Shyamchi Aai

Shyamchi Aai - this was the first movie to get the very first National Award for the Best Feature Film, made by 'Ashtapailu' (All-rounder) P. K. Atre, most commonly known as Acharya Atre.




Cast :- Damuanna Joshi, Vanamala, Madhav Vaze
Directed by :- P.K.Atre
Produced by :- P.K.Atre
Written by :- P.K.Atre
Sane Guruji (story)

First time when i read this book, I was in 4th standard and about an year later there was this movie on dd channel. my mom had made a compulsion on us to watch this, i still remember. Since those were the days of watching movies once a week, we also used to enjoy. At that age the whole movie we saw as a guide - what to do and what not to... The innocent and simple manners of Shyam we all wanted to bring in ourselves.
Now seeing the same movie after becoming a mother, the viewpoint has changed completely. Tomorrow to tell my daughter the values and principles about life, i started thinking, whether I am perfect like this great mother. The answer is No - but yes this movies leaves such a great impact that we think about it all over again and again even after weeks passed, one automatically tends to follow since the mission is same of upbringing the child. In todays fast progressing (??) multimedia world, this movie is a must to show to all the young kids for the simple and earthly principles of life. The movie was based on a famous autobiography by Saneguruji (1899 - 1950), in which he has narrated his child hood stories to children, specially mentioning the credits of his mother in his upbringing.
The Main characters are Shyam and his mother. How she brings him up with all the right values during troubled times. The account traces the travails of a rural Marathi family headed by a midlevel landlord and his joint family. A reversal of fortune brought about by ever incurring debts necessitates that the family move out to lesser living conditions but it is the mother who keeps up the spirit and imbues little Shyam with all the true morals that stand him in good stead in the years to come.
The movie has numerous scenes between the mother and the child teaching the right values of life to the viewer and the sequences also posses the power to transform.

Child actor Madhav Vaze has delivered brilliant performance, playing the character of Shyam. His confidence, style and conviction is simply worth watching. Actually it's his performance in the movie which enhances the impact of the pain felt by his mother on screen to many folds. His simple mannerism is to adore.
Another solid performance is that of the lead actress, Vanamala. It is said that even if she acted in this one film only, she would still be remembered fondly by viewers. Damuanna Joshi fits perfectly as father and not to forget Durvanchii aaji... :)
The other remarkable gem from the movie "Shyamchi Aai" is its melodious music by Vasant Desai. All the songs from the movie are wonderful in history of marathi cinema's music. The one sung by Shyamchi aai depicting the love of sister, the one filmed on all the children playing in the school, and the last song 'Aai kuna mhanu mee??'

Sane guruji has made this novel immortal by the simplicity of language and Atre has has made the movie immortal by giving the full justice to the story and ofcourse the superb direction which also flows along.
About this book Pu. La. once said:
"Jya diwashi he pustak out of pint hoil tya diwashi manusaki out of print zali asa mhanav laagel!"
The simplicity of this film touches the audience due to its honesty and the straightforwardness. All the incidents are derived from the real life so like the book flows, movie flows in episodes. Sentiments of son and mother, sons patriotism like his father, identifiable characters around, earthly family values - all these things keep the audience seated.
Aamhi sagale jase ha cinema pahun vadhalo, he pustak vachun mothe zalo - tasech aamachya puadhachya generation ne hi karave.... arthat our last generation also has been brought up on this movie. :)
and parents like me will also show this movie to the upcoming young generation.
so Enjoy this movie on the following link

Watch Shyamchi Aai (Marathi) 1953 in Family View More Free Videos Online at Veoh.com

Do aankhen barah haath

Cast : - Rajaram Vankudre Shantaram (V. Shantaram),
Sandhya and Ulhas
Director :- Rajaram Vankudre Shantaram (V. Shantaram)
Writers :- G.D. Madgulkar (dialogue), G.D. Madgulkar (story)
Music :- Vasant Desai
Lyrics :- Bharat Vyas


Recently came across a good movie - National Award winner being Best film, directed by legendary director V. Shantaram. He has also acted in this movie with his third wife Sandhya in lead female role. Writer Gadima (as he is called in Marathi film industry, with his initials) got inspired with the Open Custodian called Swatantrapur and V. Shantaram gave life to the story.

