If one talks of 'Sadma' today, then the most enduring image of the movie is definitely the last…  

If one talks of 'Sadma' today, then the most enduring image of the movie is definitely the last scene where Somu, Kamal Haasan's character, tries in vain to jog Sridevi's memory. That climatic scene surely ranks as being among the most moving scenes of Hindi films. In fact, just on the basis of that one scene, one would have no doubt in declaring Kamal Haasan as one of the most talented actors ever. 'Sadma', which literally means shock or trauma, is a Hindi remake of the Tamil film, 'Moondram Pirai' (1982), starring Kamal and Sridevi, and directed by Balu Mahendra. It is difficult to assess who is the better actor in movie as both Sridevi and Kamal Haasan are absolutely brilliant in their respective roles, neither of which are easy to play. While Sridevi's masterly performance won her the Filmfare Award for Best Actress, Kamal Haasan bagged the National Award for Best Actor for the Tamil version. The story of 'Sadma' is a very sensitive one as it talks about the relationship which develops between Somu, a lonely school teacher, and Reshmi, a woman who has lost her memory and regresses to her childhood. This is a relationship based on love which initially arises out of need. Somu is a lonely, single school teacher and in Reshmi, he finds someone to fill the empty spaces in his life. Even though physically, Reshmi is a young woman, mentally, she is no older than a six year old, and is totally dependent on Somu for her needs. Both find what they need in the other and life could have gone on like this perfectly. But the cops and Reshmi's parents are looking out for her. After a car accident, in which she injures her head, Reshmi or Nehalata Malhotra lands up in hospital and her mind regresses to that of a six year old. She escapes from the hospital and lands up in a brothel, from where she is rescued by Somu. He takes her back to the tiny hamlet where he lives in the hills. As irony would have it, after spending much time together, Reshmi's parents find her and take her back to Mumbai, just as she gets back her memory. And sadly, now she has absolutely no memory of poor Somu, who had lost his heart to her. The last scene at the railway platform is absolute heartbreaking as Somu resorts to all kinds of antics to jog Reshmi's memory so that she could recognize him. The antics are just the sort which would amuse a six year old, but a twenty year old would only dismiss them as the antics of a lunatic. It is shattering to see Somu behaving like a clown, overcome with an urgent sense of desperation to somehow jog her memory. No matter how many times one watches this scene, one is left overwhelmed by the irony of fate, a totally detached Reshmi and an absolutely shattered Somu. The film is full of some lovely touching moments depicting the tender relationship which flowers between Somu and Reshmi. The naïve, shy school teacher finally finds an object of devotion and his love for her has to be seen to be believed. He feeds her as he would a child, braids her hair, sings a lullaby to her before she sleeps, plays with her. In short, he is father, mother and friend, all rolled into one for her. The only thing that takes away from the poignant mood of the movie is the Silk Smitha track and her dream sequence. The only purpose it serves, if at all, is bringing out the contrast between Somu's pure love for Reshmi and Soni's (Silk Smitha's character) lust for Somu. The film's music has been composed by Illayaraaja while the lyrics have been penned by Gulzar. The film's music is poignant and moving, specially, the numbers, 'Surmayi Aankhiyon Ki' sung by Yesudas and 'Ae Zindagi Gale Laga Le' sung by Suresh Wadkar. A cinematographer, a screenplay writer and director, Balu Mahendra was one of the leading filmmakers of the Tamil industry in the Eighties and his USP has been the ability to imbue his films with a strong visual quality, often preferring to allow frames to speak for themselves instead of using words. His training as a cinematographer has obviously further honed this ability of his. 'Sadma' was his first Hindi movie and 'Aur Ek Prem Kahani' his second. Most of his work has been in Tamil and the last film that he directed was 'Anal Katru'. Balu shows glimpses of the same in 'Sadma' as well, which ranks among the best that he has made. What is the most amazing thing about this film is the character of Reshmi and the way Balu had Sridevi play her. It is not easy for a fully grown woman to behave like a six year old and not look stupid or irritating after a while. But Balu exercises total control over his actors and extracts a totally natural and yet guileless performance from the actress. This will surely count as one of Sridevi's best performances in Hindi films, followed closely by 'Mr. India', 'Khuda Gawah', 'Chaalbaaz' and 'Lamhe'. It was definitely not an easy role but Sridevi managed to get all the nuances right and render a very touching performance. An equally difficult role was that of Somu, the school teacher. While Sridevi's histrionics were so evident, Kamal Haasan was completely natural as Somu and one didn't even feel that he was acting. The actor adopts and makes this role his own beautifully. The graph just keeps getting better and better till that historic climax at the railway station. That one scene, steals the show from everything else that went before. It is the one scene that remains in one's memory, till long after. His voice modulation, the manner in which it becomes gruff or softens, his liquid eyes and fluid expressions are a treat to watch. And in the finale, one even gets to see physical comedy from him. This is yet another great performance from him, one which still has the capacity to move and stir you. 'Sadma' is really an actor's film and both the lead actors are quite superb with their performances. One would not be exaggerating if one said that both Sridevi and Kamal Haasan were flawless. It was their presence and performances which raised the bar of this movie, making it one of the classics from its times.