Madhumati

Tinged with whimsy, 'Madhumati' is a primeval tale of reincarnation, with retribution and eternal love. Bimal Roy, a poet of light and shadow, draws you in with sheer lyricism. Cinema here is more than just the telling of a story.

On a stormy night, Devendra (Dilip Kumar) and his friend (Tarun Bose), who are on their way to railway station, take shelter in a creepy and deserted mansion. Exploring the house, Devendra finds a painting of its former owner, Raja Ugaranarayan, and feels he has painted the portrait.

This cues a flashback to his previous life as Anand, when he worked as a foreman on a timber plantation, owned by Raja Ugaranarayan (Pran).In the hauntingly beautiful jungle, he sees Madhumati (Vyjantimala), a beautiful village belle, and falls for her elemental appeal.

Initially her father, the Pan Raja (Jayant) disapproves of their relationship, but when Anand vows to marry her, everything works well. But, the wicked Ugarnarayan casts his evil eye on Madhumati. When Pan Raja goes to the city, Ugaranarayan arranges for Anand to visit a nearby village. And then the news of Anand's accident reaches Madhumati, and she rushes to the mansion, little knowing that this is a plan to trap her…

'Madhumati' won 9 Filmfare Awards.

(Best Art Director—Sudhendu Roy, Best Cinematographer—Dilip Gupta

Best Dialogue Writer—Rajinder Singh Bedi, Best Director—Bimal Roy

Best Editor—Hrishikesh Mukherjee, Best Film—Bimal Roy

Best Music Director—Salil Choudhury, Best Playback Singer – Female—Lata Mangeshkar For the song 'Aaja Re Pardesi,' Best Supporting Actor—Johnny Walker)

Vyjantimala is excellent, and Dilip Kumar's convincing turn at befuddlement, earnestness and fascination anchors our belief in the events.

The story, punctuated by plenty of dark cloudbursts, sustains its suspense through complications that include a flashback within the flashback a train wreck in the frame story, and no less than three different embodiments of the heroine.The film deploys an eerily romantic atmosphere, enhanced by Salil Choudhury's background score and Hrishikesh Mukherjee's editing.

The imagery evokes passion, linking the beautiful Madhumati with nature and tribal cultures, beyond the grasp of capitalist appropriation.

Most reviewers forget that they are watching a movie made in India in 1958 and that too in black and white. To see it with FX-laden tinted glasses would be do do a disservice to the makers and the actors. regardless of the overall delivery of the film. Though even today ( and i must have seen this movie 10 times already ) you shudder at the thought of Pran in the empty large house, you creep at the surreal lighting, you rejoice at the music and its uplifting raw tribal rhythm, and how you wish you had the panache of Dilip Kumar or the grace of a Madhubala. The plot keeps you in your grip while the music and the acting are a feast for your senses. So should you see it ? - if you appreciate good cinema, this is a treat. But remember it belongs to a time, when films, like people used to take their time to unfold and once open would invite you into their arms and never let you go. As a tribute to the masters and a tongue in cheek to Bollywoods plagiarist accusations - the recent Blockbuster of 2007, OM Shanti OM, has lifted its Climax totally from this film. Go Check.

Here's a brooding and heated melodrama, that seems to me (as an non- Indian, English person) to have taken some great lines from myth and legend and put them all into a romantic drama that transcends time.

Having bought director Bimal Roy's 'Devdas' and played that, I found that I'd recorded Mudhumati from Film 4 years ago, but had never got round to playing it - what better time than now to do so?

I loved the multilayers of humour, the darker, sinister sides, the romance, the beauty and the love shown for the landscape and even the singing and dancing, which I have to admit, had always put me off 'Bollywood' films, before. Though long, over 3 hours with ad breaks, it was always compelling and ticked so many boxes that make for a really good film.

The on-screen quality, though, was a different matter, though, so bad were the white blemishes, it looked like it was sleeting on occasion! Sound was poor, too. One does get used to this, at least a bit, though and would probably lose some of its mysticism if it were a perfect digitally restored version, though I might actually buy such a disc, if one was released here and at a keen price.

The movie is the story about a hilly village, Shyamnagar. One of the most important things in the movies of 50's and 60's was that they shown strong characters and each and every word that the characters spoke shown a sense of strength. Madhumati is no exception. The direction is excellent. Bimal Roy was on his road to be a legend after Madhumati. Dilip Kumar and Vijayantimala played another great roles after their success in Devdas. Music was another strength of the movie. The songs "Suhana Safar" and all others created history. Pran also played his role exceptionally well. The movie is recommended for everyone.

The main drawbacks of the movie were:

1. The scene in which Dilip Kumar saves a child from the horse of Pran was really poor. Dilip Kumar comes from a long way and it is shown that the child was very near to the coming horse, so it was totally impossible for someone to come from 200 meters and save a child.

2. The voice "Aaja Re Pardesi" of Vijayantimala that comes from the hills creates a sense of mystery in Dilip Kumar but there was nothing like that. In fact, it should have been shown like a girl singing in hills but it looks as if a spirit is singing.

3. When Pran invites Dilip Kumar to make his portrait, he refuses in less than a second, but he should have waited for at least two seconds. Then he says that he is busy but he was enjoying the scenery. So when Pran says that yes he is seeing how much busy he is, he does not show any kind of expression that may show that if Dilip Kumar is busy, and he has no time for making my portrait, then what is he doing there at the moment.

Simply beauty. Vaijyanthimala is simply exceptional as a village girl. deals efficiently with human relationship and love. Great movie 10/10 one of the top movies of Indian cinema. I saw a previous comment about excessive length and I disagree with that. it is a well made film with not a single dull moment. The songs are the main strength of the movie are and are all time classics. Ask an Indian about "Dil tadap tadap ke kah raha hai" or "julmi sang aankh lagi" and the first thing in mind is the word madhumati! Like most Indian movies there is a feel good ending that some how dampens the strong emotional affect of the tragedy in the movie. But thats what is the Indian cinema is most known for: it may be tragedy but when you come out of the cinema it feels good.