Exploring how Hrishikesh Mukherjee's Satyakam uses songs to deepen emotional connections, address moral dilemmas, and reflect the socio-political challenges still resonating in contemporary India. Satyabrata Ghosh writes…

Hrishikesh Mukherjee’s Satyakam (1969) masterfully blends music and narrative to explore truth, integrity, and socio-political struggles in post-independence India. With unforgettable songs by Kaifi Azmi and Laxmikant-Pyarelal, the film captures the emotional depth of its characters while critiquing systemic corruption and moral conflicts. Featuring standout performances by Dharmendra and Sharmila Tagore, Satyakam remains a timeless commentary on balancing personal ambitions with collective progress. This classic resonates even today, reflecting India’s ongoing battle against unethical practices in governance and infrastructure. Discover why Satyakam is a landmark in Indian cinema, embodying resilience, hope, and introspection.

Songs: The Safety Belt of Indian Cinema

Songs remain an essential element for mainstream movies in India, as the safety belt is for airline passengers. They ensure at least a partial recovery of money even if the audience turns their faces away from the movies. The owners of Parsee theatre companies in our country during the early ‘talkies’ era thus live on, while most mainstream producers heave a sigh of relief once they know at least one song used in the movie has turned ‘hit.’

However, directors with certain sensibilities, convictions about their stories and scripts, and technical skills have used songs to augment the flow of their narratives on the screen. In Satyakam (1969), for instance, Hrishikesh Mukherjee was sure that the songs would become significant in helping the audience emotionally associate with the trials and tribulations of a young man who is truthful to the point of flaw.

Songs as Storytelling Devices

Three songs written by Kaifi Azmi depict three key plot points in the film. Zindagi Hai Kya exuberates the zest of a group of greenhorns – the pass-outs of an engineering college at the beginning. While Asrani and others celebrate the lighter aspects of life destined for imminent vain, Dharmendra (playing Satyapriyo Acharya, the main role) tweaks it to hint at the deeper truths of human existence. Sanjeev Kumar, playing Naren (Narayan Sanyal, the author through whose point of view the film is narrated), ascents to his friend and also takes part in the chorus. While marking the song as an affirmation of truth’s infallibility, Hrishikesh Mukherjee ends the scene with a bus accident, which takes away the life of the brightest friend of them all.

Do Din Ki Zindagi, the second song by Lata Mangeshkar, opens with a profound sigh that lingers throughout the film, capturing the weight of emotions we all experience. This was a rare occasion when Laxmikant-Pyarelal held the musical baton for Hrishikesh Mukherjee. It’s easy to understand why; LP, as they are affectionately known, embraced the beauty of simple, hummable melodies that touch the soul. Once I revisited Satyakam on YouTube, I couldn’t help but hum the tune continuously—it stays with me. While their use of dholak and nul can sometimes feel a bit much, their rustic rhythm reflects a deep truth about life in India: even amidst our struggles, we find ways to celebrate and uplift our spirits. It’s this resilience and joy in the face of adversity that connects us all. 

The third song, Abhi Kya Sunoge, beautifully captures a tender romance that Sharmila Tagore, portraying Ranjana, conveys to Satyapriyo. He finds himself grappling with a natural attraction that he struggles to accept. Satyakam stands out for its unique portrayal of heroism, which emerges from a place of reluctance and inner conflict. In those moments just before India’s independence, we feel the palpable naivety among the engineering students. They held on to the belief that independence would miraculously eliminate all corrupt practices from their country. It’s heartbreaking to realize that their raw idealism would soon collide with the harsh realities of life, forcing most of them to adapt to the flaws that surround them. This poignant journey in Hrishikesh Mukherjee’s Satyakam truly resonates, capturing the bittersweet essence of hope and disillusionment.

A Mirror to Society’s Struggles

The story profoundly explores the journey toward truth. At one poignant moment in the film, Satyapriyo expresses, “Uttering the truth is hard, but the listener must also be able to endure the pain that accompanies it.” This theme resonates, especially given the then-current climate where students in both the West and the East courageously stood up against political and educational systems that sought to dominate and enforce subservience. The film is steeped in a relevant historical backdrop, reflecting the transition of India from one form of governance to another.

In Satyakam, corruption is portrayed as the norm, evoking disappointment and concern. Rajinder Singh Bedi, the scriptwriter, conveys a sense of quiet dignity throughout the narrative, encouraging the audience to engage in introspection rather than simply presenting a binary between right and wrong. As Satyapriyo navigates his workplaces, where he has met with unethical practices, he passionately strives to correct the fundamental values of work ethics in government offices. He compassionately points out to his superior that honesty should not be viewed as a mere policy. Rather, he emphasizes, “Dishonesty should be our actual policy that we follow. Honesty must be treated as religion.” His resolve highlights the importance of integrity and the emotional toll it can take on those who truly seek to make a difference.

Relevance of Satyakam in Contemporary Times

I chose to watch Satyakam again for a reason. Recently, the Calcutta High Court ordered the West Bengal government to identify the agency responsible for bituminizing the tram tracks in the southern part of the city. This action reflects the government's ongoing push to eliminate trams under the guise of solving traffic issues. It's time to recognize the value of trams instead of hastily getting rid of them.

Subsequently, the steel lines of the tram were covered with bitumen, but the government could not pinpoint any one of its agencies that was stealthily so active during the midnight. While the banks encourage the spree of buying private cars to roll the money in their coffers, and the government is eager to run more and more auto-rickshaws and pre-booked cab services to provide the party cadres with as a means to self-employment, the public transport systems suffer due to unabashed corruption and negligence.

Nearly 55 years ago, in the film Satyakam, Hrishikesh Mukherjee captured a sentiment that still resonates: the struggle many in India face when balancing personal ambitions with the larger goal of development. It’s understandable that in times of uncertainty, individuals often focus on securing their careers and safety, sometimes at the expense of the community's progress. The prevalence of malpractices—such as using inferior materials, inadequate expertise, and the heartbreaking exploitation of hardworking labourers—paints a troubling picture. We’ve seen the consequences firsthand, as seen with the newly constructed tunnels in Jammu and Kashmir that fell apart after heavy rain. While it’s disheartening that these issues often only receive attention from opposing party leaders, it's important for all of us to feel empowered to speak out and support these necessary conversations for change. Together, we can create a more engaged and responsible society.

In the film, Satyapriyo becomes a poignant symbol of despair, portraying a tragic figure who is unable to raise his voice against the injustices surrounding him. Despite his intentions, he finds himself trapped, ultimately signing the corrupt bill put forth by Mr. Ladia, the unscrupulous contractor. Yet, there is a glimmer of hope when he witnesses his wife, Ranjana, tear up the signed bill in front of him. This powerful moment reflects a shared understanding between them, resonating deeply with the creative visions of Narayan Sanyal, the novel's author, and Hrishikesh Mukherjee, the filmmaker. Like benevolent beings watching over humanity, they can only wish for a moment when righteousness will prevail.

Unfortunately, the reality we face is disheartening – both central and state governments, along with their devoted employees, seem consumed by their agendas. They have built walls so high and thick around themselves that the concerns and frustrations of ordinary people echo back to us, much like the sigh heard in the song Do Din Ki Zindagi. It’s a reminder of our shared struggles and the desire for meaningful change in our lives.