उपयोगकर्ता समीक्षाएं

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.

Full review on my blog max4movies: Mahal is a romantic drama with supernatural elements about a young man who is driven insane by the supposed ghost of his lover from another life. Several elements work great, e.g. the visual presentation and the eerie atmosphere. However, the movie lacks a more focused pacing, as it features several irrelevant songs and scenes that distract from the fate of the main characters. The theme song is very memorable but often the songs are entertaining which sometimes works against the serious notions of the tragic love story. Still, the main performances are captivating, and the atmospheric beginning and the clever ending make up for some of the apparent long-winded moments in between.

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.

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.

Its so beautiful. Think it is probably the best gothic romance ever. From the grand music to the doomed lovers it has everything.

Also its shot beautifully. Almost like a surreal dream.

This is classic in real sense of the word. A tight suspense from beginning to end. Mahal is one of the greatest films ever made in Bombay filmdom. Adding to the suspense is all time great song 'Aayega aane wala...'. See it for a very young Madhubala and highly expressive Ashok Kumar. Kamal Amrohi has not made any better movie than this one. Though his 'Daira' is another great hidden classic. He is primarily remembered for 'Pakeeza'. Very few films gained the status this film achieved. This is certainly one of the ten best from Bombay. The story has twisting end which will certainly surprise you and you will never be the same again. Most of the movie was shot indoors, one can easily tell that comparing it to modern standards, yet the directorial perfection is amazing. A must see.

This is a Hindi language film starring Ashok Kumar and Madhubala.

And while I'm a lover of (even) slow and art films, this is none of that. This is slow by forcing the apparent ghost to speak very slowly.

The script is poor and the plot full of holes. The execution is also unjustifiably slow and repetitive in multiple places. Editing looks to have been forced upon to still keep it within 3 hours. And then there's the needless comment on tribal and mountain life, as if life is only civilized in cities!

The protagonist character sketch is poorly developed and unconvincing of his actions.

The saving grace is Madhubala's beauty. I can't think of any other reason why the audience would have sit through this film and made it a blockbuster. The film thus became her launchpad.

Also maybe because "Aayega aanewala" became a hit those days and gave her a break too.

Save your time and avoid it!

Had seen this as a kid in bits n pieces. Saw this fully for the first time recently on YouTube. The print is passable but the sound quality ain't good. The English subtitles helped me a lot to dig this film very well.

The story is about a man Shankar who moves into an old n abandoned palace. He visits the palace on a dark stormy night. He is greeted by the gardener who tells him that the palace was inhabited by a couple forty years back and that the couple died one aft another cos of their intense love. Shankar is astonished when he sees the photo of the old owner which looks exactly like him. Suddenly Shankar hears a woman singing n the moment he approaches her, she disappears. He tells this to his friend n inspite of his friend's advice, Shankar gets drawn towards the mysterious ghost.

One of the best part is this is the first gothic horror from Bollywood n cinematographer Joseph Wirsching nailed it. Ther r some lovely shots from interesting angles, and shots cleverly framed. The lighting is used appropriately. The lead actress Madhubala became one of the most successful and iconic actress of Indian cinema. The film started with good suspense but slowly became a bit melodramatic aft the marriage. There is a pretty lol scene wher the wife follows the husband n she stands next to the husband n the ghost without getting noticed. The mountain top scene of the shack is pretty desolated n creepy. The tribal community's trial n execution is weirdly funny.

The twist is good for first time viewers who dont read synopsis. Very generous with a 9 cos it's a very creative idea n the original Bollywood gothic horror. Apart from the idea where a person falls in love with a dead person's photo (Laura), the entire script is very original.



Some major q's - Why the previous owner came at midnight and left at dawn? Was the gardener involved? What was the need for the gardener to climb n restore the clock? Why didnt Asha show any remorse aft her father's death? Why 2 am? Mayb Kamini used to sleep throughout the day. The wife stopped a different clock at her shack which resulted in affecting the main clock at the palace. How come? Anyways it is a solid attempt n the film is truly a poignant tale of love, destiny n reincarnation.

I completed watching the first psychological horror film of India, Mahal (1949). The film of Kamal Amrohi, which catapulted the careers of actress Madhubala and playback singer Lata Mangeshkar, is eerily satisfying to watch and has ambiguities which show the rawness of the plot itself.

The song "Ayega Aane Wala" became a trendsetter, influencing generations of Indian horror cinemas to carry a haunting yet soothing title track. The legendary Ashok Kumar's mental upheaval is portrayed as vaguely as is the aura of the entire "Mahal".

The overall movie seems to be stretchy but the final climax turns the table and makes the audience wonder the skill of Amrohi's direction. Although the film doesn't explain on the existence of supernatural or the haunting coincidence of rebirth, I feel the taste of this dangling doubt leaves a lasting mark on its legacy which went on to inspire classics like Madhumati, Bees Saal Baad, Karz or Om Shanti Om.

Lastly, I observed the prehistoric form of horror storytelling, aptly commendable for the filmmaking of 1949. The takeaway from this movie is definitely the absurdism of storytelling, which thins the line between natural and supernatural, and questions the sanity and extent of human love.

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.