Hubbry Logo
KoshishKoshishMain
Open search
Koshish
Community hub
Koshish
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Koshish
Koshish
Koshish
View on Wikipedia
from Wikipedia

Koshish
Film poster
Directed byGulzar
Written byGulzar
Produced byRomu N. Sippy
Raj N. Sippy
StarringSanjeev Kumar
Jaya Bhaduri
CinematographyK Vaikunth
Edited byWaman B. Bhosle
Gurudutt Shirali
Music byMadan Mohan
Release date
  • 13 October 1972 (1972-10-13)
Running time
125 minutes
CountryIndia
LanguageHindi

Koshish (transl. Effort) is a 1972 Indian Hindi-language romantic drama movie starring Sanjeev Kumar and Jaya Bhaduri, written and directed by Gulzar.

The movie depicts a deaf and mute couple and their conflicts, pain and struggle to carve out a niche for themselves in a desensitized society. It was inspired by the 1961 Japanese film Happiness of Us Alone.[1][2] The film was remade in Tamil in 1977 as Uyarndhavargal starring Kamal Haasan and Sujatha.[1]

Plot

[edit]

Haricharan and Aarti are poor youngsters who are deaf and mute. They fall in love with each other and get married. Haricharan works as a shoe-shiner to earn a living. Later, they have a child, but the child dies because of a greedy man named Kanu. The couple is devastated, and later are blessed with a second child and they lead a happy life. One day, a police officer sees Haricharan, gets impressed by his kind and honest nature, he gives him a job. Soon, Haricharan earns more and their financial condition improves. Their son grows up.

Years later, Aarti dies. Haricharan is employed in a company. His employer's daughter is deaf and mute and the employer wants to fix Haricharan's son's wedding with his daughter. Haricharan declines as his employer is richer than him but the employer convinces him. Seeing the daughter, Haricharan is reminded of Aarti and agrees for the wedding. The son opposes the wedding as she is deaf and mute, much to Haricharan's distress. He berates him, and reminds him that even his mother was mute. The son realises his mistake and agrees to marry the employer's daughter.

Cast

[edit]

Music

[edit]
Song Singer
"Soja Baba Mere Soja" Mohammed Rafi
"Humse Hai Watan Hamara" Sushma Shreshta

Awards and nominations

[edit]
Year Award Category Recipient Result
1973 National Film Awards Best Screenplay Gulzar[3] Won
Best Actor Sanjeev Kumar[3] Won
1974 BFJA Awards Best Actor (Hindi) Won
1974 Filmfare Awards Best Film Romu N. Sippy and Raj N. Sippy Nominated
Best Director Gulzar Nominated
Best Story Nominated
Best Actor Sanjeev Kumar Nominated
Best Actress Jaya Bhaduri Nominated

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Koshish

View on Grokipedia
from Grokipedia
(transl. "Effort") is a 1972 Indian Hindi-language romantic drama film written and directed by Gulzar, starring Sanjeev Kumar and Jaya Bhaduri as a deaf-mute couple confronting societal prejudice and personal hardships in pursuit of a dignified life. The narrative centers on Hari (Sanjeev Kumar), a hearing-impaired bank clerk, and Aarti (Jaya Bhaduri), whom he marries despite familial opposition, as they raise a child while enduring discrimination and economic struggles that test their resilience. Produced by Sippy Films, the movie features supporting performances by Asrani, Om Shivpuri, and a special appearance by Dilip Kumar, with music composed by Madan Mohan highlighting themes of perseverance through sign language and visual storytelling. Koshish garnered critical acclaim for its empathetic yet unsentimental depiction of disability, earning an 8.4/10 rating on IMDb from over 1,800 users and 88% on Rotten Tomatoes. It received two National Film Awards in 1973: Best Actor for Sanjeev Kumar's restrained portrayal and Best Screenplay for Gulzar's nuanced script, marking a milestone in Indian cinema's sensitive handling of marginalized experiences without resorting to melodrama.

