|Directed by||Bimal Roy|
|Screenplay by||Ritwik Ghatak|
|Story by||Ritwik Ghatak|
|Produced by||Bimal Roy Productions|
|Starring|| Dilip Kumar |
|Edited by||Hrishikesh Mukherjee|
|Music by||Salil Chowdhury|
Bimal Roy Productions
|Budget||est. ₹ 8.1 million|
|Box office||est. ₹ 40 million|
Madhumati is a 1958 Indian Hindi-language paranormal romance film directed and produced by Bimal Roy, and written by Ritwik Ghatak and Rajinder Singh Bedi. The film stars Dilip Kumar and Vyjayanthimala in the lead roles, with Pran and Johnny Walker in supporting roles. The plot focuses on Anand, a modern man who falls in love with a tribal woman named Madhumati. But they face challenges in their relationship finally leading to a paranormal consequence. It was ranked 11th in the Outlook Magazine's 25 leading Indian directors' poll of Bollywood's greatest films in 2003.
Madhumati was filmed in various Indian locations, including Ranikhet, Ghorakhal, Vaitarna Dam and Aarey Milk Colony. The soundtrack album was composed by Salil Chowdhury and the lyrics were written by Shailendra. The film was released on 12 September 1958. It earned ₹40 million in India and became the highest-grossing Indian film of the year, and one of the most commercially successful and influential Indian films of all time. It received overwhelming reviews from critics, who praised the techniquality, soundtrack and the performance of the cast.
Madhumati was one of the earliest films to deal with reincarnation, and was described by analysts as a potboiler that has a gothic and noir feel to it. It inspired later regional and international films that have reincarnation-based themes. It won 9 Filmfare Awards; including Best Film, Best Director, Best Music Director, Best Female Playback Singer, Best Dialogue, Best Art Direction and Best Cinematographer—the most awards for a film at that time—a record that it maintained for record 37 years. It also won the National Film Award for Best Feature Film in Hindi.
On a stormy night, engineer Devinder drives down a hill road with his friend to fetch his wife and child from a railway station. A landslide blocks their path and the friends take shelter in an old mansion. Devinder finds the house uncannily familiar. In the large front room, he finds an old portrait, which he recognises. His friend and the old caretaker join him and Devinder, amid flashes of memory from another life, sits down to tell his story while the storm rages outside.
Anand is the new manager of Shyamnagar Timber Estate. An artist in his spare time, he roamed the hills and fell in love with Madhumati, a tribal woman whose songs have haunted him from a distance. Anand's employer, Raja Ugra Narain is a ruthless, arrogant man; Anand, who refuses to bend down to him like others, incurs his wrath. Anand has enemies among his staff; he is sent away on an errand and returns to find that Madhumati has disappeared. He learns that she has been taken to Ugra Narain and confronts him, but Ugra Narain's men beat him unconscious. While the men are taking Anand's body out of the palace, they meet Madhumati's father, who had to fight to stop his own daughter's death. He had won, but died on the road, while Charandas hides and takes Anand's body to a hospital.
Anand's life is saved but his mind wanders. One day, he meets a woman who looks exactly like Madhumati. She says she is Madhvi but Anand refuses to believe her; her companions beat him when he tries to plead with her. Madhvi finds a sketch of Madhumati and realises he was speaking the truth. She takes the sketch and learns his story. Meanwhile, Anand is haunted by the spirit of Madhumati, who tells him Ugra Narain is responsible for her death. He appeals to Madhvi, who agrees to pose as Madhumati before Ugra Narain and make him confess to being responsible for her death.
Returning to Ugra Narain's palace, Anand asks permission to paint a portrait of him, which he does the next evening. At the stroke of eight, Ugra Narain sees Madhvi posing as Madhumati in front of him. Ugra Narain is shaken; he confesses his part in her death and is arrested by police waiting outside the room. Anand realises the questions Madhvi asked Ugra Narain, such as Madhumati 's burial place, were things she could not have known; even Anand did not know. Madhvi smiles and moves towards the stairs. The real Madhvi, dressed as Madhumati, then rushes into the room. She is late because her car broke down on the way. Anand realises he saw Madhumati's ghost, not Madhvi. He runs to the terrace, where the ghost beckons to him. Madhumati had fallen from the same terrace, trying to escape Ugra Narain. Anand follows the ghost and falls to his death.
