Sahib Bibi Aur Ghulam

Not much to add to what has already been stated by the other reviewers previously. A great movie. Haunting b&w photography which captures the era very well, superb performances, of course Meenakumari and the rest, who can forget Sapru as the zamindar with that look, Rehman, and the sets themselves. And the beautiful music especially Geeta Dutt's singing. Just one correction- Gurudutt's character's name is Bhognath (not Bhootnath as stated elsewhere on this site).

For years, Sahib Bibi Aur Ghulam has been known as an inalienable asset in the history of the Hindi film industry, and not without a reason. The movie fully deserves to be called a timeless classic and its story is relevant and fascinating even today, almost half a century after its release. It is an artistic and intriguing presentation of the nature of passion and desire. Guru Dutt was a master of his craft. Sahib Bibi Aur Ghulam is excellent in story, writing, execution and acting. The music is sublime, the sets are fantastic, and the movie exemplifies what true cinematographic excellence of those times was. It is shot beautifully, with a background score that enlightens the film's melancholic mood. The film is quiet, focused and balanced, and has a very subtle feel to it thanks to all these aspects. Abrar Alvi's direction is superb - he captures the atmosphere of those times with great skill, his script is marvelous, and many of his rich dialogues remain memorable even today and are often cited by lovers of Hindi cinema.

All said and done, Sahib Bibi Aur Ghulam wouldn't have been what it is if not for the transcendent performance of the divine Meena Kumari. Her mesmerising beauty, grace and screen presence cannot be described in words, but to put it simply, when she was on-screen, no one else existed. Her portrayal of the tormented and deeply frustrated Chhoti Bahu is both heartfelt and artistic. Chhoti Bahu's desire to get her estranged husband's affection and become a mother and her attempts to please him by taking to alcohol only to become a fervent alcoholic herself and remain the same neglected wife, are all aptly displayed. Kumari plays the role with great mastery; her appearances in songs, like "Piya Aiso Jiya Mein" in which she dresses for her husband and particularly the seductive "Na Jao Saiyan..." are astonishing; her big, expressive and often tearful eyes, her brilliant dialogue delivery, her emotional outbursts, her breaks into anguished and sarcasm laden laughs, and ultimately her nostalgic monologue towards the end, are unforgettable.

While Kumari dominates the show utterly, one must not forget the great job done by the rest of the cast members. Guru Dutt, playing the role of the innocent Bhootnath, who later becomes Chooti Bahu's confidant and close friend, acted like only an actor acting in his own film could. Rumour had it that he was actually the one who directed the movie, simply because the movie is identified with his own style of filmmaking. This rumour was disproved by people associated with the film, but Guru Dutt, the actor, still played his role exceedingly well probably due to his involvement with the film as its producer. My most favourite scenes of his are those in which we see Bhootnath as a middle-aged architect. There is a kind of yearning and sadness in his eyes which is real and easy to relate to. Waheeda Rehman played Jaba wonderfully and her character's transformation from an arrogant and careless young lady into a suffering and loving woman was natural and convincing. Rehman, as Chhote Sarkar was restrained and effective.

As mentioned, Hemant Kumar's music for the film is great. Shakeel Badayuni wrote fantastic lyrics for the songs, and so every song has a story of its own and comes at the right places fitting the situations. Every song is very much a part of the narration and contributes to the story. Geeta Dutt and Asha Bhosle were the voices of the ladies, and did a great job. Among my favourite scenes in the movie is the one right after the "Na Jao Saiyan..." number in which Chhoti Bahu bursts out at her husband after he criticises her of becoming mad as a result of her heavy drinking, while she turns on him to reproach him for being the only reason because of which she sacrificed her basic values and all just to please him. A frequent quote in the film, that of Chhoti Bahu asserting that she is not like other landowners' wives, being much more devoted and caring, is very memorable, particularly because it's well delivered by the lady. All in all, Sahib Bibi Aur Ghulam is a gem of Hindi films. It is an all-time great movie, and much of it because it has an all-time great performance by Meena Kumari.

Surely a Masterpiece and the Greatest classic in Indian film history with 'Sholay' taking the next rung in this list. Great story, absolutely no holes in the story(very hard to find in the current genre) and perhaps the greatest female acting ever portrayed on the Indian screen, and I am talking about Meena kumari. The scene that really takes off is the part where she charges back at her husband when he calls her 'mad' and scoffs her desire to have children. That scene , every time I see just leaves me shaken and I wonder how can someone put up such an intense performance like that in front of spotboys, cameramen, assistants and other such 20 people, staring at you,huddled in one room, mind blowing stuff..!! Should have been the Oscar nominee for the best foreign film of that year...if the system still existed in India at that time. No other movie, except 'Sholay' comes close to this ever green untouchable.

Not very often do we see films which leave a great impact on the mind after wards and leave you craving for more. SBAG is one such film. Meena Kumari's very appearance on the screen leaves you in shock, it has to be one the most beautiful screen presence on Indian screen ever. Waheeda is charming, Guru is absolutely adorable and the story is very intriguing. The scene of the pigeon game comes across as so natural that you feel yourself standing there in b/w them. An absolute gem of Hindi cinema.

I always wondered why Meena Kumari is given so much love and respect by old audience of Hindi films. After watching this film, I can safely say, that no one comes close to her if we talk about the combination of beauty and talent.

One film, which no cinema lover should ever miss.

RIP Guru Dutt, Meena Kumari, Rehman and Abrar Alvi. You have given us a rare gem. God bless Waheeda.

I couldnt agree more with those who describe SB&G as the greatest classic in Indian cinema, followed by "Sholay". While the latter is the quintessential Bollywood blockbuster, SB&G is a mainstream film of another kind --- expertly-crafted, aesthetically breathtaking and profoundly disturbing. Its also a film WAY ahead of its time (was a `flop' at the box-office!) and caused much controversy when it was premiered. It is based on a great Bengali novel, one that exposed the hypocrisy and decadence prevalent in the Zamindari (landed gentry). The film ran into terrible problems with our puritanical censors, because of its sometimes unabashed references to alcoholism and sex. Nominally directed by Abrar Alvi (they say Guru Dutt shadow-directed it....and it shows!) and luminously photographed in B/W, the film has immaculate attention to detail in EVERY respect, starting from the trenchant plot-line and script. Of course there are compromises made to accomodate market-needs, such as a couple of superfluous songs; and some farcical comedy. But if ever there was a case for releasing a "director's cut", lovingly restored, its here. God knows what the censor's scissors threw away. Meena Kumari's performance is the finest given by an actress in Indian cinema....and I will go on to say that its the finest performance given by an actress that I have EVER seen (a close second is Meryl Streep in "Sophie's Choice"). Meena Kumari acts with her FEET --- thats the first we see of her, with her dialogue spoken as a voice-over; then a cut to her incredible face, the eyes betraying a glitter of obsessive-compulsion that is the character's core. Its a performance that stirs you like few will, courageous and uninhibited, honest and intense. Its centre-piece is of course the drunken tirade against her husband, accusing him of impotence. In this, as indeed in every scene, she goes beyond acting into a realm that exists only in the gut. Another great Indian film that is not available on DVD, at least not in our own country. When will we learn to honour our best?