The story line is that a progressive, reform-minded young warden gets permission to take six surly murderers from prison to dilapidated country farm, to rehabilitate it and themselves through hard work and kindly guidance.
The jailer has a singularly innovative plan. Putting his own property, freedom and career at stake and taking his superior's scoffing in his stride, he takes six criminals out of the jail and reforms them into socially productive human beings. The jailer opts for six hard-bitten burly men serving sentences for ruthless murder.
With just a "Mujhe tumpe bharosa hai," the jailer makes the rowdy men responsible for the fate of the experiment. Egging them on with sympathy and with freedom coupled with responsibility, he takes them to an isolated, barren farm which they try to convert into a lush Eden.

But going from 'fined' to 'refined' is not an easy journey. When a toy seller (Sandhya) passes by the farm, there is much raucous eve-teasing from the jailbirds. After eating a pungent meal, the six have a noisy gargling competition.
Jealousies erupt when the jailer compassionately allows one of the prisoners' helpless kids to stay with them. It leads to the resentful mounting of an attempt on the jailer's life which is abandoned at the last minute. The six flee only to return --- their 12 hands feel the jailer's benign yet binding eyes constantly upon them. A comparison is made to the all-seeing eyes of God.

The introduction of the two children further helps humanise the prisoners, as does the kids' relationship with the maternal toy seller. When the farm yields a rich produce, their little Eden has to contend with a devious vegetable merchant and the prisoners' promise to abstain from violence is sorely tested but all six men finally complete their rocky passage to redemption. The film ends with the death of a warden caused by his enemies.

It is with her role as Champa, the scrappy street vendor in Do Ankhen Barah Haath, that we finally get to see her display an earthy sensuality that's otherwise missing , as well as a gift for antic, rubber-faced comedy. Her mannerisms add a touch of colour to the stark look of the film.

V Shantaram with direction plays the central character too. He plays an idealistic, humane jailer. His idealism is not just wooly-headedness. Alert enough to grapple with a prisoner wanting to kill him, the jailer is also pointedly compassionate enough to reach for a bell and not a stick as a means to overpower his assailant. There is an aura which is around the jailer character played by him with lot of depth and gravity.

This is a great movie which touches the hearts of the viewers, one of the best movies by V. Shantaram. Madgulkar's simple story is well presented with good performances by all the actors. Though it seems to be a dictation type, it never bores you even for a minute, rather comes with all the cinematic drama. Black-and-white cinematography plays an important role in displaying the black and white shades of human beings. The director has used shadow lights with an expertness to get the feel of the atmosphere.
The director has captured the sentimental play very well. Small small scenes make you to come down to earth and be nothing but human. This is shown considering all human mindset and the psychology behind it. There is also wry humour portrayed in small small dialogues. The credit goes to Gadima.... :), one of my favorite writer and poet and also to V. Shantaram as a director he has put forth it.

Mirza Ghalib (1955)

Mirza Ghalib (1954) is a Hindi / Urdu film, directed by Sohrab Modi. The film won the Golden Lotus Award for National Film Award for Best Film in 1955.

Cast :- Bharat Bhushan, Suraiya, Nigar Sultana, Durga Khote, Murad, Mukri, Ulhas, Kumkum, Iftekhar
Directed by :- Sohrab Modi
Produced by :- Sohrab Modi
Written by :- Rajinder Singh Bedi
Sadat Hasan Manto (story)
J.K. Nanda
Music by :- Ghulam Mohammed
Cinematography :- V. Avadhoot
Language :- Hindi / Urdu

The film depicts the life of one-time wealthy and noble poet Mirza Ghalib who lived during the reign of Bahadur Shah Zafar. The film beautifully captures the mood of the period and magnificence of the court of the last Mughal where the poets like Zauq, Momin, Tishna, Shefta and Ghalib assembled to recite their verse. The film revolves around Ghalib's trials, successes and failures and his ultimate descent into poverty. Ghalib falls in love with a beautiful courtesan named Chaudvin, however tragedy befalls their ill-fated relationship.

Mirza Ghalib, Sohrab Modi’s eagerly awaited production, was released at a glittering premiere in Bombay on December 10th 1954, at the Minerva, Excelsior and Palace cine­mas.

Inspired by the tragic romance between the great poet Ghalib and Moti Begum, the dancing girl—whom the poet fondly named Chaudavin—J. K. Nanda’s adaptation of Minto’s original story closely follows the pattern of the lives depicted there, the depar­tures from recorded fact being dictated by dramatic considerations and regard for the censors.