After telling the story of Anand and Madhumati, Devinder receives news that the train in which his wife was travelling has met with an accident. The road is cleared and they rush to the station. Devinder walks through the station fearing the worst, but then is relieved to see his wife Radha, emerging from the train unhurt. Radha is clearly the reincarnation of Madhumati, and Devinder tells her, with the benefit of his recent recollections, that they have been partners through several births.
Bengali filmmaker Bimal Roy's 1955 film Devdas was commercially unsuccessful, jeopardising his company Bimal Roy Productions; he needed a commercial success to survive.The story of Madhumati was written by the Bengali filmmaker Ritwik Ghatak. He shared the story with Roy, who immediately liked it and started developing the film with Debu Sen as the assistant director. The dialogues were written by Rajinder Singh Bedi in the Urdu script. Manohari Singh was selected for composing the film's music after Roy heard him playing in Kolkata.
Roy had previously signed Vyjayanthimala and Dilip Kumar for two films. The first, Devdas, based on the eponymous novel,received much critical acclaim and a National Film Award for Best Feature Film in Hindi despite being commercially unsuccessful. Kumar and Vyjayanthimala were selected to play the lead roles in Madhumati. The former was eager to work again with Roy after their previous film Devdas and accepted the role. Vyjayanthimala agreed to work on the film after learning that Pran was a part of the cast.
Unlike other films noir, which were mostly filmed indoors, Roy decided to film Madhumati outdoors and at a hill station. It had a six-week schedule at a location in Ranikhet, Nainital.Some scenes were filmed in Ghorakhal near Nainital. When the negatives were developed, most of the footage was found to be fogged. Since a reshoot in far-away Uttarakhand was not possible, sets were created near Vaitarna Dam, Igatpuri. The art direction team, led by Sudhendu Roy, created fake pine trees, which were planted to match the location in Nainital. A large part of the film was filmed in Aarey Milk Colony, a small forested area in Mumbai. A scene in which Dilip Kumar looks for Vyjayanthimala in the woods was filmed in Igatpuri. The foggy effect was recreated using gas bombs. The costumes of the film were designed by Yadugiri Devi, Vyjayanthimala's grandmother; these were later approved by the art director Sudhendu Roy. Vyjayanthimala wore silver jewellery from her personal collection in the film. The actress had also hurt her foot while dancing.
Due to Madhumati's extensive outdoor shooting, the film went over budget by ₹8.1 million, adding to the troubles of Bimal Roy Productions, which organised a film preview and lunch for the distributors. Roy told them about the company's financial problems and that he had decided to forego ₹70,000 of his director's fee to make up for the loss. All of the distributors pitched in with money and made up for the deficit.
Film critics and academics have analysed Madhumati in several ways. In the book The Woman Who Pretended to Be Who She Was: Myths of Self-Imitation, Indologist Wendy Doniger said reviewers of the late 1950s had described the film's theme as "a conventional plot, a typical Hindi [f]ilm [p]otboiler, in which the hero experiences a sense of déjà vu leading to his flashback of a former life".In the book Bollywood Cinema: Temples of Desire, Vijay Mishra states that the film has a "gothic noir" feel. According to Mishra, there is a more direct relationship between rebirth, spirits and ghosts, which naturalises the Indian gothic.
Analysts from the University of Iowa compare the initial meeting of the main characters, stating that it resembles the meeting in Raj Kapoor's film Ram Teri Ganga Maili (1984), where the woman "stands in for nature and unspoiled folk tradition and the villain for exploitative (capitalist) culture, with the hero as intermediary".They also write, "Anand's own egalitarian progressivism, coupled with his sympathy for Madhumati and her family, soon sets him on a collision course with the Raja, who takes revenge through a malevolent scheme".
