As we observe Dalit History Month and honor the resilience of a community that has endured oppression for generations, The Mooknayak shines a spotlight on another Bollywood gem from the 1980s that bravely tackled the issue of caste discrimination.

This musical melodrama delves into the poignant tale of a Brahmin girl who defies societal norms by falling in love with a Dalit boy. However, constrained by family honor and societal expectations, she ultimately marries a temple priest, unable to express her true feelings.

Despite the constraints of his profession, the husband, portrayed as a progressive youth, possesses a broad-minded perspective. When he enters their bedroom, he doesn't see his wife; instead, he sees the divine form of the Goddess inside her. As a consequence, their marriage remains unconsummated.

The 1984 Bollywood movie "Jaag Utha Insaan," directed by K. Viswanath and starring Mithun Chakraborty, Sridevi, Rakesh Roshan, Deven Verma and Sujit Kumar, explores the essence of humanity and challenges the misconceptions surrounding the Hindu caste system.

Adapted from Viswanath's 1981 Telugu film "Saptapadi," the story revolves around a tragic love story between a Dalit boy and a Brahmin girl, portrayed by Mithun Chakraborty and Sridevi, respectively.

The film delves into the belief that every individual is inherently human, transcending societal labels. It challenges the conventional understanding of the caste system, emphasizing that one's caste is not predetermined at birth but is shaped by one's actions and deeds. This central theme underscores the narrative, highlighting the power of love and the resilience of the human spirit against societal norms and prejudices.

Renowned cinematographer P.L. Raj's exceptional work in capturing the essence of the story earned him the prestigious Filmfare Award for Best Cinematography. With its compelling storyline, stellar performances, and impactful message, "Jaag Utha Insaan" remains a significant film in Bollywood's cinematic landscape, resonating with audiences even decades after its release.

In their marriage ceremony, marked by sacred rituals and vows, Sandhya (Sridevi) feels conflicted. Though bound to Nandu (Rajesh Roshan), her heart belongs to Hari ( Mithun Chakraborty) .

Meanwhile, feeling a divine presence in his wife, to avoid confronting her, Nandu chooses to spend his nights outside the house. However, this decision sparks gossip and speculation among the villagers, with many unfairly blaming the wife for purportedly neglecting her husband and driving him to seek refuge outdoors.

Upon discovering Sandhya's true feelings, Nandu grapples with a profound realization: Sandhya's heart belongs to another. Unable to accept her as his own, he recognizes that she is bound to someone else, not him. This understanding prompts Nandu to confront the complexities of love and loyalty, leading to a poignant moment of acceptance and clarity.

Nandu explains to their family that love knows no caste. He and Sandhya are bound in this marriage by the mantras and 7 pheras only, but Sandhya has taken the eighth round, which is the round of heart and mind, with someone else, and thus she belongs only to that person, and she must go back no matter whichever caste the person belongs to.

Nandu explains to his family that a person's worth is defined by their actions, not their birth. This moment of acceptance highlights the universal truth that everyone is equal, regardless of their background.

While Sandhya and Hari's love finds acceptance within their family, the villagers vehemently oppose their relationship, sparking a fierce conflict. Despite efforts to reconcile, the situation escalates, culminating in a tragic outcome: both Hari and Sandhya lose their lives amidst the chaos and turmoil of societal discord.

The concluding lines in the movie spoken by Nandu are profoundly poignant. "Lao woh Brahmin Lakdi... Lao woh Harijan Lakdi inke antim sanskaar ke liye... Jao Har ped se poocho ki tumhari jaat kya ha? Inki Asthi ki Raakh jab mitti mein mil jayegi toh uss dharti se poochna ki tumhari jaat kya hai?....Jab inki asthiyan bahane nadi mein jaoge toh poochna us nadi se ki tumhari jaat kya hai...Sab chillakar ek hi baat kahenge hamari koi jaat nahi hai- ham brahma ki shristi hain ...ham ek hain..lekin ham jo manushya hain, shristi ki sabse badi den, ham mein yeh bhawna nahi hai...Jab tak ham mein yeh bhawna nahi aajati ...tab tak ladtey raho aur jala do iss duniya ko..."

Four decades have passed since the release of the film, yet the issue of Dalit struggles persists, haunting society. Newspapers and media headlines are replete with stories of Dalit families facing disgrace and humiliation due to inter-caste marriages with upper-caste individuals.

The title of the movie "Jaag Utha Insaan" poses a question about human awakening, questioning whether despite advancements in learning, modernization, and technological mastery, humanity has truly awakened to address deep-rooted issues like caste discrimination.