Production

Development and inspiration

Koshish marked Sampooran Singh 's second directorial effort following in 1971, driven by his intent to portray the everyday challenges of a deaf-and-mute couple through understated realism rather than exaggerated sentimentality. Gulzar sought to highlight human resilience amid disability, drawing from a commitment to without resorting to didactic moralizing. The film's core concept stemmed from the 1961 Japanese production Happiness of Us Alone (Kimi to boku to no shi), which encountered at the in 1968. While influenced by its exploration of isolation and perseverance among the hearing-impaired, Koshish adapted these elements to an Indian urban lower-class setting, emphasizing familial bonds and societal integration over direct replication. described the Japanese film as a catalyst for reimagining such narratives in a culturally resonant manner, focusing on universal endurance without . Gulzar penned the screenplay himself prior to principal production in 1972, prioritizing a modest to maintain intimacy and authenticity in depicting the protagonists' lived experiences. This low-cost approach, estimated as a small-scale venture typical of independent at the time, allowed for unembellished portrayals grounded in observable social realities of , avoiding stereotypical pity or exaggeration.

Casting and pre-production

was selected for the lead role of Haricharan Mathur, a office clerk, due to his established reputation for nuanced performances requiring subtle emotional depth. Initially, was cast opposite him as Aarti Mathur, and the pair even shot for three days. However, Chatterjee was replaced by Jaya Bhaduri amid production disagreements, with Chatterjee later attributing the ouster to manipulations by the team that pressured her to compromise on certain scenes, leading her to prioritize over continuing. Producers reportedly informed her that multiple actresses were lined up as alternatives, highlighting the replaceability in early 1970s Bollywood dynamics. Bhaduri's casting aligned with the film's demands for non-verbal expressiveness, as the protagonists communicate primarily through gestures and , minimizing spoken dialogue. Supporting roles were filled to underscore family tensions and societal interactions: portrayed the paternal uncle Narayan, played Aarti's mother , and child actors including Nitin Sethi and Master Chintu depicted the couple's son, emphasizing generational conflicts without overt dramatic exaggeration. Pre-production prioritized factual authenticity in depicting , with the team consulting real-life deaf-mute experiences to inform actor preparations, though specific training regimens like formalized instruction remain undocumented in contemporary accounts. This approach aimed for grounded realism over melodramatic tropes, reflecting director Gulzar's intent to illustrate unhindered human connection despite impairments.

Filming process

Principal filming for Koshish took place in 1972, primarily utilizing Mumbai-based studios and select outdoor locations to capture the mundane routines of urban lower-class life, such as public phone booths for whimsical interaction scenes. Minimalistic set designs emphasized authenticity by replicating ordinary domestic and street environments, avoiding elaborate constructions typical of contemporaneous Bollywood productions to underscore the characters' socioeconomic realities. Gulzar's directorial approach prioritized visual storytelling over auditory reliance, incorporating extensive silent sequences and to convey the deaf protagonists' communication and emotional states without verbal exposition. addressed the challenge of simulating hearing impairment through minimal reduction, selective muting of ambient noises, and Foley effects to preserve narrative clarity while immersing viewers in the characters' sensory limitations, eschewing exaggerated distortions for grounded realism. This technique extended to scenes like beach sunsets, where facial expressions and gestures supplanted spoken cues to depict relational dynamics. To achieve causal realism, instructed actors to perform character actions rooted in plausible responses to disability-related obstacles, such as subtle arguments via physical gestures or understated grief processing, deliberately sidestepping melodramatic tropes prevalent in social dramas. This method demanded precise blocking and from leads and Jaya Bhaduri, fostering interdependence in scenes that highlighted mutual adaptation over pity or heroism. The near-silent format posed logistical hurdles during shoots, requiring heightened focus on non-verbal cues to sustain pacing and viewer engagement.

Synopsis

Plot summary

Hari, a deaf and mute office clerk, meets Aarti, a similarly deaf and mute young woman, sparking a romance built on mutual understanding through and written communication, including playful exchanges like dialing random phone numbers to connect. Their progresses despite initial hesitations from Aarti's family, leading to marriage and the establishment of a household. The couple encounters early adversities, including the theft of Hari's and Aarti's wedding jewelry by her opportunistic brother Kanu to settle debts, which precipitates stress resulting in the premature birth and of their first . Hari subsequently loses his delivery-related job duties amid workplace biases tied to his impairment, forcing him to take up menial work such as shoe polishing before obtaining a position at a . They later have a second son, , who is born with unimpaired hearing and speech. As grows into an English literature graduate, he develops resentment toward his parents' disabilities, feeling stigmatized by societal prejudices that affect his social standing and romantic prospects, such as potential partners' families rejecting him due to his heritage. This leads to Amit's rebellion, including defiance against family pressures and a temporary rift. In response, urges Amit to marry his employer's deaf and mute daughter to confront such biases directly, though Amit resists initially. The story spans nearly two decades, resolving with the family's continued perseverance amid these trials.

