Meena Kumari as Zarina, the Nawab's daughter in "Chandni Chowk"

Hira Films’ “Chandni Chowk”, justifies its title by pro­viding a superbly-mounted musical romane of a time when Chandni Chowk, the glittering an­cient locality of Old Delhi, was the centre of attraction for people from all parts of India.

Deftly designed in a suspense-packed screenplay by I.S. Johar, and cleverly and imaginatively directed by B. R. Chopra, the film presents with telling realism the atmosphere of Delhi after the first world war, and those aspects of society which thrived on good manners and which no longer exist in the materialistic world of today. Faithfully recorded in the film are charming vignettes of
the Muslim Zenana—its graceful women, gorgeous costumes and its culture, all of which create an impression of quiet magnificence and enhance the gripping human appeal of the drama.

The story is set in the house of a Nawab of Moghul lineage, for whom life has no mean­ing without the preservation of the good name and honour of his ancient aristocratic family. Though reduced to financial straits, he sticks to the glory of the past. Opposite him is pitted Yusuf Mian, a vegetable vendor turned millionaire overnight as a result of the war. Yusuf is infatuated with Zarina, the Nawab’s only child and also his heir. But Yusuf is spurned by the Nawab who has no love for upstarts. A villainous parasite, Banke, fans Yusuf’s desire and exploits him for his own mercenary gains.

Together they hatch a plot to make the Nawab marry his daughter to his own gard­ener’s son. The latter poses as a Nawab from Lucknow. The villainous intrigue could have resulted in tragedy, but Zarina’s love for the gardener’s son, who was her childhood com­panion, and her brave stand in his defense save the situation. But the debacle drives the bridegroom to flight leaving his devoted bride in the care of his mother. He goes to Cairo where against the romantic backdrop of Egypt the film provides exciting sequences of encounters between him and his enemies; villainous intrigues of a dancer who is in love with him; breathtaking dances and a feast of alluring songs. It all comes right in the end, with the plotters discomfited and the lovers reunited. The good old Nawab is taught through grief and suffering that it is the in­dividual who matters and not his antecedents.

Delightfully presented, this beautifully embroidered story is cleverly interwoven with situations which call for tears, laughter, fear and excitement from the audience.

Meena Kumari, in the difficult role of Za­rina turns in a superb portrayal which is alive with feeling and emotion and is an outstand­ing example of her histrionic talent–talent which has already won her two Clares. Her classic beauty is brilliantly exploited by the camera and the photo­grapher of “Chandni Chowk” can rightly claim the honor of presenting this versa­tile actress of the In­dian screen at her love­liest.

Sharing honors with Meena Kumari in the film is Kumar, the veteran Thespian, who in the pivotal role of the Nawab convincing­ly presents a cameo of the Moghul aristocrat. Smriti Biswas, as the seductive Egyptian dan­cer looking ravishingly beautiful, provides some of the most al­luring dance numbers in the film. As the lover and husband, Shekhar manages to give a realistic portrayal in a role which is un­fortunately badly written and poorly directed.

Completing the masterly illusion on the screen are Jeewan as the intriguing parasite, Agha as the newly rich vegetable vendor, Achla Sachdev as the Nawab’s wife, Yashodhara Katju as the impish maid servant, Rama Shar­ma as the lovely companion of Zarina, Krishna Kumari as the nautch girl and Sunder as the idiotic servant of the household.

A fine embellishment to the film is provid­ed by the delightful music score composed by Roshan. The songs are all pleasingly melodi­ous, well-placed, delightfully sung and intelli­gently recorded, especially that which Meena Kumari sings while writing a letter to her husband. The dances are beautiful, well-executed and presented with appropriate decor.

Cast and Production Credits

Year – 1954, Genre – Romance/Drama, Country – India, Language – Hindi, Producer – Hira Films Company, Director – B. R. Chopra, Music Director – Roshan, Cast – Sunder, Shekhar, Meena Kumari, Kumar, Jeevan, Achla Sachdev, Yashodhara Katju, Smriti Biswas, Agha

Zindagi Na Milegi Dobara (2011)

Zoya Akhtar has a knack for telling different stories, interesting stories. Her debut film, Luck By Chance, told the tale of a struggling actor while shedding light on the cutthroat business of cinema and ‘making it big’.

With Zindagi Na Milegi Dobara, Zoya has proven that she is a director to watch.

After all, within just three weeks of release, ZNMD has been declared a super-hit. The film is doing very well in India and even here. And the rumour of a sequel is buzzing like wildfire throughout Bollywood as well as with fans.

That certainly doesn’t mean that ZNMD isn’t without its flaws. It simply means that despite the flaws, the film is a much better movie than most over-hyped films that come out of Bollywood such as the recent Salman Khan-starrer Ready or Murder 2.

There are those who have compared the film to Dil Chahta Hai but I disagree. Dil Chahta Hai was a lot smarter, more intelligent and engaging. ZNMD has its moments but the film doesn’t come close to Dil Chahta Hai so let’s not go there.

ZNMD opens with the engagement party of Karan (Abhay Deol) and Natasha (Kalki Koechlin). They have just met but within six months of meeting, the two decide to get married. But right before marriage comes an extended bachelor party for Karan. Karan wants to go on a road-trip for three weeks with his two high school friends, Arjun (Hrithik Roshan) and Imran (Farhan Akhtar). This trip was originally planned four years ago but the trio never made it. Now with Karan’s nuptials around the corner, the three friends finally head to Barcelona. During their trip to Barcelona, the guys meet Laila (Katrina Kaif), a diving instructor who quickly becomes a part of the group. And so goes the story.

First, let’s talk about what makes this film work.