According to Jayson Beaster-Jones and Natalie Sarrazin, Madhumati was one of the first Hindi films to use the now-common "narrative of the plain-based hero entering the mountains and being seduced by a tribal girl."Rajadhyaksha said the imagery is similar to that of the film Ajantrik (1957), writing that Madhumati links "the beautiful Madhumati with nature and tribal cultures beyond the grasp of capitalist appropriation". Film critic Bharati Pradhan said Madhumati stepped away from "the standard Roy themes of social realism as seen in his Do Bigha Zameen (1953), Biraj Bahu (1954) and Devdas (1955)".
|Soundtrack album by|
|Released||14 March 1958|
|Genre||Feature Film Soundtrack|
|Producer||Bimal Roy Productions|
The Madhumati soundtrack features 11 songs composed by Salil Chowdhury. Shailendra wrote the lyrics and Mukesh, Lata Mangeshkar, Manna Dey, Mohammed Rafi, Mubarak Begum, Asha Bhosle, Sabita Chowdhury, Ghulam Mohammed and Dwijen Mukhopadhyay provided the vocals.The music was composed before the lyrics were written. Folk music sung in the tea gardens of Assam was used in the soundtrack and Hungarian folk music was used for the song "Dil Tadap Tadap Ke Keh Raha Hai", which was adapted from the 18th century Silesian song "Szla Dzieweczka do Gajeczka". The song "Aaja Re Pardesi" was adapted from the background score of Jagte Raho (1956). Dinesh Raheja, writing for Rediff.com , said, "The music and the tonal correctness of the performances hold us in thrall".
The soundtrack of Madhumati became the best-selling Bollywood soundtrack of 1958.Salil Chowdhury won his first Filmfare Award for Best Music Director. Suhana Safar Aur Yeh Mausam Haseen is one of the most popular songs by recording artist Mukesh and is regularly played at dandiya functions. Filmfare started giving the best playback singer award in this year and Lata Mangeshkar won this award for the song "Aaja re Pardesi". She thus became the first singer ever to win the Filmfare award for a playback singer since, in the beginning, there was only one award given to a playback singer, male and female singers included.
All lyrics are written by Shailendra; all music is composed by Salil Chowdhury.
|1.||"Dil Tadap Tadap Ke Kah Raha"||Mukesh, Lata Mangeshkar||03:27|
|2.||"Suhana Safar Aur Yeh Mausam"||Mukesh||03:49|
|3.||"Aaja Re Pardesi"||Lata Mangeshkar||04:30|
|4.||"Chadh Gayo Papi Bichhua"||Lata Mangeshkar, Manna Dey||05:54|
|5.||"Ghadi Ghadi Mera Dil Dhadke"||Lata Mangeshkar||03:12|
|6.||"Toote Huye Khwabon Ne"||Mohammad Rafi||03:18|
|7.||"Zulmi Sang Ankh Ladi Re"||Lata Mangeshkar||03:27|
|8.||"Ham Haal E Dil Sunaenge"||Mubarak Begum||03:25|
|9.||"Kancha Le Kanchi Lai Lajo"||Asha Bhosle, Sabita Chowdhury, Ghulam Mohammad||03:24|
|10.||"Tan Jale Man Jalta Rahe"||Dwijen Mukhopadhyay||03:22|
|11.||"Jangal Mein Mor Nacha"||Mohammad Rafi||03:08|
Madhumati premiered at the Roxy Cinema near Opera House, Mumbai on 12 September 1958; the film was a huge commercial success and helped Bimal Roy Productions recover its losses.It became the first Indian film to be released abroad after its release in the Karlovy Vary International Film Festival Theatre in Czechoslovakia. According to Gowri Ramnarayan of The Hindu , "Dilip Kumar faced the camera, while Soviet actress Tatyana Konjuchova, switched on the camera. Polish actress Barbara Połomska acted as clapper-boy." On 18 April 2010, the film was screened at the South Indian Film Chamber Theatre for the Dignity Film Festival held in Chennai; other films also screened included Kadhalikka Neramillai (1964), Server Sundaram (1964), Anbe Vaa (1966) and Thillana Mohanambal (1968).