Cast and roles

Principal cast

Sanjeev Kumar portrayed Haricharan "Hari" Mathur, a deaf and mute man who marries another with the same impairments and works in a . To prepare for the role, Kumar learned as used in schools for the deaf and mute. Jaya Bhaduri (later Bachchan) played Aarti Mathur, Hari's deaf and mute wife, conveying emotions from romance to motherhood primarily through facial expressions and gestures alongside . The role of the couple's hearing son, Amit, who develops normally in speech and hearing, was enacted by a child actor in early scenes to depict generational contrasts within the family.

Supporting cast

Govardhan Asrani plays Kanu, Aarti's brother and a small-time criminal who engages in illegal ticket scalping and gambling, embodying familial dysfunction and indirect opposition to the protagonists' aspirations through his self-serving actions that exacerbate their hardships. His character's greed highlights internal family pressures that compound societal barriers, portraying realism in how personal vices within kin networks impede resilience for the disabled. Om Shivpuri portrays Uncle Narayan, a blind associate and friend to and Aarti, whose supportive presence fosters inter-disability camaraderie and counters isolation by demonstrating practical aid in navigating daily challenges. This role advances narrative authenticity by showing affirmative alliances amid prejudice, emphasizing causal links between mutual understanding and improved integration. Dina Pathak appears as , Aarti's mother, who reflects generational norms and traditional expectations, contributing to tensions over the couple's marriage and child-rearing by representing cautious, convention-bound parental oversight. Her depiction underscores conflicts arising from older perspectives on as a liability, grounded in empirical family dynamics observed in mid-20th-century Indian contexts. Seema Deo plays the teacher at the deaf institute, facilitating scenes of institutional guidance and community resources that lend verisimilitude to the protagonists' adaptive strategies. Minor characters, including neighbors and passersby, illustrate ambient societal through reactions like derisive laughter at the couple's interactions, reinforcing the film's causal portrayal of widespread indifference as a barrier to normalcy.

Soundtrack

Composition and songs

The soundtrack of Koshish consists of two principal songs, composed by Madan Mohan with lyrics by , reflecting the film's minimalist approach to music amid its focus on non-verbal communication. "Soja Baba Mere Soja", a tender rendered by , appears during a familial sequence, employing Madan Mohan's signature melodic restraint with minimal to evoke quiet domesticity. The second track, "Humse Hai Vatan Hamara", sung by Sushma Shrestha, integrates patriotic undertones through its lyrics and serves as a interlude, recorded in 1972 prior to the film's October release. Both pieces prioritize lyrical simplicity and vocal purity over elaborate arrangements, totaling approximately 6 minutes and 51 seconds in duration, which underscores the director's intent to avoid musical excess in depicting the protagonists' constrained world.

Critical reception of music

The soundtrack of Koshish, composed by Madan Mohan with lyrics by , received acclaim for its restrained and nuanced orchestration that mirrored the film's intimate portrayal of a couple's inner world, employing subtle silences and orchestral cues to evoke emotional depth without resorting to exaggerated . Reviewers highlighted how the music's background score effectively amplified the narrative's poignant tone, particularly in scenes of familial struggle and resilience, through melodramatic swells that aligned with the characters' unspoken vibrations. This approach was seen as empathetic, prioritizing atmospheric enhancement over vocal showpieces, as in the "Hum se hai watan," which integrated seamlessly into the story's realism. Despite these strengths, the album faced criticism for its limited scope and absence of standout commercial tracks, with only a handful of songs that failed to produce chart-topping hits or widespread playback popularity in 1972. Some observers deemed the compositions unremarkable compared to the melodic richness typical of Gulzar's collaborations, viewing them as functional but lacking the memorable flair expected from Madan Mohan's oeuvre. The restrained style, while thematically fitting, contributed to subdued box-office draw from the music alone, reflecting a deliberate choice to subordinate songs to the film's understated realism rather than Bollywood's customary exuberance. In retrospect, the soundtrack's legacy endures as a model of music integral to , influencing later works where subtlety trumped , though it garnered no major awards and remains overshadowed by Madan Mohan's more celebrated scores like those in Mausam (1975). This balance of praise for tonal fidelity and notes on commercial restraint underscores its role in supporting Koshish's empathetic narrative without diluting the film's focus on societal integration.

