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Khidki (1948) – Review

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This is a review of “Khidki” as it is in the fourth week of its run at Kamal Talkies in Bombay. Such number of complaints have been received about this picture and there have been so much virulent propaganda against it by rival producers not to mention the censoring and re-censoring through which the picture has gone, that it has now become extremely difficult to find out what exactly was the original “Khidki”.

Boy and Girl Farce

There is nothing like a theme in this picture unless the mating of 11 women with 11 men can be called a matrimonial problem presented by Santoshi. The whole thing is a farce.

The eleven girls of a social institution are attracted to their eleven opposite numbers across the street. The men and the women sing, dance and mock each other and in doing so provide entertainment according to Santoshi’s conception of entertainment.

A couple of attractive dance numbers and a few snappy songs punctuate this farce and the masses go out happy in the thought that they have had some value for their money. Our idiotic masses don’t seem to deserve anything better.

Rehana Curves

The picture is very well photographed in places and Cameraman Chandu shows distinct improvement in his composition and lighting. The direction is as frivolous as the theme. It doesn’t need much brains to emphasize Rehana’s breast and even if she didn’t have them in original, artificial ones can always be put in.

The songs are quite snappy in tune and composition. The Gandhian song, about which we have received thousands of complaints, is entirely harmless, though the producer’s motives in using Gandhiji’s name can be questioned.

As the whole picture revolves around Rehana all the characters move round her, including of course, the director and his character perhaps. The eleven stud bulls under V.H. Desai cast only hungry looks across the street and the way they stared we expected to see eleven holes in the girls’ window (Khidki) whenever it was closed.

The girls support Rehana in whatever she does. And she does a lot to emphasize her youthful curves and good eyes. Leela Misra tried to create some impression as the matron but the girls beat her with their youthful figures and antics.

“Khidki” is in the same class with Filmistan’s “Shehnai”, as good or as bad and frivolous. But “Khidki” is drawing larger crowds then “Shehnai”, which means that more rotters are seeing “Khidki” and exhibitors seem to be in good season with this picture. It is a pity, however. (FilmIndia Review)

Year – 1948

Language – Hindi

Country – India

Producer – Arvind & Anand

Director – P. L. Santoshi

Music Director – C. Ramchandra

Box-Office Status

Cast – Kalpana, Rehana, Jawahar Kaul, V. H. Desai, Radha Krishnan, Leela Misra, Ramsingh, Mumtaz Ali, Tiwari

Miscellaneous Information

Songs List

Song
Year
Singers
Music Director(s)
Lyricist(s)
Aji Mera Bhi Koi Haal Suno..Fifty Fifty
1948
Rafi-Chitalkar-Shamshad
C. Ramchandra
P. L. Santoshi
Aji Muh Kyon Chhipana Nazar Kyun Churana
1948
Lalita Deulkar-Chitalkar
C. Ramchandra
P. L. Santoshi
Aye Ho Sanwariya..Jai Bolo Mahatma Gandhi Ki
1948
Lalita Deulkar-chprus
C. Ramchandra
P. L. Santoshi
Badi 2 Paati Likhwaiyyan Mora Nanha Sa Man sweet
1948
Shamshad
C. Ramchandra
P. L. Santoshi
Badi badi pati likhwaiyaan
1948
Shamshad Begum
C. Ramchandra
Fifty fifty
1948
Shamshad Begum, Mohd Rafi, C. Ramchandra
C. Ramchandra
Hamen Bhi Koi Yaad Karta-2 To Kitna
1948
Shamshad-chorus
C. Ramchandra
P. L. Santoshi
Hamen bhie koi yaad karta to kitna
1948
Shamshad Begum
C. Ramchandra
Khushin manyen
1948
Shamshad Begum, Lata Mangeshkar, Mohantara
C. Ramchandra
Khushiyan manaye
1948
Mohantara, Shamshad Begum, Lata Mangeshkar
C. Ramchandra
Khushiyan Manayen Kyun Na Ham
1948
Shamshad-Lata-Mohantara-chorus
C. Ramchandra
P. L. Santoshi
Khushiyan Manayen Kyun Na Hum
1948
Chitlakar-Rafi-G. M. Sajan
C. Ramchandra
P. L. Santoshi
Tere bina soona
1948
Geeta Dutt, C. Ramchandra, Lata Mangeshkar
C. Ramchandra
Tere Bina Soona 2 Man Ka Mera Angna
1948
Chitalkar-Lata-Geeta Roy-chorus
C. Ramchandra
P. L. Santoshi
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