Mr. & Mrs. '55

Guru Dutt is mainly known for his thought-provoking, profound classic movies like Pyaasa, Kaagaz Ke Phool and Sahib, Bibi Aur Ghulam. However he had directed one hilarious comedy also prior to them. Since the movie had been made in the year 1955, it was titled as Mr. & Mrs. 55. It's a classic comedy, in fact, a satire on the pseudo-woman-lib movement gaining momentum in India in the post-independence era and represents the hurt (Indian) male-psyche wrapped in comedy.

It's based on a play - 'Modern Marriage' penned by Guru Dutt's close associate, Abrar Alvi. The plot is based on a male-hater stern lady, Seeta Devi (Lalita Pawar) who leads her niece - Anita (Madhubala) to enter into a marriage of convenience with an unemployed and impoverished cartoonist - Preetam (Guru Dutt) so that she can legally occupy the inherited estate left by her father under a condition in the will that she will have to marry. A staunch feminist, Seeta Devi is strictly against the institution of marriage and makes a deal with Preetam to divorce Anita after the purpose of hers becoming the legal heiress of the estate is served and never try to behave like a husband with her during the intermittent period. However the simplicity and ideals of Preetam alongwith a view of the happy wedded life of his sister (Kum Kum) who is a housewife, make Anita fall in love with him. But Seeta Devi tells her that Preetam has married her only for money (to be paid to him under the contract), she gets distanced with him. Finally, the story reaches its happy ending with the union of the married couple on the airport when disheartened Preetam is about to leave Mumbai (then Bombay) forever.

The script of Abrar Alvi is full of laughter-generating sequences and Guru Dutt has directed them so ably that it is hard to believe that the same director later directed movies like Pyaasa and Kaagaz Ke Phool. Guru Dutt's sense of humour proves to be just amazing. There is not a single boring moment in the movie and this comedy-cum-satire keeps the audience hooked throughout. The viewer just keeps on flowing with the twists and turns of the story, quite like a rudderless vessel going alongwith the drifting tides. And when the story reaches its happy climax, the viewer gets the feeling of the vessel's touching the shore.

The story and its treatment subtly caters to the Indian male-chauvinism which was dominant those days (no less even today). However the brighter side is that it exposes the hollowness of the so-called woman-lib movement. Woman's liberation does not mean dilution of the importance of man in her life. After all, the world runs through the eternal love of male and female only. Who of these two is complete without the other one ? None, definitely. And the taunting at the half-baked woman-lib philosophy is not at all a direct hit. It is enveloped in a laugh-riot. Guru Dutt has directed the story with so much finesse that nowhere it is felt that it's an attempt to establish the superiority of man over woman. The cartoon made by Preetam showing Seeta Devi clad in a Roman toga and riding a Roman chariot with a whip in her hand, is an example of the height of Guru Dutt's creativity.

O.P. Nayyar's music is a treat to listen for the music lovers. The songs include melodies like Thandi Hawa Kaali Ghata, Jaane Kahaan Mera Jigar Gaya Jee, Chal Diye Banda Nawaaz, Udhar Tum Haseen Ho Idhar Ham Jawaan Hain, Aye Ji Dil Pe Hua Aisa Jadoo and likewise sung by Geeta Dutt, Shamshaad Begum and Mohammed Rafi. My favourite song is a Qawwaali sung by Manna Dey and others - Meri Duniya Lutt Rahi Thi Aur Main Khamosh Tha whose lyric is able to move any sensitive heart. The beautiful words of the songs have been written by Majrooh Sultaanpuri.

V.K. Moorthy's cinematography is great like always. This black and white movie is a visual treat also, showing the life of Bombay of the fifties in a realistic, yet aesthetic way. Editing is also quite good and the production value is definitely according to the prestige of Guru Dutt's banner.

Guru Dutt proves once again that he's not only a director and narrator par excellence but also an outstanding actor. He has infused life into the role of the poor cartoonist who has been in love with the rich heiress without any greed for her wealth. Lalita Pawar's role is definitely tailor-made for her. Johnny Walker was an integral part of Guru Dutt's movies and he has generated sufficient laughters for the audience in collaboration with Yasmen, starring opposite him. However, this is Madhubala's movie by all means. Her transformation from an ultra-modern girl to a traditional Indian girl is heart-warming and she has underscored the fact that other than being one of the most beautiful women of India (in fact, the world), she's a brilliant actress too.

I recommend this movie to one and all because it provides wholesome entertainment. However Guru Dutt's mocking of the woman-lib movement may be felt as offensive by the educated ladies in the contemporary context. This movie had been made (as the name clarifies) more than five and a half decades back. Since then enough water has flown in the river of time. Now we cannot mock woman-lib philosophy in that way (and it's not desirable too).