Themes and analysis

Portrayal of disability and societal integration

Koshish depicts the deaf protagonists' communication through a combination of rudimentary Indian , gestures, and facial expressions, mirroring practices observed in deaf communities rather than relying on exaggerated stereotypes prevalent in earlier cinema. The film's lead actress, , underwent training in sign language to authentically portray her character's interactions, enabling nuanced exchanges that convey arguments, affection, and daily coordination without verbal dialogue or subtitles in key scenes. This approach underscores the protagonists' agency in navigating a hearing world, emphasizing adaptive resilience over dependency. The narrative prioritizes the characters' dignity and amid societal , portraying their persistence in securing and social without resorting to sentimental "inspirational" resolutions that could undermine their autonomy. , the husband, faces workplace barriers reflective of real-world against deaf individuals, such as limited job opportunities and undervaluation of skills, yet maintains professional competence through determination rather than pity or accommodation tropes. The film eschews miraculous cures or sudden integrations, instead highlighting causal impediments like auditory exclusion in communication-heavy environments, which align with empirical patterns of deaf marginalization in 1970s . This grounded realism counters victimhood narratives by framing as an enduring facet of identity, integrated through effort rather than external salvation.

Family dynamics and personal resilience

The central family unit in Koshish centers on the of and Aarti, depicted as a bond of mutual dependence and shared labor, where both partners contribute equally to household responsibilities and emotional sustenance amid societal exclusion. Their relationship underscores a pragmatic forged through complementary strengths, with Haricharan's steadfast and Aarti's domestic management forming the backbone of stability, free from hierarchical imbalances often seen in contemporaneous portrayals of marital roles. Child-rearing emerges as a core test of their , as the couple independently rears a hearing , imparting values of perseverance without invoking external or institutional crutches, thereby illustrating rooted in familial reciprocity rather than benevolent intervention. This dynamic rejects narratives of victimhood sustained by , instead presenting parental duties as a deliberate exercise of agency, where the 's upbringing reinforces the parents' self-sufficiency and counters isolation through internalized rituals. Personal resilience in the film manifests as an intrinsic capacity for , exemplified by the protagonists' unyielding pursuit of normalcy—securing work, maintaining home, and fostering lineage—independent of societal approbation or compensatory mechanisms. This portrayal aligns with a view of as self-generated, prioritizing individual volition over collective entitlements, and has been noted for elevating personal sovereignty in defiance of deterministic environmental constraints. Such emphasis on internal fortitude distinguishes the , attributing familial cohesion to deliberate rather than circumstantial mercy.