It’s shot extremely well and some sequences are just breathtaking. The camaraderie between Karan, Imran and Arjun is what makes the film entertaining. This is a buddy film and Farhan Akhtar (who else could’ve penned the dialogues?) delivers like a pro. The jokes are mostly slapstick but quite a few of them actually work. The music is delightful in places and Shankar-Ehsan-Loy don’t disappoint. The soundtrack to ZNMD may not be as special as Dil Chahta Hai where every song was likable, but it’s pretty darn good.

What makes the film appealing is its casting. Even though this is not the original casting, all three leads have done a fantastic job. Zoya Akhtar originally envisioned Ranbir Kapoor, Imran Khan in the film alongside her brother Farhan Akhtar. But the two actors, especially Ranbir, who is super-sensitive about his age, declined the project because they didn’t want to play the same age as Farhan Akhtar. And so Abhay Deol and Hrithik Roshan were brought in. And the timing of this film couldn’t be better. Farhan Akhtar, despite proving his mettle as an actor, doesn’t get signed as an actor, not by other directors unless he is producing the film. With ZNMD, it becomes clear that Farhan is not just a stylised director but an equally thrilling actor.

Hrithik Roshan needed a film like ZNMD after flops like Guzaarish and Kites. And Hrithik brings his A-game to the film. As a finance guy who is obsessed with making money to a guy who finally learns to live life and falls in love, Hrithik is effortless.

For me, the real star of this film was Abhay Deol’s Karan. Abhay Deol has done some interesting film in his brief career. From Imtiaz Ali’s Socha Na Tha to Anurag Kashyap’s Dev D, he has showcased his skills as an actor and he has some serious acting chops. ZNMD marks Abhay’s foray into mainstream cinema and it seems to have paid off.

Now let’s talk about what doesn’t work.

The length of the film. That’s it. The length of the film keeps it from being a really great film. The running time is two hours and thirty five minutes. It could’ve been edited more intelligently. The other disappointment was the lack of meaty scenes for the two leading ladies, namely Katrina Kaif and Kalki Koechlin.

Zindagi Na Milegi Dobara is riding high on the wave of commercial and critical acclaim. Ultimately it works because it’s a light, fun film with a simple message, living life to its fullest. It’s a perfectly acceptable film with lots of humour, doses of romance, breathtaking scenery and good acting so check it out — Maheen Sabeeh

Rating – 3.5 out of 5

Cast and Production Credits

Year – 2011, Genre – Drama/Romance, Country – India, Language – Hindi, Producer – Farhan Akhtar, Ritesh Sidhwani, Director – Zoya Akhtar, Music Director – Shankar – Ehsaan – Loy, Cast – Hrithik Roshan, Abhay Deol, Farhan Akhtar, Katrina Kaif, Kalki Koechlin

Panna and Pankaj Mullick in Doctor (1940)

Poverty, disease, superstition and caste distinctions were all targets of a subtle yet powerful attack in New Theatres’ “Doctor” which came in 1941, a year after the original Bengali version, from which it had been dubbed and re-edited by director-editor Subodh Miter. In keeping with the tradition of B. N. Sircar’s famous banner, this film also had a story with purposeful and progressive ideas, presented in a way which the audi­ence would like, with soulful songs and the singing star as well as composer Pankaj Mullick playing a prominent part.

The story, happening in a Bengal village, had the con­flict between a father and son as its main thematic and dramatic point. The father (played by Bengal’s vete­ran Ahin Choudhry) was a true aristocrat who ruled the village according to age-old traditions. But his young son (played by Pankaj), was a doctor believing firmly in the new ideals of humanism and equality. His motto of service to humanity brought him in close touch with the poor and the downtrodden, as the vill­age was in the grip of cholera.

While attending to one such case, the doctor found himself shouldered with the responsibility for a young woman, Maya, who had been deserted at the time of marriage. Finding that his angry father wanted to get him married elsewhere, the doctor boldly decided to wed Maya and also leave his father’s house with a pledge that he would never reveal his connections with the proud family to the outside world. The couple pursued the goal of service through a small hospital in another village, but tragedy struck when Maya died after giving birth to a son.

The lonely doctor was persuaded by an old family ser­vant to allow the child to be brought up in the grand­father’s house, but as an adopted orphan and not as the true heir. Several years later, the now old doctor was overjoyed to see his son returning from abroad with a doctor’s degree. But when he took up a lucrative job in a big laboratory, the father rebuked him into doing something more useful like starting his own re­search centre and factory. The young man also fell in love with the pretty daughter of a friend of his father. But once again on the same question of caste, a conflict arose between grandfather and grandson and the sec­rets of the true relationships led to the climax.

Songs were woven into every phase of the story and they have all become memorable, evergreen melodies. The image of a young, bespectacled hero, determined and idealistic, was wonderfully created by Pankaj Mul­lick, who also sang his own compositions like “Chale pavan ki chaal” (the song on the train), “Guzar gaya woh zamana”, “Kab tak nirash ki andhiyari”, “Mahak rahi phoolwari,” which still breathe freshness when they are played. Among the other roles, the young doctor-son was played by Jyoti Prakash (the handsome actor who died prematurely), his mischievous beloved by Bharati Devi (later became a character artiste of Bengali films), her father by Nemo, the old servant by Amar and the doctor’s wife by Panna.

Cast and Production Credits

Year – 1941, Genre – Social/Drama, Country – India, Language – Hindi, Producer – New Theatres, Director – Subodh Mitter, Music Director – Pankaj Mullick, Cast – Jyoti Prakash, Pankaj Mullick, Ahindra Chowdhry, Nemo, Panna, Bharati Devi, Amar

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Pankaj Mullick singing and acting in Doctor (1941), one of the earliest train songs in Hindi films.

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