Madhumati was the highest-grossing Indian film of 1958. ₹4 crore (US$560,000), including a nett of ₹2 crore. Adjusted for inflation, its gross was equivalent to $75 million (₹478 crore) in 2016.It grossed
Writing for Rediff.com, Dinesh Raheja noted how Madhumati "beguile[s] the senses" while describing it as "the grandmother of such famous reincarnation films Milan (1967), Mehbooba (1976), Karz (1980), Kudrat (1981), Janam Janam (1988) and Karan Arjun (1995)". – Bimal Da's mastery exudes in every frame". She described the song Aaja Re Pardesi as "mysterious and melancholic". According to Philip Lutgendorf of The University of Iowa, the film sustains its suspense even with the flashback-within-the-flashback frame story, has socio-realistic themes, and is similar to the Alfred Hitchcock films Rebecca (1940) and Vertigo (1958). Lutgendorf praised the performances of Kumar and Vyjayanthimala, and said, "Kumar gives an appropriately haunted performance as the two incarnations of Devinder / Anand, and Vyjayanthimala is alternately earthy and ethereal in the various permutations of the title character".Writing for Filmfare , Meghna Gulzar calls Madhumati "poetry in black-and-white" and praises Roy, writing "the songs and their picturization
Vijay Lokapally from The Hindu praises Chowdhury's music, calling it the "soul of the movie" and "enchanting and timeless".Writing for Upperstall.com, Karan Bali commended Roy's ability to "recreate just the right mood and ambiance", especially praising few scenes as "luscious romantic interludes outdoors or the swinging chandeliers", "dark shadows within the haveli" and "several documentary like establishing shots". Bali's view is shared by Manisha Lakhe of Daily News and Analysis , who wrote, "Bimal Roy's masterstrokes are evident when you watch the long shadows of trees falling on that stone with fascination".
Madhumati led the 6th Filmfare Awards with 12 nominations and won 9 awards, a record it held for 37 yearsSince its release, it had multiple screenings at the Tenth Bite - The Mango Film Festival (2004), the 4th Pune International Film Festival (2006) and the Toronto International Film Festival (2011).
|Academy Awards||India's official submission for Best Foreign Language Film||Bimal Roy||Not Nominated|
|6th National Film Awards||Best Feature Film in Hindi||Won|
|6th Filmfare Awards||Best Film|
|Best Actor||Dilip Kumar||Nominated|
|Best Supporting Actor||Johnny Walker||Won|
|Best Music Director||Salil Chowdhury|
|Best Female Playback Singer||Lata Mangeshkar|
|Best Story||Ritwik Ghatak||Nominated|
|Best Dialogue||Rajinder Singh Bedi||Won|
|Best Art Direction||Sudhendu Roy|
|Best Cinematographer||Dilip Gupta|
|Best Editing||Hrishikesh Mukherjee|
Madhumati's intricate web of reincarnation, suspense and thrill against a traditional romantic setup between Dilip Saab and Vyjayanthimala, treated with gorgeous cinematography and exquisite songs, continues to inspire Bollywood to this date.
Madhumati became a source of inspiration for many later works dealing with reincarnation in Indian cinema, Indian television, and perhaps world cinema. According to Javed Akhtar, Madhumati is one among the top three or four romantic films ever made in Hindi cinema. He was quoted by Akshay Manwani of Daily News and Analysis as saying, "Even after Bimal Roy's death, Madhumati's success provided for his family. The earning from this film continue[s] even today. It is a terrific film."According to Vyjayanthimala, who played the film's titular character, Madhumati was one of the "most memorable films" of her career.