Critical viewpoints and potential misconceptions

Some critics have commended Koshish for its restraint in depicting , eschewing melodramatic "tragedy porn" by focusing on everyday resilience and shared experiences rather than eliciting pity through exaggerated suffering. This approach, evidenced in scenes of mundane arguments and quiet grief over the couple's lost child, underscores as an integrated facet of life rather than its sole narrative driver, a realism partly validated by Sanjeev Kumar's National Film Award for Best Actor in 1972 for his understated performance. However, others argue the film romanticizes hardships by portraying the deaf protagonists' relative societal integration and success, potentially understating the profound isolation faced by India's deaf in the 1970s, when oralist methods dominated, sign language recognition was negligible, and access to specialized schooling was limited to a handful of institutions serving far fewer than the estimated millions affected. rates remained low due to communication barriers and lack of vocational , with many deaf individuals confined to informal labor or dependence, contrasting the film's optimistic family-centric resolution. The film's ending, where the hearing son rejects a proposed to a deaf out of internalized before a presumed , has drawn debate as overly didactic, imposing a moral lesson on that some view as contrived and clashing with the narrative's prior subtlety. Conservative interpretations praise this as reinforcing traditional and individual perseverance against adversity, prioritizing personal bonds over institutional . In contrast, progressive critiques highlight insufficient advocacy for systemic reforms, noting the use of hearing actors and invented gestures instead of authentic Indian Sign Language, which perpetuates audist tropes like "deaf danger" while offering only accommodationist solidarity rather than challenging broader . A common misconception arises from sympathetic overreads framing the film as unequivocally empowering, yet its reliance on and non-deaf performers limits genuine "deaf gain"—innovative perspectives from —potentially reinforcing stereotypes of dependency within hearing-dominated structures, even as it gestures toward alternative family forms via the blind lodger's inclusion. Empirical counters emphasize that while the film humanizes its subjects, real deaf integration in 1970s demanded unrecognized and policy shifts absent from the story, underscoring a gap between artistic intent and historical causality.

Release and commercial performance

Theatrical release

Koshish was theatrically released in on 10 March 1972. Produced by Romu N. Sippy and under their banner, the film was marketed as a poignant social drama exploring the lives of a deaf-mute couple, rather than a commercial entertainer with action or song-heavy appeals typical of mainstream at the time. This positioning contributed to a limited initial rollout, primarily in select urban theaters such as and in , where it sustained a 13-week run at Apsara before shifting venues. International exposure followed through subsequent screenings at various film festivals, broadening its reach beyond domestic theatrical circuits.

Box office results

Koshish secured a theatrical run exceeding 15 weeks in key urban theaters, reflecting sustained viewer engagement for a low-budget production focused on social themes rather than commercial spectacle. This endurance contrasted with initial producer assessments of financial shortfall, as the film avoided the explosive openings of 1972's top earners like and , which dominated rankings through higher grossing peaks. Instead, its performance aligned with expectations for modest art-house releases, prioritizing longevity over rapid returns in an era where runs (25 weeks) marked notable success for non-mainstream fare. Sanjeev Kumar, portraying the lead, held a 25% profit-sharing stake, yet reportedly encountered resistance in claiming dues, with producers asserting the venture operated at a loss despite the extended screenings. This anecdote underscored early perceptions of underperformance, though the film's operational sustainability on limited resources—without blockbuster-scale marketing—ultimately affirmed viability within its niche, eschewing inflated earnings claims typical of mass-appeal contemporaries.

Critical reception

Contemporary reviews

Upon its release in , Koshish earned praise from critics for Gulzar's direction, which sensitively explored the lives of a couple without relying on spoken dialogue to convey emotion. Reviewers highlighted the taut screenplay and realistic portrayal of everyday challenges, including ingenious adaptations to household tasks, as strengths that underscored the couple's resilience. Performances by and Jaya Bhaduri were particularly lauded for their deglamorized authenticity, with Kumar providing a dignified anchor and Bhaduri complementing him in scenes evoking profound , such as the couple's anxious examination of their newborn. Critics noted the leads' chemistry effectively humanized the characters, contributing to the film's reputation as a sensitive aimed at raising social awareness. Some feedback pointed to inconsistencies in pacing, particularly an abrupt and melodramatic shift in the final third that disrupted the earlier nuanced tone and veered into heavy-handed moralizing. This slower, introspective rhythm was seen by certain observers as limiting its appeal to mass audiences, despite acclaim for thematic depth in more specialized circles.

Accolades from film community

, a leading figure in , contributed a special appearance to Koshish in a pivotal telephone scene opposite 's character, employing exaggerated gestures to mimic misunderstanding across the communication divide. This uncredited role by , selective in his post-1960s engagements, signaled endorsement from an industry veteran admired for , reflecting mutual respect with . The film's emphasis on non-verbal performance techniques—relying on facial nuances, body language, and rudimentary sign language rather than dialogue—earned recognition among peers for advancing expressive realism in disability portrayals. Sanjeev Kumar's restrained physicality and Jaya Bhaduri's emotive subtlety were highlighted as benchmarks for authentic representation, influencing directors tackling social realism. While Koshish garnered esteem for its technical innovations amid a favoring escapist entertainments, not all contemporaries embraced its somber tone, with some industry voices prioritizing commercial formulas over introspective narratives. Nonetheless, its impact persisted, inspiring later social dramas that integrated personal struggles with societal critique.

