Madhumati

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.

Perhaps if not "the best" certainly one of the best from Bimalda's kitty. Way back in 1958 Bimalda managed to weave a intriguing and nail- biting suspense movie which is nothing short of creative genius. The black-and-white format actually works to the advantage of the storyline to give it an eerie feel.

♦ Dilip Kumar:: Honestly after watching "Madhumati" I could really appreciate Dilip Kumar's authority over the fine nuances of performance. The subtlety he effectively brings up on the screen deserves special mention. As Deven/ Anand he delivers a spot-on performance.

♦ Vyjayanthimala:: The actual protagonist of the movie. As Madhu she gets into the skin of the character without going overboard. The rest two characters Madhavi & Radha can be categorised as special appearances.

♦ Pran:: Now no wonder Dilip Kumar refused to work with Pran after Madhumati. If not stealing the thunder right under the nose, he gave a tough fight. As Ugra Narayan he ensures you hate him to no limits.

Rest of the star-cast was adequate. Music was integral to Madhumati. Had it not been Shailendra lyrics churned into haunting melodies by Salil Chowdhary, the movie would not have reached the cult status. Lata Mangeskar I am sure catapulted to dizzying heights after the success of the her numbers. Songs by Mukesh & Rafi are equally soulful.

Due credit is deserved for the story by Ritwik Ghatak who later on became a yard-stick in his own right. And of course Rajinder Singh Bedi who pens the dialogues.

No wonder Bimal Da held maximum number of Filmfare awards and held undisputed record for many decades.

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.

Dilip Kumar is Anand, a man who is rushing to the train station to meet his wife and kid. On the way his car breaks down and he has to seek shelter in a dilapidated mansion. There he begins to have memories from a past life and remember and retells his life as Deven an accountant for the rich and cruel Ugra Narayan (Pran). Deven meets the shy village belle Madhumati and a romance grows. But there is past bad blood between Madhumati's father and Ugra Narayan. Ugra Narayan's nefarious plans involve separating the two lovers and the outcome is dire. Deven is devastated until he meets a girl who resembles his Madhumati. Who is she? What role will she play in his life? Will Madhumati and Deven be united in this or a future life? The movies weaves a beautiful tale of the past and the present and has a twist on the reincarnation story.

I was never a huge fan of Dilip Kumar but here he is stunning. Exceptionally good looking, understated in both the romance and the sadness but never wooden. Vyjayanthi as Madhumati uses the finger to the lip and wide eyes to convey her innocence and it does work to a certain degree. But in her other personas she is fabulous, and can she dance!! Johnny Walker is kind of annoying, but strangely enough he is the only actor who won an award in this film! Pran is the quintessential villain in the era when a villain was needed in every film. He plays the bad man quite well and with a certain emotional depth - he first invites Deven as a friend but is spurned and you are left to wonder if he and the story could have taken a different trajectory had his offer of friendship been accepted.

The direction is superb. Bimal Roy tells the tragic tale of Madhumati in a very matter of fact way that still manages to engage the viewers' emotions - the moody way the mountains are shot with a mist enveloping the tragic lovers, the shadows and light in the forests, the precipice that immediately tells you bad things will happen. Hrishikesh Mukherjee edited the film, Rajinder Singh Bedi and Ritwik Ghatak wrote the story and dialogs - this is an assemblage of talents that delivers the goods in an exceptional way.

A discussion on Madhumati is not complete without talk of the songs. Shailendra wrote the lyrics and Salil Chowdhary composed the music. The movie almost begins with that mother of all road songs Suhana Safar Aur ye Mausam Haseen. Then, in a very unusual twist, as it ends there is the start of another number - the haunting Aaja re Pardesi! There is the folksy Daiyya re Daiyya re Chadh Gayo Paapi Bichua (you might laugh at the lyric subtitles - they do not get the point) and the stage number where the scorpion is imagined! Then there are the peppy Dil Tadap Tadap Ke and the Zulmi sang Aankh Ladi, the soulful and sad Toote hue Khwabon Nein. Each song is a gem and the soundtrack is worth buying.

This is a fine golden oldie, worth many a repeat watch.

Although the main theme of this film was a by-word in Indian cinema,superior direction by Roy and acting by Kumar and Vyjantimala plus the haunting music and lyrics contrived to make this the ultimate movie of its kind. It has its flaws.The comedy apart from Walker is unasked for.As the tragic lovers Dilip KUmar and Vyjantimala never acted better together.An enduring masterpiece which never ceases to amaze.I have seen it countless times but still marvel at it.Pran and Jayant are also in good form and the photography is excellent.Alesson for the modern times,making maximum use of natural scenes to show feelings,moods and the fallacy of man.Few directors could have surpassed Bimal Roy.