Shantaram’s Dahej is a picture of many fine qualities, polished, perfect and refined in almost all respects. There are but a few lapses but they are mostly insignificant ones and the real glory of a really well produced picture scatters the little fleecy clouds of some little coincidences. Yet in a picture that boasts of many commendable qualities these drawbacks should have been eradicated from it.
I must however admit that Shantaram has done a praiseworthy job of Dahej. My confidence in him, which was lost, has been completely restored, for his direction is sleek, deft and skillful and his treatment of the subject smooth and refined.
I think that this subject handled by any other directors would have become so dreary and monotonous that it would have jarred every nerve in our bodies. But in the experienced hands and intelligent handling the story moves on at a swift pace culminating in a crescendo of dramatic force.
The evil of the Dahej system that has destroyed the happiness of many homes has been very well depicted in it and succeeds on pointing out that evil very forcefully.
Though the basic story by Shams Lucknavi is rather pedestrian yet a good screenplay compensates its weakness very admirable.
Yet there are a few far fetched incidents like the physical mishandling of the heroine by her mother-in-law and a retinue of servants. I do not say that they are improbable but they do seem rather far fetched. The other scene is the hero dying simultaneously with the heroine.
The camera work of V. Avadhut in the entire picture is extremely beautiful, though it is to the credit of Shantaram that he has made the best use of the camera angles in the picture. His scenario was so smooth and easy that any cameraman might be inspired to give his best. The recording was of a very high standard.
Music by Vasant Desai was most surprisingly of a popular appeal and I will not be amazed if a couple of songs of Shams Lucknavi’s become hits. Dialogues were good in parts.
Now we come to the performances and in this I must say that Jayshree was a big disappointment. She has a habit of raising her eyebrows in the Groucho Marx style and staring blankly like a wide eyed owl. Her performance was utterly poor, her diction faulty and her looks rather worn out.
Prithviraj Kapoor and Lalita Pawar stole the picture from the whole cast. The former after a long absence from the screen makes his return debut in a role that he plays to perfection. Lalita Pawar was the most natural in a role which suits her very much. But the remaining artistes including Ullhas and Karan Dewan nothing very noteworthy was accomplished.
The last word is for V. Shantaram who like a maestro has managed to create harmony and charm out of various elements in the story.
It is Shantaram’s recent best and definitely unmissable.
Year – 1950
Language – Hindi
Country – India
Producer – Rajkamal
Director – V. Shantaram
Music Director – Vasant Desai
Box-Office Status –
Cast – Jayshree, Karan Dewan, Mumtaz Begum, Prithviraj Kapoor, Lalita Pawar, Ulhas
Miscellaneous Information – Not Available.
|Aa Ja Nigahon Mein Aa Ja||1950||Krishna Goyal||Vasant Desai||Shams Lucknawi|
|Ab Zindagi Ka Bojh-2 Uthaya Na Jayega||1950||Krishna Goyal||Purushottam||Shams Lucknawi|
|Ae kale badal bol||1950||Shamshad Begum||Vasant Desai|
|Ambuva Ki Dari Se||1950||Jayshri||Vasant Desai||Shams Lucknawi|
|Aye Kale Badal Bol||1950||Shamshad||Vasant Desai||Shams Lucknawi|
|Dil De Chuke Ab Maloom Hua||1950||Jayshri||Vasant Desai||Shams Lucknawi|
|Do Din Bahar Phool To Dikhla Ke||1950||Jayshri||Purushottam||Shams Lucknawi|
|Jo Dil Pe Guajarti Hai Dikha Bhi||1950||Jayshri||Vasant Desai||Shams Lucknawi|
|Ooi Choodi Dheere O Choodi Dheere Pehna||1950||Shamshad||Vasant Desai||Shams Lucknawi|
|Tej Hawaen..Kagaz Ki Naav||1950||Jayshri||Vasant Desai||Shams Lucknawi|
|Uii choodi dheere pehna||1950||Shamshad Begum||Vasant Desai|
|Woh To Bans Bareli Se Aaya||1950||Jayshri-chprus||Vasant Desai||Shams Lucknawi|