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Wearing torn Japanese shoes, English trousers, a red Russian cap, and a Hindustani heart, orphaned Ranbir Raj comes to Bombay to make his fortune. He pawns his gold medal, gambles with the ... See full summary »
A girl, whose mother dies of sorrow from her husband's family's rejection, grows up singing and dancing like her mother. She works as a dancing girl and is courted by a prince, but can think only of a man she has never met, who left her a message on the train. She dreams of him and cannot dance, becomes frightened and runs into the night Written by
William Kennedy <firstname.lastname@example.org>
In the end as Meena Kumari's doli is going away, there is a scene showing a girl looking on. Kamal Amrohi had explained the meaning of that scene is, the desire of that girl was that, she would like someone to take her out of that place, like Raaj Kumar took Meena Kumar out of that place, that was the meaning. When this film was complete the editor of this film had cut the scene showing the girl looking on as he thought it was unecessary. Kamal Amrohi when he saw that scene of the girl looking on is missing from the film, he requested the editor to put that scene again in the same and Kamal Amrohi told the editor, that he made the whole film for that one particular scene and the whole film is based on that one scene. The editor then added that scene back to the film. See more »
Without question, this film has to be one of the greatest ........ in cinematic history. I have it watched too many times to remember, and each time it is like I am seeing the film for the first time.
Where does one begin?
Meena Kumari's central performance is undoubtedly one of the finest of her career, followed closely by Sahib Bibi aur Ghulam and Phool aur Pathar. Each movement and nuance of her performance, makes any other Bollywood heroine pale into significance. Her masterly interpretation of Kathak coupled with her grace, tragic vulnerability and poetic delivery of Urdhu, is like nothing ever seen on the bollywood screen.
Pakeezah is perhaps the most stylised interpretation of the human condition; the photography, sumptuous cinematography and mise en scene, are so charged with symbolism and meaning, that the viewer is left breathless.
Naushads music, is unsurpassed, his knowledge of the music of the courtesan gharanas is incredible, and the way in which he punctuates the narrative with dark atmospheric motifs and overwhelming romantic melodies is indeed remarkable.
My only advice to anyone who seriously enjoys the spectacle of total cinema, should watch this epic mediation on life and art.
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