Criticisms and debates

Some reviewers have pointed to underlying sentimental elements in Koshish, particularly in scenes of emotional hardship for the protagonists, where Madan Mohan's score amplifies despite the film's overall restraint from overt histrionics. This approach, while effective for evoking , has been critiqued for occasionally prioritizing over unvarnished realism in depicting the couple's daily struggles. The casting process generated debate when actress alleged she was originally chosen for the role of Aarti, filming initial scenes with co-star over three days in 1972, only to be abruptly replaced by Jaya Bhaduri amid what she described as manipulative tactics to install the latter, including pressure from production influences tied to Bhaduri's rising prominence. Chatterjee's account, shared in interviews decades later, raises questions of favoritism in Bollywood's era of star-driven decisions, though director has not publicly detailed the rationale beyond creative fit. Authenticity in portraying deafness and muteness has drawn scrutiny, as the film—directed by hearing filmmaker and featuring hearing actors and Jaya Bhaduri—relies on and mime interpreted through a non-disabled lens, potentially imposing external assumptions on internal experiences rather than drawing from lived deaf perspectives. Academic analyses of Bollywood disability narratives note this as emblematic of broader patterns where hearing creators shape deaf stories, debating whether such representations foster genuine or reinforce voyeuristic tropes of resilience amid societal exclusion. Critiques from more individualist viewpoints contend the narrative overemphasizes external societal barriers—such as workplace discrimination and family rejection—potentially at the expense of highlighting personal agency and grit, though the protagonists' adaptive achievements, like Haricharan's persistence, provide empirical counterexamples of self-driven progress amid adversity. This tension reflects ongoing debates in discourse between structural fault attribution and bootstraps resilience, with Koshish's balanced yet poignant framing inviting varied interpretations without resolution.

Awards and nominations

National Film Awards

Koshish won two awards at the 20th National Film Awards, presented on April 30, 1973, for outstanding contributions in from 1972. The film received the Silver Lotus Award for Best Screenplay, awarded to writer-director for his original screenplay depicting the challenges faced by a deaf-mute couple, carrying a cash prize of ₹5,000 and a plaque. was honored with the Silver Lotus Award for for his portrayal of , the deaf-mute husband struggling with communication barriers and family integration, receiving a Bharat Award figurine. This marked Kumar's second National Film Award for , following his win for Dastak in 1971. No additional categories, such as Best Child Artist or special jury mentions for the film's thematic handling, were awarded to Koshish in this ceremony.

Filmfare Awards

Koshish garnered five nominations at the 21st in 1973, recognizing achievements for films released in 1972, but failed to win in any category. The nominations included Best Film for producers Romu N. Sippy and ; Best Director for ; Best Actor for Sanjeev Kumar's portrayal of the deaf-mute husband; Best Actress for Jaya Bhaduri's role as his wife; and Best Story for Gulzar's screenplay. These nods came amid competition from high-grossing mainstream entries like and Daag, where winners included for in and for Best Director in Daag. The recognition underscored the film's validation of its niche subject matter—a couple's societal struggles—within popular industry accolades typically favoring commercial hits. , despite his National Film Award win for the role, did not convert the nomination into a victory, with taking for Be-Imaan.

Other recognitions

Koshish earned the Bengal Film Journalists' Association (BFJA) Award for () in 1974 for his portrayal of the deaf-mute protagonist Haricharan. The film has received nods through retrospective screenings in 's career tributes, including a 2025 presentation by the highlighting its narrative on . It was also screened at the 2nd International We Care , an event dedicated to films addressing , where director engaged with audiences on its themes.

