"Dilbar, Dilbar, urf Dilbar jaani"

While the feudal-bureaucracy-media triangle dominates the power structure and social framework of ‘Chand Grahan’, complexity is added to the existent status quo through the depiction of Heera Mandi, and ideas of prostitution, mauseeqi and the film business. While these forces are relegated to the background since they constitute a threat to a carefully planned construction of ‘national morality’ upheld by the oligarchal triangle, they manage to surface, and hold enough strength to destabilize meticulous alliances and political ties. The prime example of such influence is embodied by Dilbar, who operates on the ‘outside’, acting as the impetus behind the successful functionality of the underground Heera Mandi business, but also becomes the evil manipulator who wrecks the feudal lord’s marriage, and risks the overturning of his entire public image and reputation.

Dilbar (whose very NAME warrants an eyebrow raise; it’s safe to assume he wasn’t born with such a name, and this is a self-granted title he’s given to himself on account of his long association with the Heera Mandi community. He tells Gulbahar, “Main hoon tumhara Dilbar, Dilbar, urf Dilbar jaani”, that's Dilbar for you) is a wanderer with no tilos; he shifts from Khanum’s darbar, Gulbahar’s abode and the filmmaker’s office, consequently becoming the thread that ties these three worlds together. He is absolutely unappealing, and he’s probably intended to be as repulsive as possible, since this serves to reinforce his personality as a sub-human, thug-like figure representing the scum of society. Gulbahar’s interactions with him constantly refer to his monstrosity and bestiality, calling him a “shaitaan”, “kameena” and “janwar”. Animal imagery works like a crescendo; Dilbar moves from being “Khanum ka paaltoo kutta” to a “saanp”, jis ko sirf “dassna” aata hai. From a Biblical context, the image of the snake is not coincidental at all; Gulbahar and Lal Hussain Shah’s marriage falls apart because of this poisonous snake, and this clearly resonates Adam and Eve’s fall from innocence to a world of knowledge, sin and corruption.

The value of “paisa” for Dilbar is also interesting; he seems to have enough money to entertain himself, but uses the avengement of his failed purchase of Gulbahar as a way to destabilize existent socio-political standards. Dilbar’s infatuation with Gulbahar is a sport to him; the awareness of losing his precious investment to the omnipotent feudal lord becomes a conflict of deflated male ego and class inferiority. His re-entry into Gulbahar’s life serves a dual purpose – not only does it pave the way for the decay  of the already questionable husband-wife relationship of Mr and Mrs. Lal Hussain Shah, it also becomes symbolic of the way Gulbahar’s present and future is constantly determined and shaped by her past association with mauseeqi and the Heera Mandi. Marriage for her is supposed to be sanctifying; she constantly alludes to the honour her husband has bestowed upon someone who deserves to be his “paaon ki mitti”. She tells Dilbar constantly, “Wo Gulbahar mar chuki hai, main Lal Hussain Shah ki biwi hoon”, and boosts her husband's male ego by telling him, "Aap ki hansti bari hai, main to aap ki mureed bhi bannay kay qaabil nahin hoon". The rigid divide she has drawn between her courtesan-self and her honourable wife-self is shattered and blurred as Dilbar starts calling and visiting her. He becomes a physical reminder of the part of her she wants to leave behind, and his threat to expose Lal Hussain Shah’s association with this tawaaif, a reality consciously kept incognito, becomes a political tool strong enough to ruin the feudal lord’s reputation and ruin his marriage.

Dilbar, with his Heera Mandi inspired language dripping with sexual innuendos (“Zara jalwa to dekha, ghungroo na sahi, paaon to hain teray paas. Gulbahar begum, aaj meri khaatir thora saa gungunaa do” – after which he literally showers money on Gulbahar), has no real power over characters falling outside the class structure like Ameer-un-Nisa, but his influence on the feudal-bureaucracy-media triangle is particularly threatening, consequently becoming a broader comment on the danger of mixing these two worlds together. They must always operate in isolation of each other, or away from the scrutiny of the public eye. However, it is very important how ‘Chand Grahan’ uses Dilbar as a tool to reinforce the power of the triangle. Lal Hussain Shah loses the pleasure of Gulbahar’s company, but is still able to retain control of his son Guddoo, and even win elections at the end, which shows how the power of the oligarchy is here to stay, no matter what threats come its way.