homeshasem.blogg.se - Film barsaat ki raat

#Film barsaat ki raat series

Naturally, she is excited when the radio announces that he will himself now perform a new one, and so begins the film’s remarkable title song (listed on the menu by its opening phrase, as is standard practice Zindagi bhar nahin), in which the poet soulfully recounts his chance meeting with a beautiful girl during a thunderstorm. Singh), and an ardent lover of poetry-especially the ghazals of Aman Hyderabadi, whose divan or book of odes she keeps at her bedside. She is soon identified (to us) as Shabnam (Madhubala), the spirited elder daughter of the city’s Police Commissioner (K. While roaming the countryside looking for inspiration for his first commission, Aman takes shelter from a nocturnal monsoon downpour on the verandah of a blacksmith’s cottage, and is soon joined there by a radiant young woman who has been drenched by the storm a lightning flash causes her to involuntarily clutch his chest, their eyes meet, and then….he lights a cigarette and she departs. But his own straightened circumstances compel the young man to first return to his home city of Hyderabad to seek his fortune composing ghazals for the local All India Radio station. Their father’s musical career has suffered a setback because of a defeat in a qawwali “duel” with the party of the legendary Daulat Khan, and Mubarak Ali beseeches Aman’s poetic help in winning a rematch.

The younger, Shabab (“youth”) is a mischievous flirt, but the elder, Shama (her name means “candle” and refers to the standard moth-and-flame trope in Urdu love poetry) is deeply in love with the young boarder.

#Film barsaat ki raat series

it has a memorable score, with lyrics by the great Sahir Ludhianvi (an Urdu poet doubtless most in his element when-as here-composing for a film about Urdu poets), sung by a stellar list of playback singers, and culminating in a series of dazzling qawwaliperformances (of love-saturated and Sufi-inflected couplets on the pleasures and pains of love) that are among the best ever filmed.Īfter a credit sequence accompanied by a charming light-classical song of the rainy season ( Garajta barasta saavana aayo re, “Oh friend, the thundering rains have come ”), the story opens with the struggling poet Aman Hyderabadi (Bharat Bhushan, i.e., “Bhooshan” in the credits) temporarily lodging with Mubarak Ali of Gulbarga, a qawwali maestro and his two performing daughters.

it offers three notably strong female characters, superbly played by talented actresses, including the incomparable Madhubala, then at the height of her career (cf.

CHAUDVIN KA CHAND), which offers a contemporary and essentially secular tale centered around main characters who happen to South Asian Muslims, fairly realistically depicts their cultural and social life, and features chaste and elegant Urdu/Hindi with a rich Persian resonance.

it belongs to the comparatively rare category of “Muslim social” (cf.

Batish, Shankar Shamboo, Balbir, Suman Kalyanpur, Kamla Barotĭespite the poor image quality and subtitles on the available DVD (see below)-there are at least three good reasons to watch (and vah!) this under-appreciated gem of a film:

KhochikarĪrt Direction: Gonesh Basak Playback: Lata Mangeshkar, Asha Bhonsle, Sudha Malhotra, Mohamed Rafi, Manna Dey, S. Story: Rafi Ajmeri Dialogue: Sarshar Sailani