Dastak (transl. The Knock) is a 1970 is a Hindi-language drama film written and directed by Rajinder Singh Bedi in his directorial debut, based on his own 1944 radio play Naql-e-Makaani. Starring Sanjeev Kumar, and the newcomer, Rehana Sultan, the film tells the story of a newly married couple who, after moving into a flat formerly occupied by a prostitute, are subjected to social stigma and constant harassment in their new neighborhood.
Dastak features a celebrated score by Madan Mohan, with lyrics by Majrooh Sultanpuri, which makes extensive use of classical ragas. Songs such as “Mai Ri, Main Kaa Se Kahoon” and “Baiyan Na Dharo”, sung by Lata Mangeshkar and Mohammed Rafi, are regarded as masterpieces of Hindi film music. The film presents an expanded version of Rajinder Singh Bedi's radio play, Naql-e-Makaani (Moving to a New House), first performed on All India Radio, Lahore in 1944.[1]
On release, the film was critically acclaimed, though not a commercial success. It won the National Film Award for Best Actor (Sanjeev Kumar) and Best Actress (Rehana Sultan), Mohan won his first National Film Award for it and the lyrics of Majrooh Sultanpuri. Hrishikesh Mukherjee, the film director-turned-editor of this black-and-white film, won a Filmfare Award, his second after Madhumati in 1958.[2][3] Critics and scholars have since praised Bedi’s sensitive handling of the subject and the film’s exploration of social contradictions.
Plot
Hamid and Salma, a newly married couple, move into a small flat in a red-light area of Bombay (now Mumbai). Unknown to them, the apartment was previously occupied by a Shamshad Begum, a mujrewali (nautch girl), and their new neighbours continue to mistake Salma for her. The constant knocks (dastak) on their door by strangers seeking the former tenant begin to invade their privacy and strain their relationship.
As the couple struggles to build a life together, Hamid’s modest earnings and Salma’s isolation intensify their vulnerability. The repeated intrusions become symbolic of society’s refusal to let them live with dignity. Over time, the relentless harassment erodes their peace, leaving them disillusioned and questioning whether they can ever find acceptance in the city. The film was known for its unusual storyline .[2]
The film's music director stood his ground as a maestro of classical rhythms on the dholak and raga-based melodies. The music of Dastak stood out for its allegiance to the classical traditions of raga-based melodies by its music director Madan Mohan, who managed to get from Lata Mangeshkar, ostensibly her best performance as a playback singer.[4]
Lyrics
The film is known for its poignant lyrics by lyricist Majrooh Sultanpuri, especially in capturing the painful state of the story's female protagonist, Salma — be it a dramatic statement about the society: "Hum hai mataye koocha bazaar ki tarah, Uthti hai har nigaah kharidaar ki tarah" or the silent pain of "Mai Ri mai ka se Kahoon peer apne jiya ki..."[5]
Songs
The playback singing by Lata Mangeshkar and Mohammed Rafi was highly praised, particularly the renditions of “Baiyan Na Dharo” (Raga Charukesi) and “Mai Ri, Main Kaa Se Kahoon” (Raga Marwa), which remain celebrated as masterpieces of Hindi film music. Madan Mohan’s ability to use classical ragas in a way that heightened the film’s emotional intensity has been noted by music scholars and critics alike.
At its core, Dastak explores the theme of alienation in an urban environment, portraying how ordinary individuals are marginalised when they are unable to conform to social expectations. The story of a newly married couple, forced to live in a flat once occupied by a prostitute, becomes an allegory for the constant intrusion of public morality into private lives.[1] The repeated “knocks” on their door serve as both a literal and symbolic reminder of their lack of privacy, the relentless gaze of society, and the fragile boundaries of respectability.
The film also alludes to the contradictions of middle-class morality—a community that disapproves of sex work while simultaneously consuming it, and one that stigmatises individuals by association rather than by their actions.[2] Bedi uses this premise to critique the hypocrisy of social structures, presenting his protagonists as victims of circumstances rather than moral failings.
In style and sensibility, Dastak connects with the larger trend of parallel cinema in India, aligning with films like Anubhav (1971) and Garm Hava (1974) in its focus on psychological realism, minimalism in setting, and a refusal to provide escapist resolutions.[2] The use of Madan Mohan’s classical raga-based compositions deepens the themes, with the melancholic tones of the soundtrack echoing the couple’s sense of entrapment and despair.
Release
Dastak was released on 31 December 1970. It stood apart from mainstream Bollywood films of its time because of its stark black-and-white cinematography, minimal settings, and its unusual storyline set in a red-light area.
Critical reception
Upon release, Dastak was widely praised for its bold subject matter and the performances of Sanjeev Kumar and Rehana Sultan. Sukanya Verma of Rediff.com described it as rejecting conventional filmmaking to produce a “nuanced, uncompromised vision” that critiques the contradictions of social structures through the lives of ordinary, imperfect people. Dastak was featured in Avijit Ghosh's book, 40 Retakes: Bollywood Classics You May Have Missed.[2] In a retrospective review, Sukanya Verma of Rediff.com wrote, "It [Dastak] rejects conventional ideas of filmmaking to produce a nuanced, uncompromised vision, which slams the inconsistencies and ethics of social structure through ordinary, imperfect people. Yet shows how it’s these very ordinary, imperfect people who battle it in spirit till the very end."[2]
Over the years, Dastak has been recognised not only as Bedi’s most significant directorial work, but also as an important landmark of Hindi parallel cinema. Its exploration of urban claustrophobia and the alienation of marginalised individuals influenced later filmmakers such as Basu Bhattacharya (Anubhav, 1971) and M.S. Sathyu (Garm Hava, 1974). [7]
The performances of Sanjeev Kumar and Rehana Sultan continue to be cited among the most powerful in the 1970s Hindi cinema. The film is also remembered for its music, which has endured as part of the classical ghazal repertoire in Indian film history.[8]
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