Wendy Doniger believes that Madhumati may have inspired the American film The Reincarnation of Peter Proud (1975),which in turn was remade into the Hindi film Karz (1980); both of them dealt with reincarnation and have been influential in their respective cultures. Karan Bali notes that the famous "crossing of paths" in Dilwale Dulhania Le Jayenge (1995), where Shah Rukh Khan and Kajol cross each other's paths without noticing the other until the end of the sequence, is present in Madhumati, which was produced 37 years earlier. Parts of the Hindi film Om Shanti Om (2007) including the whole climax sequence were heavily inspired from Madhumati, which led to Bimal Roy's daughter Rinki Bhattacharya accusing the latter film's producers of plagiarism and threatening them with legal action.
In celebration of the 50th anniversary of the film, the Bimal Roy Foundation, headed by Roy's daughter Rinki Bhattacharya, hosted a screening of Madhumati at the Globus Cinema in Mumbai on 11 April 2008. The occasion saw the reunion of the film's cast, including Vyjayanthimala.Subsequently, Bhattacharya published a book about the making of the film, titled Bimal Roy's Madhumati: Untold Stories from Behind the Scenes.
Bandini is a 1963 Hindi drama film directed and produced by Bimal Roy, the man who directed classics such as Do Bigha Zameen and Devdas. Bandini stars Nutan, giving one of the finest performances of her career, along with Ashok Kumar and Dharmendra as leads, and explores the human conflicts of love and hate intertwined in the mind of Kalyani (Nutan). The lead female role was offered to one of Roy's favourite actresses Vyjayanthimala, who earlier worked with Roy in Devdas and Madhumati. However, due to her busy schedule she refused the role, which later went to Nutan, who had worked with Roy in Sujata (1959). The movie tells the story of a woman prisoner serving life imprisonment for murder, Kalyani, the all suffering, selfless, sacrificing and strong, yet weak Indian woman. She must make a choice between two very different men, Devendra (Dharmendra), the loving prison doctor, and Bikash, a man from her past.
Do Bigha Zamin is a 1953 Indian Hindi-language drama film directed by Bimal Roy. Based on Rabindranath Tagore's Bengali poem "Dui Bigha Jomi", the film stars Balraj Sahni and Nirupa Roy in lead roles. Known for its socialist theme, it is considered an important film in the early parallel cinema of India, and a trend setter.
Mohammed Yusuf Khan, better known by his stage name Dilip Kumar, was an Indian actor and film producer who worked in Hindi cinema. Referred to as the "Tragedy King" for his portrayal of serious roles and retrospectively as "The First Khan" of Bollywood, he has been described as one of the most successful film stars in the industry and is credited with bringing a distinct form of method acting to cinema. Kumar holds the record for most wins for the Filmfare Award for Best Actor, and was also the inaugural recipient of the award.
Bimal Roy was an Indian film director. He is particularly noted for his realistic and socialistic films such as Do Bigha Zamin, Parineeta, Biraj Bahu, Devdas, Madhumati, Sujata, Parakh and Bandini, making him an important director of Hindi cinema. Inspired by Italian neo-realistic cinema, he made Do Bigha Zamin after watching Vittorio De Sica's Bicycle Thieves (1948). His work is particularly known for his mise en scène which he employed to portray realism. He won a number of awards throughout his career, including eleven Filmfare Awards, two National Film Awards, and the International Prize of the Cannes Film Festival. Madhumati won 9 Filmfare Awards in 1958, a record held for 37 years.
Anand is a 1971 Indian Hindi-language drama film co-written and directed by Hrishikesh Mukherjee, with dialogues written by Gulzar. It stars Rajesh Khanna in the lead role, with a supporting cast including Amitabh Bachchan, Sumita Sanyal, Ramesh Deo and Seema Deo.
