Rishi Kapoor and Ranjeeta in Laila Majnu (1976)

“Laila Majnu” offers within its 19 reel, lavish sets, glit­tering desert exteriors, an ela­borate fantasy sequence, and gorgeous costumes. It all makes for an eye-catching pageant, except that the pageant often looks closer to being a comedy than a tragic tale of star-cross­ed lovers. For a tale of intense love and hate, director H. S. Rawail’s film generally strikes incongruous notes.

The lovers’ first meeting in the market place promises a forceful depiction of the first stirring of love, but, the sequence peters out when you see Kais (Rishi Kapoor) appear­ing and disappearing as if by magic. Later, during his noc­turnal visits into Laila’s (Ran­jeeta) bedroom, he recites ver­ses like one who was doing it without knowing the meaning of the lines.

Next, there is the fantasy sequence, which turns out to be an exercise in matching naive visuals with pedestrian lyrics (written by Sahir Ludhianvi). The lovers’ silent meeting at the Dargah captures for a mo­ment the intensity of their love. Perhaps part of the effec­tiveness of the scene is due to the fact that it comes close, on the heels of a particularly loud `qawwali’ with Kais making a full throated contribution—al­though you have earlier seen him wandering in the desert for days without food or water.

If the film fails to capture the intensity of love, it fails equally in projecting the hosti­lity between the respective families of the lovers — the main cause behind the tragedy. The violent confrontations which should have been telling omens of the impending doom, are re­duced to clowning by Kais’s friends (Asrani, Paintal, etc.). The last duel between Kais and Tabrez (Ranjeet), Laila’s bro­ther, borders on a caricature.

Ranjeeta makes a convincing Laila, despite being a bit heavy with her dialogue and she ma­nages aided by effective make­up to provide a measure of pathos in her later scenes. Rishi Kapoor as Majnu-Kais is effec­tive in serious moments but looks awkward during the song sequences. As the prince who marries Laila, Danny turns in a sympathetic performance.

The music is unimpressive with the exception of Koi Pathar sai na marey and so is the dialogue which keeps swinging between Urdu and Hindustani, occasionally threatening to lapse into Bom­bay Hindi – Shalini Pradhan

Cast and Production Credits

Year – 1976, Genre – Historical/Romance, Country – India, Language –  Hindi, Producer – Ram B. C., Seeroo Daryani, Director – H. S. Rawail, Music Director – Madan Mohan, Cast – Sunder, Meena T., Aruna Irani, Raza Murad, Rishi Kapoor, Ranjeeta, Danny

Nimmi, who puts over a convincing portrayal in P. V. Films' "Angulimaal."

Director Vijay Bhatt is noted for his period films, like “Ram Rajya,” “Bharat Milap”, “Chaitanya Mahaprabhu” and “Baiju Bawra.” An addition to this impressive record is “Angulimaal,” in which Bharat Bhooshan plays the title role.

The story, set in Bhuddhist times, depicts the life of a scholarly youth who is destined to live two lives of completely opposite charac­ter—as a killer and as a saint. He shows prowess in all the arts and is expected to bring a good name to his family and the community, but finds himself on the wrong side of the law due to the jealousy of some of the inmates of the Ashram where he is studying.

Wrongly accused of gross moral lapse, he runs amuck, kills hundreds of innocent people and lives a savage life. In the end, however, he is reformed and accepts the Buddhist teach­ing and way of life.

The story as well as the complexity of the character he portrays provide Bharat Bhooshan with plenty of scope for histrionic expression. The three main facets of the title role—the scholar, the killer and the saint– are so diverse that it is only the deep under­standing and sincerity of Bharat Bhooshan that make the character real.

As the hero’s beloved, petite Nimmi puts over a fine portrayal. It is refreshing to see her on the screen again after a long time. Anita Guha gives a compelling performance, and Ulhas is convincing as the guru. Chandra­shekhar, Achala Sachdev, Manmohan Krishna, the late Prem Adib, Vinod Kumar and Sheila Kashmiri are adequate in their respective roles. Dancing starlet Helen does justice to her dance numbers.

Maestro Anil Biswas has written a fine music score, and the theme song, “Buddham, Sharanam, Gachhami,” is inspiring. Bharat Vyas’s lyrics are appropriate to the theme as well as the mood of the film.

