A Red Dot and a Changing Era: Notes on Namak Haraam

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Opening red dot expanding on screen in the film Namak Haraam (1973).
A film that quietly reflected both ideology and a changing era

One intriguing aspect of the film Namak Haraam lies in its opening credits.

The film begins with a small red dot at the centre of the screen. As the credits roll, the dot gradually expands until it eventually fills the entire frame. At first glance, it appears to be a simple visual device, perhaps without any particular significance or aesthetic intent.

However, on closer thought, the choice of the colour red invites interpretation. It may well be seen as a symbolic reference to Communism, with the expanding dot suggesting the idea of a growing movement or revolution.

Seen in the context of its time, this becomes even more interesting. The film was released in 1973, when India was under strong Soviet influence, and the narrative itself carried subtle socialist undertones. The visual motif, therefore, seems less accidental and more reflective of the ideological climate of that period.

There are also a few lesser-known details associated with the making of the film.

To prepare for his role, Raza Murad was asked by Hrishikesh Mukherjee to wear kurtas regularly, even off-camera, so that he would grow into the character naturally. He was also advised to avoid certain personal comforts, including bathing before shoots, to lend greater authenticity to his appearance.

Another well-known aspect surrounding the film was the intense rivalry between Amitabh Bachchan and Rajesh Khanna. After Anand, this was the last time the two shared screen space.

What is remarkable, however, is Rajesh Khanna’s gracious response after watching the film. Recognising Amitabh Bachchan’s powerful performance, he is said to have acknowledged that a new force had arrived — one that would eventually redefine stardom in Hindi cinema.

In many ways, Namak Haraam stands at the cusp of that transition — both in its themes and in the changing faces of its leading actors.

In the end, it is often these small, almost unnoticed details that carry the deeper currents of their time — quietly reflecting changes that are much larger than the film itself.



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