Pran Krishan Sikand, better known by his mononym, Pran, was an Indian actor, known as the greatest villain ever in the history of Indian cinema and character actor in Hindi cinema from the 1940s to the 1990s. He played hero roles from 1940–47, a villain from 1942–1991, and played supporting and character roles from 1967–2007. The decades of late 1940s, 1950s, 1960s and early 1970s were the peak periods of Pran's villainy, especially 1950s & 1960s. Pran was the first true personifiation of "evil" on the Indian screen. He is the original badman of Indian cinema. The intensity of his portrayal of negative/villainous characters on the screen was effective enough to desist the Indian people from naming their children "Pran" in the 1950s & 60s & subsequently thereafter. He has been one among the most highly successful & respected veteran actors in the history of Indian cinema. He was also one among the highest paid actors of his time.
Hrishikesh Mukherjee was an Indian film director, editor and writer regarded as one of the greatest filmmakers of Indian cinema, known for a number of films, including Anari, Satyakam, Chupke Chupke, Anupama, Anand, Abhimaan, Guddi, Gol Maal, Majhli Didi, Chaitali, Aashirwad, Bawarchi, Khubsoorat, Kissi Se Na Kehna, and Namak Haraam.
Salil Chowdhury; was an Indian songwriter, music director, lyricist, writer, and poet who predominantly composed for Bengali, Hindi, and Malayalam films. He composed music for films in 13 languages. This includes over 75 Hindi films, 41 Bengali films, around 27 Malayalam films, and a few Marathi, Tamil, Telugu, Kannada, Gujarati, Odia and Assamese films. His musical ability was widely recognised and acknowledged in the Indian film industry. He was an accomplished composer and arranger who was proficient in several musical instruments, including flute, the piano, and the esraj. He was also widely acclaimed and admired for his inspirational and original poetry in Bengali.
Devdas is a 1955 Indian Hindi-language period drama film directed by Bimal Roy, based on the Sharat Chandra Chattopadhyay novel Devdas. The film had Dilip Kumar in the title role, Vyjayanthimala in her first dramatic role where she played courtesan named Chandramukhi and Suchitra Sen in her Bollywood debut as Parvati 'Paro'. Motilal, Nazir Hussain, Murad, Pratima Devi, Iftekhar and Shivraj were playing other significant roles with Pran and Johnny Walker in extended cameo appearances.
Kamini Kaushal is a Indian actress who worked in Hindi films and television. She is noted for her roles in films such as Neecha Nagar (1946), which won the 1946 Palme d'Or at Cannes Film Festival and Biraj Bahu (1955), which won her the Filmfare Award for Best Actress in 1955.
Jewel Thief is a 1967 Indian Hindi-language spy thriller heist film directed by Vijay Anand. The film stars Dev Anand, Vyjayantimala and Ashok Kumar, and features four bond girl-like actresses portrayed by Tanuja, Helen, Faryal and Anju Mahendru, with Nazir Hussain and Sapru appearing in supporting roles. It was produced by Dev Anand's home production house, Navketan Films, following their biggest hit in 1965 – Guide. The film revolves around a jewellery expert (Anand), as he and the police attempt to capture a notorious jewel thief, but in the process, their true identities get thoroughly muddled.
Ganga Jamna, also transliterated as Ganga Jamuna or Gunga Jumna, is a 1961 Indian crime drama film, written and produced by Dilip Kumar, and directed by Nitin Bose, with dialogues written by Wajahat Mirza. The film stars Kumar, Vyjayanthimala and Nasir Khan. Set in a rural part of the Awadh region of North India, the film tells the story of two impoverished brothers, Ganga and Jamna, and their poignancy and sibling rivalry on opposing sides of the law, one a dacoit criminal and the other a police officer. The film was also notable for its Technicolor production, use of the Awadhi dialect, and its rustic setting, being a defining example of the dacoit film genre. It was ranked 11th in Outlook Magazine's 25 leading Indian directors' poll of Bollywood's greatest films in 2003.