Bhavani Prasad Misra’s dialogue, Kanu Desai’s art direction and V. Avdhoot’s photo­graphy together help to make “Angulimaal” a memorable film (Source – Filmfare Magazine – February 24th, 1961)

Cast and Production Credits

Year – 1960, Genre – Historical/Mythical, Country – India, Language – Hindi, Producer –Thai Information Service, Director – Vijay Bhatt, Music Director – Anil Biswas, Cast - Bharat Bhushan, Anita Guha, Ullhas, Achla Sachdev, Manmohan Krishna, Prem Adeeb, Kesari, Helen, Nimmi, Chandrashekhar

Bharat Bhushan and Suraiya in Mirza Ghalib (1954)

Mirza Ghalib, Sohrab Modi’s eagerly awaited production, was released at a glittering premiere in Bombay on December 10th 1954, at the Minerva, Excelsior and Palace cine­mas.

Inspired by the tragic romance between the great poet Ghalib and Moti Begum, the dancing girl—whom the poet fondly named Chaudavin—J. K. Nanda’s adaptation of Minto’s original story closely follows the pattern of the lives depicted there, the depar­tures from recorded fact being dictated by dramatic considerations and regard for the censors.

Bharat Bhushan plays the title role while Suraiya portrays the feminine lead. They re­ceive excellent support from an all-star cast comprising Nigar Sultana, Ullhas, Durga Khote, Murad, Iftikhar, Mukri and —Baij Sharma, while veteran actor Jagdish Sethi appears as a guest artist.

Directed and produced by Modi on his usual lavish scale, the film magically re-crea­tes the poignant love story of the Poet and the Dancer in the atmosphere of the magni­ficent court of the last of the Moghul em­perors. He has with deftness preserved the atmosphere of the times and those aspects of life which inspired the wistful ghazals of Ghalib.

The film sympathetically depicts the torments suffered by the poet in his love for two women. Torn between his sense of duty to­wards his lovely wife Umrao Begum, and his love for Chaudavin, his troubles and frustra­tions increase and assume the proportions of tragedy.

Sohrab Modi’s direction is unquestionably inspired. Not only has he re-created the world of the Moghuls, but has paid due tri­bute to the poet in a film which is as warm and dignified as the story it tells. Ghalib’s exquisite ghazals and couplets have been admirably incorporated into the narrative and they richly embellish an already masterly production.

Bharat Bhushan is superb as the poet, Ghalib. Enacting his role with quiet restraint and dignity, he presents both the genius of Ghalib the poet, as well as his shortcomings as a man.

Suraiya beautifully brings to life the fascinating Chaudavin, drawing every ounce of sympathy through the character she por­trays. The skill she displays in her rendering of Ghalib’s exquisite ghazals together with the flexibility of her voice enables her to reach the depths of meaning in the poet’s words and draw out their subtlety to the full.

Nigar Sultana as Umrao Begum and Durga Khote as Chaudavin’s mother are both

brilliant in their character roles, while Baij Sharma as Fiddan the opium-eater turns in a noteworthy performance.

Ullhas, the villain of the piece, is con­vincingly evil and lecherous, Iftikhar with regal dignity almost instinctively lives his part of the Emperor, Bahadur Shah, and Mukri contributes a fine cameo of the self-important but kindly money-lender.

Rajinder Singh Bedi’s  expressive dialogue registers much of the elegance of speech characteristic of Moghul times. Ghulam Mohammed’s music and Shakil Badayuni’s lyrics give further evidence of their creative talents.

With delightful grace, Roshan Kumari and Kumkum present the spectacular dances directed by Lachhu Mahraj and Badri Prasad.

Production values of costume, sets and decor constitute spectacular additions to the film which also has excellent photography – Filmfare Review – January 7, 1955

Cast and Production Credits

Year – 1954, Genre – Historical/Romance/Drama, Country – India, Language – Hindi, Producer – Sohrab Modi, Director – Sohrab Modi, Music Director – Ghulam Mohammed, Cast - Bharat Bhushan, Suraiya, Nigar Sultana, Durga Khote, Ulhas, Mukri, Murad, Baij Sharma, Iftikhar, Jilani, Saadat Ali, Ghulam Mohiuddin, Kumkum, Roshan kumari