Bharat Bhushan plays the title role while Suraiya portrays the feminine lead. They re­ceive excellent support from an all-star cast comprising Nigar Sultana, Ullhas, Durga Khote, Murad, Iftikhar, Mukri and —Baij Sharma, while veteran actor Jagdish Sethi appears as a guest artist.

Directed and produced by Modi on his usual lavish scale, the film magically re-crea­tes the poignant love story of the Poet and the Dancer in the atmosphere of the magni­ficent court of the last of the Moghul em­perors. He has with deftness preserved the atmosphere of the times and those aspects of life which inspired the wistful ghazals of Ghalib.

The film sympathetically depicts the torments suffered by the poet in his love for two women. Torn between his sense of duty to­wards his lovely wife Umrao Begum, and his love for Chaudavin, his troubles and frustra­tions increase and assume the proportions of tragedy.

Sohrab Modi’s direction is unquestionably inspired. Not only has he re-created the world of the Moghuls, but has paid due tri­bute to the poet in a film which is as warm and dignified as the story it tells. Ghalib’s exquisite ghazals and couplets have been admirably incorporated into the narrative and they richly embellish an already masterly production.

Bharat Bhushan is superb as the poet, Ghalib. Enacting his role with quiet restraint and dignity, he presents both the genius of Ghalib the poet, as well as his shortcomings as a man.

Suraiya beautifully brings to life the fascinating Chaudavin, drawing every ounce of sympathy through the character she por­trays. The skill she displays in her rendering of Ghalib’s exquisite ghazals together with the flexibility of her voice enables her to reach the depths of meaning in the poet’s words and draw out their subtlety to the full. Her singing in the film is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her she had brought Mirza Ghalib to life, 'Tumne Mirza Ghalib Ki Rooh Ko Zinda Kar Diya'.

Nigar Sultana as Umrao Begum and Durga Khote as Chaudavin’s mother are both brilliant in their character roles, while Baij Sharma as Fiddan the opium-eater turns in a noteworthy performance.

Ullhas, the villain of the piece, is con­vincingly evil and lecherous, Iftikhar with regal dignity almost instinctively lives his part of the Emperor, Bahadur Shah, and Mukri contributes a fine cameo of the self-important but kindly money-lender.

Rajinder Singh Bedi’s expressive dialogue registers much of the elegance of speech characteristic of Moghul times. Ghulam Mohammed’s music and Shakil Badayuni’s lyrics give further evidence of their creative talents.

With delightful grace, Roshan Kumari and Kumkum present the spectacular dances directed by Lachhu Mahraj and Badri Prasad.

Production values of costume, sets and decor constitute spectacular additions to the film which also has excellent photography.
(Filmfare Review – January 7, 1955)

The Film had following Songs :-
1. "Dil-e-nadan Tujhe"
Sung by Suraiya and Talat Mahmood and Lyrics by Mirza Ghalib

2. "Aah Ko Chahiye Ek Umar"
Sung by Suraiya and Lyrics by Mirza Ghalib

3. "Nukta Cheen Hai"
Sung by Suraiya and Lyrics by Mirza Ghalib

4. "Phie Mujhe Deeda-e-tar"
Sung by Talat Mahmood and Lyrics by Mirza Ghalib

5. "Chali Pee Ke Nagar"
Sung by Shamshad Begum and Lyrics by Shakeel Badayuni

6. "Ganga Ki Ret"
Sung by Sudha Malhotra and Lyrics by Shakeel Badayuni

7. "Hai Bas ke Har Ek Unke"
Sung by Mohammad Rafi and Lyrics by Mirza Ghalib

8. "Wahshat Hi Sahi"
Sung by Talat Mahmood and Lyrics by Mirza Ghalib

9. "Jahan Koi Na Ho"
Sung by Suraiya and Lyrics by Mirza Ghalib

10. "Yeh Na Thi Hamari Qismat"
Sung by Suraiya and Lyrics by Mirza Ghalib

11. "Sakhi Sarkar" (Qawwali)
Sung by Mohammad Rafi, Bande Hasan & Party and Lyrics by Shakeel बदायुनी

Watch the Full Movie Here :-

Watch Mirza Ghalib in Family | View More Free Videos Online at Veoh.com