Vyjayanthimala is an Indian actress, dancer and parliamentarian. A prolific and influential performer during the "Golden Age" of Hindi cinema, she is the recipient of several accolades, including two BFJA Awards and five Filmfare Awards. She made her screen debut at the age of 16 with the Tamil film Vaazhkai (1949), and followed this with a role in the Telugu film Jeevitham (1950). Her first work in Hindi cinema was the social guidance film Bahar (1951), which she headlined, and achieved her breakthrough with the romantic film Nagin (1954).
Leader is a 1964 Indian Hindi-language political drama film directed by Ram Mukherjee, produced by Sashadhar Mukherjee and written by Dilip Kumar. The film stars Dilip Kumar, Vyjayanthimala and Jayant. The film underperformed commercially.
Rajinder Singh Bedi was an Indian Urdu writer of the progressive writers' movement and a playwright, who later worked in Hindi cinema as a film director, screenwriter and dialogue writer.
Sampooran Singh Kalra, known professionally as Gulzar or Gulzar Saab, is an Indian lyricist, poet, author, screenwriter, and film director. He started his career with music director S.D. Burman as a lyricist in the 1963 film Bandini and worked with many music directors including R. D. Burman, Salil Chowdhury, Vishal Bhardwaj and A. R. Rahman. He was awarded Padma Bhushan in 2004, the third-highest civilian award in India, the Sahitya Academy Award, and the Dadasaheb Phalke Award — the highest award in Indian cinema. He has won 5 several Indian National Film Awards, 22 Filmfare Awards, one Academy Award and one Grammy Award.
Vyjayanthimala is an Indian film actress, Bharathanatyam dancer, Carnatic singer, dance choreographer and parliamentarian. She was the highest paid actress of her time. Regarded as the "first female superstar" and "Megastar" of Indian cinema, She made her debut in the Tamil language film Vaazhkai in 1949 and in the Telugu film Jeevitham in 1950. She later became one of the most prominent actresses of South Indian cinema and in the golden era of Bollywood and was known as one of the iconic leading actresses of all time. Vyjayanthimala made her screen debut at the age of 13 through the Tamil film Vaazhkai (1949) and Telugu film Jeevitham in 1950 and acted in Bollywood movies Bahar and Ladki. Following the success of Nagin, Vyjayanthimala established herself as one of Bollywood's leading actresses while making inroads in successful Tamil and Telugu films. After successfully establishing herself as a commercial actress, Vyjayanthimala appeared in Devdas, playing Chandramukhi, the hooker with a heart of gold, in 1955. In her first dramatic role, she received her first Filmfare Award for Best Supporting Actress at the 4th Filmfare Awards, where she refused to accept the award citing that hers was not a supporting role, being the first person to refuse a Filmfare Award. Following that, Vyjayanthimala appeared in series of blockbuster films such as New Delhi, Naya Daur and Aasha. She reached the pinnacle of her success in 1958, when two of her films — Sadhna and Madhumati — became huge critical and commercial hits. She was nominated for two Filmfare Award for Best Actress Award for Sadhna and Madhumati and won the award for the former.
Nazir Hussain was an Indian film actor, director and screenwriter. He was famous as a character actor in Hindi cinema and acted in almost 500 films. Dev Anand starred in a large proportion of the films he acted in.
The 1st Filmfare Awards were held on 21 March 1954, honoring the best in Hindi cinema in 1953.
Paari is a 1966 Bengali film directed by Jagganath Chatterjee, based on a story by Jarasandha. It stars Dharmendra in his first Bengali film and Pronoti Ghosh, with Dilip Kumar in a guest appearance as a jailor in Andaman and was successful. It was later remade in 1972 by the same director in Hindi as Anokha Milan with the lead actors reprising their roles. This was the first movie in which Dilip Kumar and Dharmendra appeared together.
most of the writers working in this so-called Hindi cinema write in Urdu: Gulzar, or Rajinder Singh Bedi or Inder Raj Anand or Rahi Masoom Raza or Vahajat Mirza, who wrote dialogue for films like Mughal-e-Azam and Gunga Jumna and Mother India. So most dialogue-writers and most song-writers are from the Urdu discipline