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DOWN THE MOVIE LANE
1957: O that year !Sharad Dutt It is almost a century and a quarter ago that the Lumiere Brothers projected their one-minute films in Paris on July 7 of 1896; a year after these films were screened at Watson Hotel in Bombay. Whosoever saw these movies was spell bound and enthralled. Lumiere Brothers had never envisaged that their enterprise would become the biggest source of entertainment and create a celluloid frenzy the world over. Some enthusiast had attempted to make short films in India but it was Dhundi Raj Govind Phalke, popularly known as a Dada Saheb Phalke, who was so inspired by an English film, Life of Jesus Christ, that he made his first silent feature film, Raja Harish Chandra, in 1913. Almost 20 years later, the first Indian Talkies, Alam Ara, was released in 1931, produced and directed by Ardeshar Irani. India takes immense pride in producing the largest number of feature films in the world. Nearly thousand films are launched every year in different regional languages, wherein Hindi scores above the rest in sheer numbers. But in this plethora of movies, that the cine goers get to watch, very few films leave a memorable trail. And one such exception happened 60 years ago. In 1957, more than a dozen films were released that were seen time and again, are still re-run, and passionately discussed. Some of these became alltime classics, i.e. Pyaasa, Mother India, Naya Daur and Do Ankhein Barah Haath, while others were blockbusters and gross earners. Let’s have a re-look at these films released in that awesome year. Pyaasa
Guru Dutt produced and directed
one of his classics, Pyaasa, this year.
He had a story, Kashmkash (Conflict)
that was languishing for a long time.
The protagonist of this film was a
journalist, but one day when Dutt’s
writer Abrar Alvi read out Sahir
Ludhianvi’s anthology of poems
Parchhaiyan to him, he changed the
character to a poet. Mother India
Mehboob Khan’s film, Aurat, in
1940, was based on Nobel laureate
Pearl S Buck’s novel, The Good Earth.
He was so greatly inspired by this
literary tome that he wanted to
transpose the story onto celluloid.
And, yet again, he wished to remake
that version as Mother India with the lead role of Radha offered to Nargis,
who belonged to Raj Kapoor camp at
that point in time. This film was a finest example of team work that dexterously blended Mehboob Khan’s skilful direction, Nargis’ acting prowess, Faridoon Irani’s amazing photography, Shakeel Badauni’s captivating lyrics and Naushad’s melodious music. Mother India bagged five Filmfare awards for best picture, best director, best actress and two honours for technical finesse, that is, best cinematography and best sound recording. It was also the first ever Indian entry for Oscar in the best foreign films category but lost by a whisker - just one vote. Naya Daur
BR Chopra has been among the
most respected names in the Hindi
film industry and his films always
carried a social message. In Ek Hi
Raasta, he dealt with the issue of widow marriage. Sadhana delved into
rehabilitation of prostitutes. Dhool ka
Phool produced by BR Chopra and
directed by his younger brother Yash
Chopra underscored the social stigma
of an unwed mother. Do Aankhen Barah Haath
V Shantaram was basking in the
glory of the enormous success of his
colour film, Jhanak Jhanak Payal Baaje,
when he decided to launch his new
film based on a true story of prison
reforms. Enthused by such an
experiment of jail authorities in Aundh
near Pune, he wanted to make this
film in black & white, even though his
associate was not in favour of this
project. But he went ahead and made
a memorable Do Aankhen Barah
Haath. The film deservedly won the President’s Gold Medal for best feature film and Shantaram also became the first Asian to receive Silver Bear at Berlin Film Festival. Eminent director Jean-Luc Godard sent a telegram to Shantaram lauding Sandhya’s acting. While Balakrishan’s black & white photography and lighting beautifully captured the spirit of the film, music by Vasant Desai and Bharat Vyas’ lyrics became popular nationwide. The spiritual ode, Ae malik tere bande hum, was made compulsory in schools as a morning prayer across the country. Like Pyaasa, Do Aankhen Barah Haath, too, blended art and commercial cinema. Bhabhi
In 1957, among the release of
socially relevant films, AVM’S Bhabhi
was a joint family drama. The eldest
son promises his dying father that he
would take care of his brothers. The
harmony of a happy family is
disrupted by one of the brother’s wife
creating havoc in the nest. The cast
was a mix of south and north actors
with Balraj Sahni and Pandhari Bai
(who acted for the first time in a Hindi
film). Sharda
LV Prasad made his directorial
debut with film Sharda, wherein the
plot revolves around the central
character Sharda (Meena Kumari),
who works in a naturopathy centre.
She serves her patients with care and
dedication. Shekhar (Raj Kapoor) gets
his friend Mohan (Om Prakash)
admitted in the centre and he seems
impressed by Sharda’s devotion to
work. He falls in love and promises to
marry her. Son of a rich man he leaves
for China and declared dead in a plane
crash. His father Kashiram (Raj Mehra)
is shocked and falls sick. Sharda is
brought to take care of Kashiram. She
looks after him and endears
everybody in the family. Miss Mary
Another film from south was AVM’S
Miss Mary. Gemini Ganeshan (actress
Rekha’s father) and Jamuna were seen
for the first time in a Hindi film. Meena Kumari, who again played the title role
in the movie, was an absolute contrast
to Sharda. Miss Mary and Arun, in a
bid to get a job in a school pose as a
married couple, since that is the
essential condition of the school. Soon
enough, they come close. Kishore
Kumar and Om Prakash supported the
cast. Paying GuestFilmistan’s Paying Guest starred Dev Anand, Nutan, Shubha Khote, Jagirdar and Yakoob. This simple love story created a spell with the musical genius of SD Burman and lyricist Majhrooh Sultanpuri. Maana janab ne pukara nahin, Ah chhod do aanchal, Chaand phir nikla, Hai hai ye nighein became a rage across the nation. Tumsa Nahin Dekha
Producer-director Nasir Hussain
commenced his career with Filmistan
as a writer. After penning two
successful hits, he made his directorial
debut with Tumsa Nahi Dekha. Nau Do Gayarah
Vijay Anand, who wrote a
stupendously successful film, Taxi
Driver, for Navketan, made a head
start as writer-director with Nau Do
Gayarah. Dev Anand and Kalpana
Kartik played the lead pair in a
screenplay wherein the hero travels
from Delhi to Bombay in a van
numbered Nau Do Gayarah to inherit
a property. Asha
Another musical hit by MV Raman
of south was Asha. A crime cum love
story, it was a comic version of
Shakespeare’s Hamlet. With Kishore
Kumar and Vyjayntimala in the lead,
this film was partly shot in colour.
Music was scored by C Ramachandra,
who created an all-time great number
in two versions, Ena Meena Deeka,
sung by Kishore and Asha separately.
Kishore’s slapstick comedy was more
than worth a watch. |