Mahal

It has been proud to watch a cult-classic film now in 2021 for the first time and I can trace back the setting and the subject which the movie talks about. The films getting released nowadays have this kind of subject or theme which shows a close resemblance to this 1949 film, Mahal. Debted from gothic culture Mahal set-up in a Mahal (mansion) which has that kind of German Expressionist mise-en-scene and musical accompaniment. I like the songs especially the 'Ayega' song which is resounding in my heart. The great essence of cinematography technique by the veteran Josef Wirsching can be seen here and excellent music composition by Khemchand Prakash. A modernized way of depiction can be seen in each and every frame of the movie.

Cited as Bollywood's first horror film and also noteworthy for catapulting both its lead actress & playback singer into stardom, Mahal is as gothic as it is enchanting and as elegantly crafted as it is enigmatic in its storytelling. Making expert use of lighting, shadows & setting to establish its eerie atmosphere that brims with mystery & melancholy and further elevated by fine inputs from its committed cast, this haunted house horror juggles love, longing, death, reincarnation & class struggles with flair. Madhubala is an absolute delight but the long runtime, dated elements & plentiful songs do make the ride a bit tedious. However, the artistic rendition & neat camerawork leaves one wondering how Bollywood horror fell so low after starting on such an arresting & impressive note. In short, a fascinating gothic romance chiller.

Mahal (1949) : Breif Review -

A landmark in the Gothic-Horror-Fiction genre for Indian cinema, with complex romance theories that are still untouched. The gothic horror genre was set in mind when I saw the silent German classic, "The Golem" (1920). I never thought that world cinema could use Gothic horrors in such a manner to create a haunting viewing experience. Even Hollywood stayed away from it in the early days, so of course, Indian cinema was supposed to try its hands way later. I am surprised to see that Kamal Amrohi did it in 1949. Okay, one second, How??? Mahal is such an uneven mixture of Indian Gothic, horror, romance, drama and intellectual yet complex theories, it is hard to believe. I haven't seen such a unique combination in any Indian horror film yet - including every film made till 2022. Having a love story in a horror film is like having water in tea for Bollywood movies. Tell me, have you seen any hits or popular horror films that haven't got romance? The answer is probably No, I guess. But Mahal is way ahead of all those romantic horror films, despite being made early. Kamal Amrohi has been hailed for making "Pakeezah" (1972), but I believe he did a better job in Mahal, 23 years before the musical classic. This deserves to be hailed at a higher level than Pakeezah. Mahal is a prime example of human horror meeting gothic formulas, including an influential romance based on reincarnation. Rajesh Khanna and Hema Malini's Mehbooba (1976) was too late to copy it. There are many instances like this because Mahal is a textbook of multiple theories-right from romance to horror to crime to drama to a sad ending. Now you may want to argue with me for calling it a horror movie, as it's not a ghost horror film like the Ramsay Brothers. So what? Even Biren Nag's "Bees Saal Baad" was similar. It had "Kahi Deep Jale", while Mahal had an even better song, " Aayega Aane wala". Top class stuff. A little lengthy, but needed that time to absorb you as a viewer.

RATING - 7.5/10*

By - #samthebestest.

This is one of the greatest suspense movies of all times in any language. Kamal Amrohi was a genius, who could never reproduce at the same level, as in Mahal, his debut venture. In this respect, he reminds me of Orsen Welles, whose debut venture Citizen Kane was his best, and one of the greatest movie of all times. What upsets me most is that Mahal is considered a ghost story by many commentators. Nothing could be further from truth. It's a great suspense story, told in a straight forward way, and yet exceptionally hard to guess the surprise ending on first viewing. Khemchand Prakash's music is among the finest in Hindi movies. But for his early demise, he would have been as much an icon as Naushad he introduced to Hindi films.

A fascinating film: One rainy midnight Hari Shankar (played by Ashok Kumar) drives up to his palace, enters a rather strange world and finds himself immediately "bewitched by a woman's wandering soul". The story has it that Kamini (the young but already veteran Madhubala) is waiting for the re-incarnation of her dead lover from years before, which he fervently believes himself to be and she keeps popping up in front of him rousing his insane desire. To emphasise the romantic point the main song, Aayega Aanewala (the one destined to return will come …) is reprised throughout the film, a deeply poetic and thoughtful classic sung by the young Lata and the one that helped to make her name.

It started out very stylish and original with some swift camera work, almost like an atmospheric Hindi Noir, and reminded me at various times of Orphee, Gilda, Lady From Shanghai, Ghost And Mrs Muir, and even had pre-echoes of Ava Gardner in Pandora And The Flying Dutchman. But eventually the plot veered away erratically and although always interesting some of the suspense was lost as the supernatural aspect was lessened and the ordinary world started to creep in. For the climax Ranjana's integrity was definitely compromised in her wreaking terrible revenge on husband Shankar! The incredibly worldly-wise wispy Kamini murmured "Come" and Shankar ran to her – but what man wouldn't! The scenes with the tribal woman dancing for her life were riveting viewing; the music was superb throughout – of course this was made decades before the heavily Westernised Bollywood Beat took over. The "surprise" climax has already been given away in a previous post, but to me the big surprise is how it could have surprised anyone in the original audiences! And was it destined to end that way, with people watching nowadays destined to not be surprised at all?

It was a confusing mystery melodrama with many heavy thoughts on youth, beauty and mortality but ultimately surprisingly shallow – probably depending on your age. However no matter how much it reminded me of a few other films you'll not see a film quite like it, and personally it's usually well worth watching unique films from the Golden Age.