Flashback Friday: Rediscovering Jaya Bachchan’s Mili, A Forerunner To The Modern Manic Pixie Dream Girl Narrative

Flashback Friday: For ‘Mili’, Hrishikesh Mukherjee teamed up with Jaya and Amitabh Bachchan to seemingly capture the same enchanting essence he did with Rajesh Khanna’s 'Anand'.

Hrishikesh Mukherjee's ‘Mili’, starring Jaya Bachchan, follows an already-paved path. ( Image Source :IMDb )

WHY 'MILI' IS THIS WEEK'S PICK

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Indian filmmaker Hrishikesh Mukherjee, celebrated for his masterful blend of heartfelt drama and sharp comedy, has crafted numerous films that have become timeless classics. Among these, Mili stands out as a poignant narrative of life and optimism. As we revisit this evocative film released 49 years ago, we explore how its enduring themes continue to resonate within contemporary melodramas.

 

Teens who cried a river after watching ‘A Walk to Remember’ and ‘The Fault in Our Stars’ might be surprised to find out that Indian filmmaker Hrishikesh Mukherjee explored similar themes (twice) way before these films made it to the silver screen. You ask what? Making viewers believe that hope transcends all boundaries, sometimes even for people who pride themselves on their rationality.

I vividly remember a friend asking me to watch the film inspired by Nicholas Sparks' novel, claiming I wouldn’t be able to hold back my tears. Even as a teenager, I believed I had a heart of steel (naive, I know). Although I didn't get the hype around the film even back then, I joined the bandwagon and gave it a rave response. Yet, it won't be a lie if I say I felt a lump in my throat while watching it. 

Exploring the manic pixie dream girl trope narrative in Hindi cinema

To date, whenever I watch a film with a similar premise, I find myself a bit annoyed with the “manic pixie dream girl trope” with a terminal illness, the dreamy love story woven around it, and the wedding of the dying girl. I often wonder why the same ending every time? I got my answer when I watched Karan Johar's ‘Ae Dil Hai Mushkil’, which deviated from the usual climax, and I didn't like it. I have probably been conditioned by these formulaic, tear-jerking conclusions. 

Hrishikesh Mukherjee's ‘Mili’, starring Jaya Bachchan, follows an already-paved path. As a kid, I heard its hauntingly beautiful song 'Badi Sooni Hai Zindagi' on a DVD, and somehow it left such a strong impression that I once tracked down the film, once the internet made such tasks possible.

In today's Bollywood, Imtiaz Ali seems to have a knack for recycling this theme. Mili brings back memories of Geet's zest from ‘Jab We Met’, Sejal's innocence in ‘Jab Harry Met Sejal’, and the intense connections like Heer and Jordan's in ‘Rockstar’. It's like he's got a favorite flavor and keeps sprinkling it over his scripts! But Mukherjee seems to be the OG in the game. 

Hrishikesh Mukherjee’s take on life and hope

And to my surprise, I stumbled upon a film that, whether you end up liking it or not, lingers in your mind long after you have watched it. Mukherjee, who had established himself as a filmmaker with a unique directorial approach with his films like 'Abhimaan', 'Guddi', and 'Bawarchi', teamed up with Jaya and Amitabh Bachchan to seemingly capture the same enchanting essence he did with Rajesh Khanna’s Anand. The 1971 film, which has a sombre yet hopeful take on life, has achieved cult status now. Similarly, Mili shares Anand’s love for life and has an inspiringly positive outlook despite having a rare disease that leaves them with little time. Maybe the filmmaker's choice of the films' title is also an attempt to make his characters unforgettable. 

However, Mili differs from Anand because she doesn’t take the philosophical route or say deep dialogues like 'Zindagi badi honi chahiye, lambi nahi’ (Life should be big, not long) to establish her unreal perspective on life. Instead, she embraces a simpler, more subtle approach. Her presence and innocent smile light up every room, leaving a lasting impression with her quiet grace, without relying on many words. 

The heartfelt storytelling in Mili

The film begins with a poignant shot of Ashok Kumar, gazing at the sky with longing as he waves at an airplane. The voiceover reveals the heart-wrenching reality, he is bidding final goodbye to her daughter, who will never return home. The scene then transitions to a lively apartment building in the 1970’s Bombay, where we are introduced to Jaya Bhaduri’s character, a playful and charming young woman whose infectious spirit endears her to everyone. The director deftly portrays her as a warm and joyful soul, radiating affection that makes her beloved by all. Her likeability is so profound that whenever she appears troubled, the entire neighborhood flocks to her in concern, creating a scene of collective worry and panic.

Mili, brimming with youthful breeziness and ever ready for a rip-roaring prank, bumps into Shekhar (Amitabh Bachchan), a young man haunted by his mother’s death and furious over the malicious gossip that surrounds his family. The soulful Mili storms into Shekhar’s life, bringing an unexpected whirlwind of energy. Distressed over his past, Shekhar finds solace in stargazing and prefers the quiet company of the night sky over the bustling world around him. As he moves to a new flat adjoining a terrace, Shekhar encounters Mili, his polar opposite. Deeply drowned in his grief, Shekhar shuns every little joyful moment and naturally recoils from Mili’s infectious zest for life.

After a couple of clashes, typical of her, Mili forges a friendship with Shekhar, oblivious to the deep bond that will later form between them. As Shekhar evolves into an approachable neighbour, he gradually shares his past with Mili, allowing her to delve into his troubled life. Their relationship blossoms into love. However, just as Shekhar finds solace in his own personal turmoil, he learns the heartbreaking truth about Mili.

Upon learning of her state, Shekhar decides to leave, unable to come to terms with the reality that Mili will soon be gone. When Runa (Aruna Irani) calls him out for his selfish intentions, he makes a life-changing decision to marry Mili who is living on borrowed time. He flies her abroad to seek the best medical care leaving the audience uncertain about what the future holds. Does hope prevail over despair? The directors leave this thought for viewers to contemplate. As the film comes to an end with the setting sun, it prompts us to ponder whether it signifies closure or hints at new beginnings.