Eid-ul-Fitr has been celebrated in great numbers in many of our films. The films below are those where Eid serves as the focal point of the plot.
1. Chaudvin Ka Chand (1960): Guru Dutt’s first and only “ Social Muslim ”, a genre of cinema that celebrated obsolete if not totally non-existent Nawabi culture, was designed to counter the losses he suffered with Kagaz Ke Phool . While this movie was about life Chaudhvin ka chand had nothing to do with real life. Two Muslim best friends Aslam and Nawab (played by Guru Dutt and his real-life boyfriend Rehman) both love the same beauty Jameela (Waheeda Rehman). The title song written by Shakel Badayuni as the ultimate ode to love and beauty captured the actress in all her beauty resplendent in color while the rest of the film is in black and white. The film is set in the nawab town Lucknow and captures the ethos of lush romance in a rather flamboyant way. It is the least subtle work of Guru Dutt.
2. Mere Mehboob (1963): This Muslim social blockbuster starred Rajendra Kumar and Sadhana, two non-Muslim actors, who fall in love on a train and have to weather various storms in ornate tea cups before the ultimate nikaah. The film was notable for capturing the colors of the music and the festive vibe of a decadent Nawabi culture. The songs composed by Naushad are particularly delicious in their sweet delicacy. My favorite being Sadhana and Nimmi dancing around water fountains and under sparkling chandeliers singing Mere Mehboob Mein Kya Nahin not knowing that the “Mehboob” they both sing on is the same person. After the release of this film, Sadhana was often mistaken for a Muslim and she loved it. Rahul Rawail’s father, HS Rawail, has achieved this all-time success.
3. Pakeezah (1972): Meena Kumari lived the role of the tawaif Sahib Jaan and the credit for her heart-warming performance must go to the music of Ghulam Mohammed in large measure. As Lata Mangeshkar sings, the Mujras, the life and breath of every tawaif tale, are some of the best heard in Indian cinema: “Chalte Chalte Yuhi Koi Mil Gaya Ttha”, “Teer-E-Nazar Dekhenge”, “Thare Rahiyo Ho Banke Yaar Re”, “Inhi Logon Ne Le Lee Na Dupatta Mera …” which one do we choose? All or nothing? I could watch Pakeezah a million times for the songs. Meena Kumari’s performance depended entirely on the music. For much of the filming of the film, Meena Kumari couldn’t even move due to her poor health let alone dancing. The Mujra “Chalte Chalte” was shot with backing vocals and Teer-e-nazar was performed by a double dancer, Padma Khanna.
4. Nikaah (1982): The film that dared to defy the Sharia laws of India. Salma Agha, freshly imported from Pakistan, played the wife of Deepak Parasher who divorces her by saying Talaq thrice. Boldly, the film questions the male spouse’s right to shirk their marital duties on a whim. Salma Agha not only played the main role but also sang Ravi’s compositions which went a long way in making this film a superhit during the year of Amitabh Bachchan. Nalam Halaal, Khuddar, Satte Pe Satta and Desh Premee. Once again, Ravi’s music did a lot to accentuate the film’s love triangle where Haider (Raj Babbar) loves Nilofer (Salma Agha) who ends up marrying Wasim (Deepak Parasher) who divorces her after saying “ Talaq ” thrice. a Muslim, both heroes were Hindus. Raj Babbar once told me that he needs to brush up on his Urdu to understand some of the songs and dialogue before vocalizing them. BR Chopra who directed
5. Silvat (2018): Playing a Muslim darzi in Tanuja Chandra 40-minute film set in the crowded ravine of what looks like Haji Ali’s locality in Mumbai, Kartik is quite Anwar, the shy and sensitive tailor who develops a secret passion for his favorite client. : a lonely abandoned wife Noor (Meher Mistry) whose husband emigrated to Riyadh for a job without a glance back for the woman he left behind. The center of the passionate plot, pulsating with unspoken ardor, is Noor. But it’s Kartik’s Anwar who silently steals the show. There is no exhibition of external passion here. And yet, so much is said through Anwar’s eyes. Each stolen gaze is loaded with nostalgia. The film is shot on location in a Muslim locality with street vendors frying parathas and malpuas, hawkers selling bracelets. The hustle and bustle of the street is balanced against these laden silences between Noor and Anwar. The year is 1997. And riots don’t just happen in the streets. Sometimes they also occur in a woman’s lonely heart.
Other pages: Pakeezah Box Office Collection
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