Zaroorat (1972)

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Cast and crew

Zuroorat (1972): The Reena Roy character has to submit to a rich man's (Asit Sen) lustin order to raise money for her crippled husband.

Zuroorat (1972): Naturally, she feels miserable after the act.

Debutante Reena Roy in Zuroorat (1972)It was her first film. She wasnot from an affluent family. Therefore, the film's makers could persuade her to expose more than what most established actresses would have at the time. Rehana Sultan, too, HAD made her debut in Dastak. In 1970-72 (and later as well) Simi's film career was going nowhere either, despite having been in the films since 1962 and having won much respect and major awards.

Reena Roy in Zuroorat (1972)

writer and Director: B.R. Ishara

Producer/ editor: I.M. Kunnu

Music: Brij Bhushan

Cast: Reena Roy and Vijay Arora (it was the first film for both), with Danny Denzongpa (spelt Denzoppa in the credit titles)

Excuse for nudity

At least officially Mr. B.R. Ishara was a maker of ‘art’ films. The patrons of said so. Therefore, lesser mortals agreed.

The ‘new wave’ of Hindi-Urdu cinema is supposed to have begun around 1969 with Mrinal Sen’s Bhuvan Shome. Its institutional patron was the government-owned FFC (Film Finance Corporation), which was headed by Burjor Khurshedji Karanjia, who was also the editor of India’s then biggest selling English-language fan (not scholarly) film magazine, Filmfare, which, in turn, was owned by The Times of India.

With both The Times of India and Filmfare bracketing his previous film Chetna (1971) among art films (it focussed on the dying call girl’s teardrop), people had a high-minded excuse to see that film (which showed a bit of Rehana Sultan’s legs). In another era it might have been called a B-film.

Zuroorat certainly was one. And by the time it was made even The Times of India and Filmfare had stopped hailing Mr. Ishara as the next Goddard. It was unfair and unjust of the two publications to have abandoned Ishara, especially when his Zaroorat had scaled new peaks of artistry: In the copulation sequence, instead of showing two humans in a clinch, Ishara made the the stripes of the bedcover on which they would have had sex (shown on this page in red and white)change their colours in rapid succession. There are no humans on that bedcover (which was an of kindness on Ishara's part, for who wants to see Asit Sen having sex).

The film’s excuse for getting young Reena Roy to strip to the waist was that her character needed the money to help her ailing husband.