns so hem … it 's a case of Return To Sunder and to begin being a good wife naturally. What makes it all bearable is the lovely music by Shankar-Jaikishan and the singing by Lata of course, and also the wonderful scenery and photography: at times, very arty. As for Vyjayanthimala's "enticing" dance in the hotel in Paris, well, give me her rather more dignified performance nine years before in Devdas any time. But she does manage to strike an astonishing number of beautiful and iconic poses throughout the picture - she couldn't help it - none more so than during Rafi's Ye Mera Prem Patra and Lata & Mukesh's O Mere Sanam.Overall, it's very easy to watch but perhaps just as easy to criticise. On the other hand it also contains the one of the best if not the best denouement of the triangle angle I've ever seen.

When I first saw Sangam back in 1965 on its initial release in Malaysia, I was a young boy whose deep impressions of the film was the lady in a white sari. I saw it again in 1974 on its re release. For the second viewing, it was the music and the songs. Unfortunately I had seen "Bobby" by then and thought all the three leads looked far too matured for the "teenage" and "young" characters they were playing on screen. But that was the trend of those bygone days when older actors played younger roles. It is rare for any musical that every single tune is as enduring to the ears as in Sangam. Only "My Fair Lady' "The Sound Of Music" and "Bobby" (1973) comes to mind. Since then with the convenience of television and now the DVD I had seen watched it once every few years and I revisited the film again last night. The male bonding and the sacrifice of Rajendra Kumar is very Asian and may well be on its way to be extinct. This sense of Asian obligation and moral value was and to some extend still is prevalent is a sense of maintaining a status quo and not rock the boat in a bad situation for want of not turning it worse. It is not a wrong or right decision. Everything that needs to be said about the acting, about the cinematography and its importance in Hindi cinema by taking the musical numbers out of the studios to exotic locations has been elaborated in these pages. What strikes me is the way in which Raj Kapoor with the use of music and only three principal characters hold our attention for more than three hours. All other characters appear briefly solely for narrative development. Although it is not a masterpiece, it is an enduring example of a simple love story (which has been done a million times over); with its chemistry between the characters and its music does not seem dated and still shine above others more than 40 years after its premier.

One of Raaj Kapoor's best films where his acting is flawless and very close to his private personality.For years we saw him in the familiar 'charlie chaplin' guise so this film was an accolade to his inherent acting abilities.Vyjantimala is superb and Rajendra Kumar is also in good form though overshadowed by Kapoor.The music and direction,especially the scenario are very professional and admirable.TThe story is well-balanced though as in all Indian films the flaws are also there;Raj's death and his subsequent arrival are the weak points.This film shows the real Raj Kapoor behind the clown's mask;ruthless and opportunist.A very enjoyable and well directed film.

The story is a little contrived and the acting melodramatic, but the songs make the movie. The songs are really very well situated amidst the beautiful and breathtaking scenery. Vyjantimala's spontaneous dance in the European hotel has never really been successfully duplicated in Indian cinema. It is a classic that was shot in one take I believe. The songs are really and truly memorable and are still heard today in the collections of Mukesh. Also, Raj Kapoor's acting was so effortless and natural in the boat scene where he captures Vyjanitmala and pulls her into his boat. The song is Mehbooba and is terrific. Another excellent song is Mere Prem Patra and the location shot is absolutely stunning and very colorful.