Pyaasa in Venice
Indian classical ‘Pyaasa’ easy for arriving Venice Film Fest
Google Doodle celebrates mythological filmmaker and Showman Raj Kapoor’s 90th birth anniversary
Even a hardest-to-please critics and cineastes who don’t give a tinker’s damn about renouned Hindi cinema determine that a 1950s was a high indicate for Bollywood. It’s not for zero that a Fabulous Fifties is referred to as Bollywood’s Golden Age. These are films that many Indians, slicing opposite era and region, have many been lifted on. A look during some of a decade’s many landmark films reveals clever amicable and domestic themes. As a recently liberated nation, there was a call of confidence among a masses and a cinema of a time took heedfulness to simulate and residence that reality. Under Pandit Nehru, India was a revolutionary multitude and a films done during a 1950s led by romantic directors like Bimal Roy, Mehboob Khan, V. Shantaram and BR Chopra unequivocally took adult a charge of nation-building. The dispute between modernity and traditions and a rich-poor sequence became a widespread theme, as reflected in BR Chopra’s Naya Daur and in countless Raj Kapoor hits where a gleaming, resplendent cities are decorated as hurtful and soulless dens. “This is Bombay, my friend,” a roadside pauper gives a hayseed Raj Kapoor his initial city doctrine in Shree 420. “Here,” he says, trenchantly, “buildings are done of concrete and tellurian hearts of stone.”
Independent India’s biggest stars, a evergreen triumvirate of Dilip Kumar, Dev Anand and Raj Kapoor, represented a ideal heroes of a 1950s since Madhubala, Nutan, Nargis, Meena Kumari, Suraiya and Waheeda Rehman became synonymous with a Golden Era interjection to their equally immeasurable talent and glamorous aura. They ordered a following no reduction than their masculine counterparts.
In a initial of a new letter array called ‘Hindi classics that tangible a decade’, we try a 1950s. Here are 10 classics from that decade that endorse a Fifties as a value trove for film lovers. These films demonstrated to a audiences, and generally critics, that renouned cinema should be taken seriously.
Baiju Bawra (1952)
Vijay Bhatt’s undying classical is a jubilee of music, what we competence call Bollywood soundtrack during a finest. Its summary that ‘Music is for everyone, it has no boundaries’ creates Baiju Bawra a film so overwhelmingly symphonic that when Baiju seeks punish for his father’s death, it’s truly a honeyed revenge. Baiju (Bharat Bhushan) might be a illusory footnote in story though in a film, he defeats nothing other than a good Tansen and goes on to reunite with his childhood sweetheart, Gauri (Meena Kumari). With Naushad during a low-pitched helm, Shakeel Badayuni on lyrics, Mohammed Rafi on playback, and Ustad Amir Khan and Pandit DV Paluskar as consultants, can we consider of another Hindi film with such huge names on a strain credit?
Do Bigha Zamin (1953)
Bimal Roy’s paper to Vittorio De Sica’s Bicycle Thieves, Do Bigha Zamin is a absolute story of a rancher Shambu (Balraj Sahni) who, debt-ridden and pang injustices during a hands of a gentry, leaves for a city to take adult a proxy pursuit in sequence to repay impost accrued on his land. According to renouned legend, executive Bimal Roy was not certain about casting Sahni, a BBC-London-returned sophisticate. But today, a film is best remembered for his relocating and definitely plausible performance.
Shree 420 (1955)
The Shree 420 of a pretension is a hurtful capitalists while Raj (Raj Kapoor) is an trusting hayseed ripped between loyal love, definition and believe (Nargis’ Vidya) and element apparition (Nadira’s Maya). The Tramp is seduced by a festive glorious of a vast city though finds his just approach in a end. As a strain Ramaiya Vastavaiya predicted, Lord Ram did come.
Why should a comfortless story of a cursed alcoholic ring with viewers and enthuse filmmakers even after so many decades? Because Bimal Roy gives viewers a psychological look into Dilip Kumar’s self-destructive strain and since Dilip Kumar is zodiacally greeted as a best Devdas.
Do Aankhen Barah Haath (1957)
In a seminal year for Hindi cinema that also saw Mother India and Pyaasa, Do Aankhen Barah Haath stands out for V. Shantaram’s stability bid to move amicable change by cinema. His protagonist, a jail supervisor Adinath (played by a executive himself) is an romantic who wants to remodel his prisoners and ready them for a genuine world. But a mutation of hardened criminals into good and honest adults is a prolonged march. But then, no highway was prolonged adequate for a amicable crusader Shantaram.
Mother India (1957)
There’s a reason because Radha (Nargis) is anointed to a towering standing of Mother India. She’s a mom of all celluloid characters. An ideal bride, mom and mother, in a changing faces of Radha, Nargis combined a picture of a ideal Indian woman. As author Nasreen Munni Kabir argues, ‘Mother India’s underlying summary is that a land gives grace to a bad and a woman’s grace lies in her honour.’
A classical Guru Dutt story of better and disillusionment with a universe during large, Pyaasa’s genuine star is Sahir Ludhianvi who gives a film a elegant unhappy and anguish. The life of a crook producer has never been this seductive.
Naya Daur (1957)
“A quintessentially Nehruvian film,” according to Meghnad Desai, Naya Daur is a critique of fast modernisation in a mostly farming India. The common will of Man eventually trumps a immorality whirr of a Machine.
Who can forget ‘Dil tadap tadap’ from Madhumati? Bimal Roy gives this strain and a reincarnation story of this Dilip Kumar-starrer a medieval noirish and puzzling feel. The prolonged shade of Roy and his code of cinema looms vast on a Hindi film industry. Look adult a list and we will notice 3 of his films have been featured here. It is fair, then, to predicate that some-more than Mehboob Khan and V. Shantaram, it is to Bimal Roy that a 1950s justly belongs.
Kaagaz Ke Phool (1959)
If Pyaasa portrayed Guru Dutt as a annoyed poet, in Kaagaz Ke Phool he turns a lens inward, recalling his possess life story as a filmmaker. A personal statement, Dutt could not understanding with Kaagaz Ke Phool’s blurb blow – from that he never recovered.
(Shaikh Ayaz is a author and publisher formed in Mumbai)