Without giving away any of the surprises of this landmark Hindi film, this movie was clearly ahead of its time in its social commentary and its subtle satirical approach of the transitioning East Indian society post independence from the British Raj. It has a delightful blend of the effects of British influence upon Indian society and traditional Indian cultural & social values. This was very well balanced by Guru Dutt. Guruji proved his versatility in handling comedy as articulately as he did melodrama. With the assistance of the ensemble of Hindi cinema greats like Abrar Alvi, O. P. Nayyar, Majrooh Sultanpuri, etc., this movie is a another gem of the golden age of Hindi cinema.

Madhubala (real name Mumtaz Jehan Dehlavi), whose screen presence begs description, delivers a performance which captures all the emotions that could ever be desired in a film heroine. After Veena (1926-2004), Madhubala was the most beautiful actress ever to grace the silver screen of Hindi cinema. She was one of 2 of the all time greatest heroines in the history of Hindi cinema: The other was Meena Kumari (real name Mahjabeen Bano).

Almost as beautiful as Madhubala, is the Guru Dutt protégé Yasmin (born Vinita Bhatt in Lahore). Breathtakingly beautiful, it is incredible that Yasmin's screen career never took off. She reportedly married film technician, Englishman Jimmy Vinning. Yasmin appeared in a famous song sequence in RUSTOM SOHRAB (1963) starring Prithviraj Kapoor, Suraiya, Premnath, and Mumtaz.

As terrific a natural actor Guru Dutt was, he was better off behind the camera rather than in front of it. Guru Dutt was incomparable as a character actor which he proved in his own film SAHIB, BIBI, AUR GHULAM. With all due respect to his cinematic genius, Guruji should have cast either Dilip Kumar or Dev Anand in the role of Preetam. As for the comic sidekick, instead of Johny Walker, Shammi Kapoor should have been cast to match the beauty of Yasmin. It almost chokes the viewer to see breathtakingly gorgeous ladies like Madhubala and Yasmin paired off with fellows like Guru Dutt and Johny Walker. JW is inimitable as a comic sidekick, but in this particular film, Guruji should have gone with a 5 star casting: Madhubala, Dilip Kumar, Shammi Kapoor, Yasmin. Dilip Kumar and Shammi Kapoor were a long overdue screen pairing which proved spectacular in VIDHAATA (1982).

The incomparable Lalita Pawar has to be mentioned. A truly stunning beauty in her youth, this veteran actress of Hindi cinema had a screen presence which elevated any film in which she appeared. And of course there is the inimitable comedienne Tun Tun. Last but not least, there is the special guest appearance by the dashing Hindi film hero Al Nasir parodying a tennis superstar.

Having already been cited in other reviews of this film, the title of this movie could have been different. Overall, this is a timeless classic from the cinematic genius of Guru Dutt.

I always thought "Mr & Mrs '55" was a terrible title and surely there were better possibilities – it makes it sound pretty ordinary. Whereas it was a nice little romantic musical comedy and better than most of its contemporaries with some memorable upbeat music from O.P.Nayaar.

Anita, played by the gorgeous Madhubala, is forced to marry Preetam played by dashing Guru Dutt purely on her aunts orders but falls in love with him - much to her aunts disgust and opposition. It's engrossing enough a story but the jaunty yet earnest songs sung by Rafi and Geeta Dutt are the thing, especially Thandi Hawa (my all-time favourite Madhubala moment at the lido), Johnny Walker's infuriatingly catchy Jaane Kahan Mera, and the Rafi/Dutt duet Chal Diya Banda Nawaaz - beautifully sung beautiful lyrics always make me wish it had gone on another 10 minutes. Favourite bit; the amazingly heartrending scene where Anita realises how much in love she is, just before Udhar Tum. As a counterpoint to the overall optimism of this film it's sad to remember 9 years afterwards Dutt committed suicide at 39 and in 1969 Madhubala died of heart disease at only 36.

Overall, great stuff, wish I had a cleaner copy, and don't let the title put you off.

The chemistry between Guru Dutt and Madhubala is fantastic. Johnny Walker proves once again that he is the best side-kick of all time. The tone of the movie is ambivalent in that it is very depressing and optimistic at the same time.The music is incomparable. Simply put: an excellent all around film.

Many parts are very-very progressive and really ahead of its time.

But there's no real representation of feminism - 1. It shows pseudo-feminism i.e. men haters. 2. A woman must get educated then marry the right man of 'her choice' & take care of household 'by choice'.

And they strongly encourage the second one by projecting first one as villain and claiming that serving the family is not equal to slavery. Correct. But are these the only options? Where's the idea to make use of that education and be independent? Financially as well as emotionally. Or both partners equally contributing to household and work outside as well? Be equal in every sense. And marriage should not be the criteria to have a fullfilled life.

I guess it is too much to expect from a 1955 film because even today only a few film manage to pass the Bechdel Test or Mako Mori Test.