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- Hindi Film Pakeezah Mp3 Song Download Free
Running time153 minutesCountryIndiaLanguageBox office₹6 crore (equivalent to ₹202 crore or US$29 million in 2018)This article contains. Without proper, you may see, misplaced vowels or missing conjuncts instead of Indic text.Pakeezah ( transl. Pure) is a 1972 Indian film, written and directed by, who was known for his perfectionism. The music is. The filmstarred,. Meena Kumari's performance as a golden-hearted drew major praise.
However, this was to be Meena Kumari's last performance.Kamal Amrohi's PR man said: 'Shah Jahan made Taj Mahal for his wife, Kamal Sahab wanted to do the same with Pakeezah.' The concept, Kamal Amrohi says was irretrievably fixed with his love for his wife Meena Kumari. According to Kamal Amrohi, he hoped to create a film which would be worthy of her as an actress, and worthy of the love he felt for her as a woman. Meena Kumari regarded the film as Kamal Amrohi's tribute to her.The film tells the story set in Muslim Lucknow at the turn of the century, its central character is a Lucknowi nautch-girl, for her to fall in love was forbidden, it was a sin she was told, a nautch-girl is born to delight others such is her destiny and yet her restless soul could not suppress her surging desire – To Love and Be Loved.
It was ostensibly (perhaps loosely) based on Kamal Amrohi and Meena Kumari's own love story.From its mahurat on 16 July 1956 to its release on 4 February 1972, Pakeezah took 16 years to reach the silver screen. Pakeezah released on 3 February 1972, with a grand premiere at theatre in central and was released for the audience the following day. Meena Kumari attended the last premiere of her life along with Kamal Amrohi.Already battling, Meena Kumari was ill throughout the filming and died only a few weeks after it was finally released.
It was Meena Kumari's last great performance and one that solidified her reputation as a legendary actress.An Indian critic has said Pakeezah was 'Poetry, fantasy and nostalgia rolled into one on an epic scale'. Contents.Plot Set in the Muslim Quarter of Lucknow at the turn of the century, the movie centers on the mental plight of a tawaif (courtesan and dancer) and their longing to be loved, accepted and respected by society.In the eponymous role, Nargis , finds love and dreams of marrying the man she loves, Shahabuddin. However, the patriarch of Shahabuddin's family, Hakim Saab rejects this alliance, as he finds it unacceptable to welcome a tawaif in his respected family. Dejected, Nargis flees to a nearby cemetery and lives there, ultimately giving birth to a daughter before passing away. On her deathbed, she writes Shahabuddin a letter asking him to come for his newborn daughter.
Nargis' sister, Nawabjaan , a brothel madam, finds the girl first and brings her back to the kotha. When Nargis' belongings are sold several years later, a book lover finds the letter in her book and posts it. Shahabuddin comes to collect his now adult daughter, Sahibjaan (also played by Meena Kumari). But Nawabjaan takes her niece and flees by train to another town.While traveling by train, a dashing young man enters Sahibjaan's compartment by happenstance. He is struck by her beauty and leaves her a note with the famous lines: 'Aapke paon dekhe, bahut haseen hain. Inhein zameen par mat utariyega.
Maile ho jaayenge I saw your feet - they are very beautiful. Please don't step on the ground, as they will get dirty. Sahibjaan falls in love with this mysterious stranger and yearns to meet him. The note gives Sahibjaan hope even as she avoids unwelcome attention from her patrons while entertaining them.One particular patron, the aggressive Nawab Zafar Ali Khan , wishes to own Sahibjaan and takes her to his boat for the night. The boat is attacked by elephants and Sahibjaan is carried away by the fast flowing river in a broken boat. As fate would have it, she is taken to the riverside tent of a forest ranger, Salim Ahmed Khan. Alone with his diary, she reads how he was the same man who had earlier left her a note on her feet, and left for her to read it while traveling in the same compartment.
Sahibjaan finally meets the stranger, but feigns amnesia to avoid telling him her true identity. Before sunset, Nawabjaan tracks Sahibjaan and brings her back to the kotha.The paths of Sahibjaan and Salim cross again, but Hakim Saab stands in the way of Salim's wishes. Salim and Sahibjaan plan to elope to live peacefully, but trials and tribulations await Sahibjaan, as she is recognized by men wherever she goes in the company of Salim. When Salim anoints her 'Pakeezah' (Pure of Heart) to legally marry her, she refuses and returns to the brothel.Although heartbroken, Salim eventually decides to marry someone else, and invites Sahibjaan to perform a mujra at his wedding, to which Sahibjaan agrees. During this event, Nawabjaan recognizes Shahabuddin and calls him to witness the irony of the situation; his own daughter dancing and entertaining his family. Shahabuddin's father tries to shoot Nawabjaan to silence her, but instead ends up killing Shahabuddin. With his dying breath, Shahabuddin asks Salim to marry Sahibjaan.
Finally, Salim's doli palanquin defies all conventions and arrives at Sahibjaan's kotha, thus fulfilling her wishes and leading to a happy, emotion-charged ending.Cast. Nargis / Sahibjaan (Pakeezah). Shahabuddin. Salim Ahmed Khan. Nawabjaan. Madame Gauhar Jaan. Nawab Zafar Ali Khan.
Hakim Saab. Prakash Gill - Hashim Khan, guy on the horse. Geeta Kapoor - Naazuk, Salim's cousinCrew. Screenplay:. Art Direction: N.B.
