Mr. & Mrs. '55

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.

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.

One of my favorite films of the black&white era. For its time it starts off in a surprisingly modernistic spirit and tone. It is peppered with lighthearted dry humor and some witty dialogs (unusual for a Hindi movie). Madubala is delightful as ever, portraying naiveté and spiritedness - at the same time. There are all-round excellent performances by all, from the main characters to the supporting actors and sidekicks. The songs are classics in their own right.

It leaves you with a wholesome feeling and you are likely to recommend it to others. A more catchy title would have perhaps made this movie better known that it is.

What struck me most was how much Johnny Walker was an integral part of Guru Dutt's directorial ventures, none so much than this where he has almost as equal a part as any of the lead actors and one of the finest songs ('Jaane Kahan Mera Jigar Gaya') filmed on him.

The storyline is a simple comedy though it's a bit uneven. There is even a tangent at social messaging, but that will be best served in his later films( read: Pyaasa).

Songs are quite good and especially, 'Meri Duniya Loot Rahi Thi' showcases how a song can seamlessly blend into the storyline via it's lyrics. One doesn't necessarily need hundred people dancing in choreographed sequences to make a visual impact.

Lalita Pawar is remembered specially for her villainous role in Ramayana (TV), but her acting skills are rigorously shown here ( She did tons of films and did both shades of the character. In Anari 1959, she played quite a positive role).

The acting of Madhubala, Lalita Pawar and Johnny Walker is outstanding. The songs are nice, though not evergreen. The movie gives a big dose of comedy thanks to Walker and cute romance. Lalita Pawar really lives her character as a feminist. Considering this movie came in the 50's, the society's views at that time, I would say this was a really bold movie with a thinking of decades ahead and I'm very happy they pulled it off!