Legacy and influence

Cultural and social impact

Koshish (1972) represented a pivotal shift in Bollywood's depiction of , moving away from melodramatic pity or simplistic moral allegories toward portraying deaf characters with inherent dignity and agency. Unlike earlier films that framed as a tragic affliction warranting societal sympathy, the narrative centered on the protagonists' autonomous navigation of urban life, marriage, and parenthood, emphasizing their resilience without resorting to inspirational tropes. This approach highlighted the couple's rejection of condescension, underscoring their desire for normalcy in relationships and employment, which resonated in cultural discussions on . The film's exploration of family dynamics reinforced narratives of and non-verbal , countering of dependency by showing the deaf couple's self-reliant and child-rearing despite communication barriers. It depicted love and parental sacrifice as transcending auditory limitations, influencing later cinematic treatments of in disabled families by formalizing as a viable relational medium rather than a deficit. Such themes contributed to broader awareness in Indian media of as compatible with familial stability, though primarily within artistic rather than activist spheres. Despite its acclaim, Koshish yielded limited tangible social reforms, with no documented causal link to policy advancements like expanded education or disability rights legislation in 1970s . Analyses note its confinement to representational change in cinema, where it served as an early benchmark but did not mobilize institutional shifts amid prevailing societal isolation of the deaf. This underscores a gap between artistic sensitization and empirical policy outcomes, as evidenced by the persistence of marginalization themes in subsequent deaf portrayals.

Remake announcements and adaptations

In July 2023, Jaadugar Films, led by Anushree Mehta and Abir Sengupta, partnered with Sameer Raj Sippy of SRS Productions to announce official remakes of the 1972 Hindi films Koshish, Mili (1975), and (1972), aiming to adapt these classics for contemporary audiences while retaining their core narratives. The Koshish remake, directed originally by , was described as being in early development stages at the time, with producers emphasizing updates to reflect modern sensibilities without specified alterations to its focus on perseverance amid . No casting announcements, filming commencement, or release timelines for the Koshish remake have been publicly disclosed as of October 2025, indicating the project has faced typical Bollywood development delays common to ventures amid shifting market priorities. Beyond this remake initiative, no verified adaptations—such as series, regional language versions, or international versions—have materialized post-1972, though the original's themes of familial resilience have occasionally inspired unproduced script treatments in Indian cinema circles.