Kulkarni. Set Design: Kamal Amrohi. Costume Design:. Director Of Photography:. Lyrics:, Kamal Amrohi.
Music:, (Background Score, Title Music). Singers:,Production Concept. 'Shah Jahan made Taj Mahal for his wife, Kamal Sahab wanted to do the same with Pakeezah.' — Kamal Amrohi's PR manIn 1955, and were in and here Kamal Amrohi began outlining the plot of his next film with his wife Meena Kumari and decided that he would call it Pakeezah (the name has a fascinating history too. It was changed many times due to superstitious reasons, but finally the original stayed). After the failure of in 1953, Pakeezah as an idea was roaming Amrohi's mind. A concept, Kamal Amrohi says was irretrievably fixed with his love for his wife Meena Kumari, he hoped to create a film which would be worthy of her as an actress, and worthy of the love he felt for her as a women.
Kamal Amrohi declares that every line he wrote he had Meena in mind. He wished to present her on the screen as no one had before: beautiful, sad, sanguine, dejected, calculating, sexy he ambitioned to capture as many dimensions of her as he knew of. Kamal Amrohi's son Tajdar Amrohi, raised by Meena Kumari, said: 'What you see in Pakeezah is exactly how our home looked like - the same windows, chandeliers, arches, and curtains.' The grandfather's character was taken from Amrohi's father. 'The dining table sequence in which Raaj Kumar says, 'Afsos, log doodh se bhi jal jaate hai (Alas, people get burnt by milk, too),' was inspired by everyday domestic scenes at our home.
'When an elder enters the room, the womenfolk put on their veil. This is what baba showed in Pakeezah and that's how women at our home behaved.' Says Tajdar, 'And his romance with my chhoti ammi was very dignified. Despite being separated, they felt for each other.
But they never divorced as rumors go. They loved each other and chhoti ammi respected my father and never allowed anyone to say anything against him.' 'I have lived with Pakeezah almost as long as I lived with its creator. To Meena Kumari Pakeezah means a performance.
A great performance? That is not for me to say: that is for people to decide. For me to say is this: it is a performance to deliver which I have, as an actress, had to delve deeper into the secret wells of being than any actor or actress normally delves in the process of his or her professional work.'
—Meena Kumari about Pakeezah (1972)Pakeezah was the inaugural film telecast by, India's state-owned television station, when it began broadcasting from in in the early 70s. It was especially beamed towards nearby, in. Thousands flocked at Lahore, from as far as, hundreds of miles away, to see Pakeezah. It was a flood. The crowds stampeded the streets of Lahore to get to the television screens placed at strategic points on virtually every street corner.(the biographer of Meena Kumari) shared an incident which occurred during the last days of the film's shooting: 'On outdoor shooting, Kamal Amrohi's unit traveled in two cars near a place called in. The cars ran out of petrol, and for miles around there was nothing except a long, deserted, straight road. It was discovered that a bus passed on this route every morning from which fuel could be purchased.
Kamal Amrohi decided to spend the night in the desert and ordered his unit roll up the windows of the cars. A little after midnight the occupants of the vehicles were surrounded by a dozen armed men. The men knocked on the closed windows and forced their way in. When the armed gang leader learned that one of the persons in the car was Meena Kumari, his attitude completely changed. He turned out to be a Meena Kumari fan and welcomed his guests in true fan tradition.
He organized music, dancing, and food. He even provided a place to sleep. He instructed his juniors the next morning to fetch petrol for the unit.
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From Meena Kumari, he wanted a special favor. He sharpened his knife and took it to her. 'Please autograph my hand with this,' he requested. Meena was not new to signing autographs but she had never attempted anything as ambitious as a knife. Nervously, she wrote her name on this man's hand.
He said he was grateful for this favor. Once the unit left, they found at the next town that they had spent the night in the camp of Madhya Pradesh's renowned and dangerous dacoit—Amrit Lal.' Dwyer and Patel have argued that the Pakeezah courtesan genre is responsible for 'some of the most extravagant and beautiful sets and costumes in the history of the Hindi film' – or the pooling of a golden, artificial light that paints his actress as she returns to the Pink Palace.
Hence, if Pakeezah's narrative structure (which is also to say its use of time) derives from the codes and conventions of Bollywood filmmaking, as does nominally its emphasis on art design as a source of spectatorial pleasure, Amrohi's spatial articulations and handling of light underscore his individualized sensibility. In this respect, Pakeezah does more justify the popular Indian cinema; it manifests the artistic sensibility of a truly 'rare connoisseur.' Meena Kumari delivers a phenomenal performance as the leading female protagonist, especially given the circumstances, as she was terminally ill when filming resumed. It is perhaps one of her greatest works along with Baiju Bawra (1952), Parineeta (1953) and Sahib Bibi Aur Ghulam (1962).
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These are all films which have helped to consolidate her status as the tragedienne of Indian cinema.The film is also known as one of the historical films which display the sophistication and elegance of Muslim culture in India.Books and documentaries made about the film include Meghnad Desai's Pakeezah: An Ode to a Bygone World.Filmmaker/critic Peter Wollen, named Pakeezah as one of the ten best movies ever made in the 1992 'Sight and Sound' poll. Pakeezah ranks on the lists of top Indian films, including the 2002 British Film Institute poll of Top 10 Indian Films. Soundtrack. Khan (28 March 2008).
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