The Filmistan banner which was proudly hoisted as a symbol of intelligence and imagination by such pictures like Sindoor, Shaheed, Shabnam and Samadhi is sadly and ignobly lowered by Nirdosh. In Nirdosh you will not find even a shred of intelligence, an ounce of commonsense or a slight vestige of logic which one has come to expect of the Filmistan Studio.
It has a hackneyed story running on a beaten track and an insipid and tripe direction which enhances the gloom of utter frustration and deep foreboding that seizes the audience with the very first shot of Miss Rehana talking blatantly to her pet horse and thus showing less sense than the latter. In fact the horse steals the scene even from director Najam Naqvi, the man who, to quote a famous poet, has been mainly responsible for bringing down that Filmistan scepter into the dust. Of course the horse may not think it very creditable or laudable an achievement to have snatched a victory from Mr. Naqvi hands and may not think a comparison to him very complimentary to itself. In fact as one cynic has said horse sense is that which restrains horses from betting on what men will do next. And our cynical friend did not even know Mr. Naqvi. I think Mr. Naqvi had some vague and indistinct idea of a serenade to a donkey without knowing what a serenade is and mixing up the identities of the donkey and the horse.
It is indeed very tragic that Mr. Najam Naqvi who had once again been given an opportunity in Nirdosh to redeem his name from the stigma that is attached to it as a maker of consistent flops, should fail to take advantage of it and on the contrary create a dismal, gawky melodrama that disgusts you with its uninteresting presentation. That is of course paradoxical but it only serves to point out what Mr. Najam Naqvi is capable of when he even destroys the charm that never existed. For this Mr. Naqvi deserves all the bouquets for the unique distinction of having achieved the non-existent.
I have had the misfortune of reviewing in these very columns many Indian pictures that for sheer absurdity and boredom would take top credits but I am at a loss to find a suitable place of honor for Nirdosh. It is a picture of over 13,000 feet which with a little more commonsense and drastic editing might have become interesting. As it is, it drags its course in a cumbersome manner to reach the end while its slow progress becomes a deadly menace to the time and the money of the unhappy spectators. There are innumerable songs, which are mostly unmusical, played at psychologically the wrong places. I remember someone saying something about music being the food of life. The heroine in Nirdosh certainly thrived on songs and did a good job of it to judge from Miss Rehana’s figure which had put on weight both in the right and wrong places. It was also queer to watch her burst forthwith into a song the moment her lover leaves her for an indefinite period to say nothing about her brazen effrontery in doing so right on the platform under the bewildered glances and the doleful shakes of the passerby’s heads. Then there are the occasions when she sings on the bed crying her eyes out at the same time, and also on the occasions when she dances, walks, sits and runs.
All the artistes gave performances, which to say the least, were of the most poor caliber. Rehana, Shyam, Kuldip Kaur, Om Prakash, artistes well-seasoned and groomed in their work, gave a very poor show of their abilities, while the many supporting artists completely succeeded in being non-entities.
Surprisingly enough music by Shyam Sunder was utterly hopeless and not a single song stands a fair chance of ever becoming popular. MARSHALL Braganza who photographed Shabnam so well, did a poor job of Nirdosh.
Year – 1950
Language – Hindi
Country – India
Producer – Filmistan
Director – Najam Naqvi
Music Director – Shyam Sunder
Box-Office Status –
Cast – Misra, Rehana, Om Prakash, K. N. Singh, S. M. Abbas, Shyam, Kuldip Kaur, S. L. Puri, Mukri
Miscellaneous Information – Not Available.
|Aye Ishq Hamen Awaz Na De||1950||Shamshad||Shyam Sundar||Raja Mehdi Ali Khan|
|Bata Aye Do Jahan Wale….Duniya Mein Hamari||1950||Shamshad||Shyam Sundar||Raja Mehdi Ali Khan or Asad Bhopali or S. H. Bihari|
|Chhammak challoo aayi tunnak chaal chale||1950||Shamshad Begum||Shyam Sunder|
|Chhammak Chhallo…Thunmak-4 Chaal Chale Ithalai||1950||Shamshad-chorus||Shyam Sundar||Raja Mehdi Ali Khan|
|Dil Ke Tukde Tujhe Seene Se Laga Loon||1950||Meena Kapoor||Shyam Sundar||Raja Mehdi Ali Khan|
|Dil na lagana||1950||Shamshad Begum, Satish Batra||Shyam Sunder|
|Dil Na Lagana Sun Panchhi||1950||Satish Batra-Shamshad-sathi||Shyam Sundar||Raja Mehdi Ali Khan|
|Duniya men hamare kismat||1950||Shamshad Begum||Shyam Sunder|
|Gaye wo mere dil ko veeran karke||1950||Shamshad Begum||Shyam Sunder|
|Is dil ko tadapna hai||1950||Shamshad Begum||Shyam Sunder|
|Ishq men hum zindagi||1950||Shamshad Begum||Shyam Sunder|
|Maaro na nainwa ke baan||1950||Shamshad Begum||Shyam Sunder|
|Maro Na Nainwa Ke Baan||1950||Shamshad||Shyam Sundar||Raja Mehdi Ali Khan|
|Mere pee hain jahan||1950||Shamshad Begum||Shyam Sunder|
|Mere Pee Hain Jahan Mujhko Le Chal Wahan||1950||Shamshad||Shyam Sundar||Raja Mehdi Ali Khan|
|Na Aaye The…Gaye To Mere Dil Ko||1950||Shamshad||Shyam Sundar||S. H. Bihari|
|Wo Mujhase Door…Ye Meri Chalati Firti Lash||1950||Lata||Shyam Sundar||Asad Bhopali|
|Ye Kis Duniya…Is Dil Ko Tadapana Hai||1950||Shamshad||Shyam Sundar||Raja Mehdi Ali Khan or Asad Bhopali or S. H. Bihari|
|Yeh meri chalti phirti laash||1950||Lata Mangeshkar||Shyam Sunder|