References

  1. https://www.imdb.com/title/tt0215911/
  2. https://www.imdb.com/title/tt0215911/plotsummary/
  3. https://www.youtube.com/watch?v=CJWXKJmtBi0
  4. https://www.rottentomatoes.com/m/koshish
  5. https://www.imdb.com/title/tt0215911/awards/
  6. https://theprint.in/feature/reel-take/koshish-the-nuanced-1972-film-portrayed-how-disability-is-just-another-aspect-of-life/318475/
  7. https://scroll.in/reel/860661/gulzars-koshish-was-inspired-by-a-japanese-film-but-it-is-no-unthinking-remake
  8. https://fipresci-india.org/wp-content/uploads/2023/04/Bakul-Srimany-Gulzar.pdf
  9. https://www.wecarefilmfest.org/index.php/film-makers-remarks/gulzar/
  10. https://www.imdb.com/title/tt0215911/trivia/
  11. https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/moushumi-chatterjee-recalls-being-replaced-by-jaya-bachchan-in-koshish-despite-shooting-for-three-days-i-could-see-what-manipulations-were-done/articleshow/99794353.cms
  12. https://www.koimoi.com/bollywood-news/moushumi-chatterjee-recalls-getting-replaced-by-jaya-bachchan-in-koshish-after-being-manipulated-to-walk-out-they-said-many-actresses-are-in-line/
  13. https://indianexpress.com/article/entertainment/bollywood/moushumi-chatterjee-says-she-was-replaced-by-jaya-bachchan-in-koshish-reveals-why-she-got-triggered-by-gulzar-8577746/
  14. https://www.imdb.com/title/tt0215911/fullcredits/
  15. https://indiancine.ma/PCD
  16. http://jaiarjun.blogspot.com/2011/03/notes-on-gulzars-koshish-including.html
  17. https://dsq-sds.org/article/id/301/
  18. http://oldfilmsgoingthreadbare.blogspot.com/2011/04/superlative-endeavour-koshish.html
  19. https://www.reddit.com/r/bollywood/comments/oan1lw/top_100_indian_movies_of_all_time_koshish/
  20. https://letterboxd.com/film/koshish/
  21. http://stationhollywood.blogspot.com/2007/12/sanjeev-kumar-dynamic-actor-bollywood.html
  22. https://www.instagram.com/p/CURqjgxMIPR/
  23. https://www.youtube.com/watch?v=vsfGsMGd0bw
  24. https://moviesandnomore.blogspot.com/2011/11/koshish-1972.html
  25. https://www.themoviedb.org/movie/287901/cast
  26. https://www.imdb.com/title/tt0215911/soundtrack/
  27. https://myswar.co/album/koshish-1972
  28. https://open.spotify.com/album/0kn8M4qvxMQxrLTsfAOI5q
  29. https://www.rainoffandon.net/post/madan-mohan-part-v
  30. https://www.songsofyore.com/remembering-my-father-and-the-legend-madan-mohan/
  31. https://joyojeet.people.si.umich.edu/wp-content/uploads/2016/07/Physical-Disability-and-Indian-Cinema.pdf
  32. https://archive.thedailystar.net/magazine/2009/11/01/interview.htm
  33. https://wsps.ut.ac.ir/article_93506.html
  34. https://www.ijfmr.com/papers/2025/3/46676.pdf
  35. https://www.linkedin.com/posts/ishant-singh-rajput-416509278_cinema-psychology-mentalhealth-activity-7338561927863857154-29pQ
  36. https://www.researchgate.net/publication/331931105_Deaf_Education_in_India
  37. https://www.scribd.com/document/628094480/New-Microsoft-Word-Document
  38. https://timesofindia.indiatimes.com/entertainment/hindi/movie-details/koshish/movieshow/61345670.cms
  39. https://www.facebook.com/groups/673405354977189/posts/849905137327209/
  40. https://www.facebook.com/livegujrat.in/posts/koshish-is-a-landmark-1972-hindi-film-directed-by-gulzar-widely-acclaimed-for-it/731314449410728/
  41. https://www.filmfare.com/features/100-filmfare-days-37-koshish-6265.html
  42. https://www.mouthshut.com/review/koshish-bollywood-review-mlutuqous
  43. https://www.filmfare.com/features/actor-for-all-seasons-sanjeev-kumar-5000.html
  44. https://phalanx.in/pages/article_i009_Portrayal_Disability_Indian_Cinema.html
  45. https://indianexpress.com/about/sanjeev-kumar/awards/
  46. https://www.facebook.com/vvsomeswararao.chekka/posts/20th-national-film-awardsbest-screenplay-koshishrelease-date-13-october-1972kosh/23972359959091110/
  47. https://www.imdb.com/event/ev0000245/1973/1/
  48. https://timesofindia.indiatimes.com/entertainment/movie-awards/filmfare-awards-winners/bollywood/1973/101
  49. https://www.reddit.com/r/bollywood/comments/1ad5gj4/best_actor_filmfare_award_and_national_award/
  50. https://www.instagram.com/p/DM7O5kltGoM/
  51. https://www.thedailystar.net/entertainment/tv-film/news/portrayal-disability-through-bollywood-films-over-the-years-3484896
  52. https://bigfatsoftwareinc.wordpress.com/2024/09/22/koshish-a-movie-that-transcends-words/
  53. https://www.jetir.org/papers/JETIR1904V20.pdf
  54. https://www.academia.edu/121672307/_Bezubaan_or_Humzubaan_Problematizing_Deaf_Identities_through_a_Select_Few_Hindi_Films
  55. https://variety.com/2023/film/asia/mili-koshish-bawarchi-remakes-1235666337/
  56. https://www.livemint.com/news/official-remakes-of-70s-bollywood-classics-bawarchi-mili-koshish-by-gulzar-hrishikesh-mukherjee-announced-11689139635987.html
  57. https://indianexpress.com/article/entertainment/bollywood/remakes-of-mili-bawarchi-and-koshish-announced-8825696/
  58. https://www.thehindu.com/entertainment/movies/remakes-of-mili-bawarchi-and-koshish-in-the-works/article67071068.ece
  59. https://www.indiatoday.in/movies/bollywood/story/bawarchi-mili-koshish-remake-announced-cast-not-finalised-2405888-2023-07-13
Add your contribution
Related Hubs
User Avatar
No comments yet.