Thoughts on Sahib Bibi aur Ghulam

Sahib Bibi aur Ghulam has so many facets to it. that one can hardly cover it up with one posting. Moreover, there are so many thoughts and ideas, which come into the mind while watching it, but I just couldn’t find words for it. I think one can surely write a doctoral thesis on it. I could leave mine and start with this one! 😉

 

Sahib Bibi aur Ghulam (1962)

It is nearly three days since I saw Sahib Bibi aur Ghulam and I just don’t know how to start with the description. The story has so many layers, so many details. The whole picturisation is a revelation. In every angle there is something to be discovered. And I wanted and want to include everything, which is impossible. And of course I have to follow my day job as well. Thus, I’ve planned to go the Pyaasa way. I’ll post the synopsis and something about this and that. And then will arrive the Musings on… part. By the way a wonderful synopsis of the film has written by dear dustedoff, who is so much better with the language and has an art of expressing herself. She and this film are by the way also responsible for this blog. Richard has written in his expressive explosive manner on his reaction to the film. The Third Man at Upperstall gives many insights into the film and the big fan of Guru Dutt Philip Lutgendorf at his wonderful site has also written about this film.

 

Mr. Sampat (1952)

 

Happy Birthday Padmini!

Mr. Sampath serves as a good show case for Padmini’s talent. She has lots of dances, from folk-lore to ‘semi-classical’ (whatever that means). Padmini, born on 12. June, had a long career of nearly 30 years as a leading lady, a record of sorts. I don’t know of any Indian actress, having such a long reign as a leading actress.

But all said and done the film belongs to the lead actor, Motilal. He IS Mr. Sampath.

 

Chaudhvin ka Chand (1960)

This one was for me Guru Dutt’s less interesting films. In my teens I just couldn’t warm up to it as I had for Pyaasa, Kaagaz ke Phool or Sahib Bibi aur Ghulam or for that matter even Aar-Paar. Although nearly everybody loves the title song, even that didn’t much to me. All this changed completely when I read Cory Creekmur’s  notes on the film on Philip Lutgendorf’s site. I cursed myself for being blind and re-watched it. One thing is to be said of it: this film created more waves of contradictions in my heart than any other film ever has.

 

Paying Guest (1957)

 

Kaagaz ke Phool pulled me down so much, that I thought, even I need a break from Guru Dutt, thus joining the long string of people who “bhichde sabhi bari bari” from him. Moreover Nutan celebrated her Jayanti on 4^th of June (and bollywood deewana celebrated his birthday as well), so I thought of jumping the bandwagon to celebrate it. I looked at my pile and first my eyes went to Bandini, but then I remembered how dustedoff once recommended Paying Guest to me. So off I went to see it.

 

Kaagaz Ke Phool (1959)

My earliest memories of Kaagaz ke Phool is the song “Waqt ne kiya kya haseen sitam”. It was quite a favourite with the producers of Chaaya Geet and later on Chitrahaar. The beautiful cinematography and Geeta Dutt’s melancholic voice, S. D. Burman’s haunting music made a big impression on me. My resourceful aunt, who would otherwise always provide us with the plots of the movie, would also be very quite. I never could fathom if it was because of the captivating sound or because of the extra-marital affair going-ons. There were regular screenings of the movie in the morning show, but I never thought of ‘bunking’ (that is the word used for skipping classes in Bombay/India) classes to watch it. Thus it was in my late teens that I watched it on DD’s late night movies.