Howrah Bridge (1958)

Posted on by

32

Aaiye meherbaan baithiye jaan-e-jaan, and Mera naam Chin Chin Choo. Two great actresses, two iconic songs.

When I was doing the Helen tributes last month, I was reminded of Mera naam Chin Chin Choo all over again—and remembered, too, that I had never reviewed Howrah Bridge on this blog. It has also been many years since I last watched the film (before I launched Dusted Off), so I decided it was high time I revisited this.

Howrah Bridge begins very far from the bridge, and in fact from Kolkata: in Rangoon, where Prem Kumar (Ashok Kumar) finds his father (Brahm Bhardwaj) in a flap. Daddy is distraught because Prem’s elder brother Madan (Chaman Puri, in a cameo role) has run off from home, taking with him an invaluable family heirloom, a dragon which has been in the family for generations. We later discover that the dragon was crafted in China many centuries ago, and from there came to be owned by the king of Burma, after which it passed into the possession of Prem’s family.

Madan has always been a bad egg, and his latest exploit has just proved that. Prem pacifies Daddy (who begs him not to report this to the police; the family honour will be ruined). Instead, Prem offers to pursue Madan…

… who, meanwhile, has arrived in Kolkata. Here, Madan goes to John Chang (Madan Puri), a crook whose many job profiles seem to include being a fence for stolen goods too. There is some haggling; Chang realizes that the dragon is hot stuff; Madan dare not take it to a jeweller because it will immediately be recognized. Finally, though, they come to an agreement. Madan will hand over the dragon to Chang in return for a good sum of money.

When Madan’s gone, Chang phones his associate Pyarelal (KN Singh) to share the news. As Madan leaves the hotel, Pyarelal and his shady-looking lot follow him out.

And, later that night, on the Howrah Bridge, a gang of men throw Madan (now a corpse) off the bridge. A man, Bhikoo (Sunder), smoking gaanja on the bridge is the only witness, but the murderers run off before Bhikoo can get around to doing anything. However, a passing steamer’s blazing light shines briefly on the face of one of the culprits, illuminating it long enough for Bhikoo to get a very good look.

Bhikoo hurries to tell his girlfriend Chhamiya (Kammo) what he saw, but Chhamiya is dismissive: this is the gaanja speaking.

Thus it is that Prem, when he arrives in Kolkata (it’s never explained what has made him come here, what clues he’s followed that lead him to this city), learns that Madan is dead. Fortunately for Prem, an old acquaintance, Shyamu (Om Prakash), who used to live in Rangoon, has been in Kolkata for a while now. Shyamu drives a tonga, and immediately takes Prem under his wing. Tells him the sad news, and also tells Prem that he had seen Madan at the shady hotel run by Chang.

Shyamu takes Prem to this place, where Prem stops long enough to watch a performance, and then to see a newcomer enter the place. Edna (Madhubala) is also a dancer, and is accompanied by her uncle-cum-manager, Joe (Dhumal). Prem recognizes these two: they had been on the Rangoon-Kolkata ship along with him, and he had seen Edna dance onboard as well. There, Prem had given her the cold shoulder, but he’s rather more amenable to making friends with her now.

Even more so when Shyamu, noticing that Prem has met Edna, mentions that Edna and her uncle own a shady hotel of their own and are up to no good. Shyamu is of the opinion that Edna and Joe might know something of what happened to Madan, where that dragon got to. Prem decides that a friendship with Edna might be very useful, but (on the advice of Shyamu) introduces himself as Ramesh.

In a private conversation between Edna, Joe, Pyarelal and Chang, it becomes obvious that:

(a) This lot is up to no good, and seem to be involved in smuggling. It’s not just Chang and Pyarelal either (though they are the masterminds); Joe is definitely in their pay, and does occasional nefarious work for them. And Edna, it appears, has also been helping out.

(b) Pyarelal has his lecherous eye on Edna.

(It later emerges that Pyarelal wants to marry Edna, no less, so perhaps he isn’t completely lecherous, but he is willing to pay Joe Rs 1,00,000 for her. This, naturally, shows neither of these two men in a good light when it comes to their treatment of women).

Prem aka Rakesh, in an attempt to get closer to Edna, moves to the hotel (owned by Joe) where she dances. Soon enough, too, Prem and Edna have grown quite close and are making promises of eternal love to each other.

This, therefore, is the set-up. Prem still does not know where the dragon is, or whether Chang really is responsible for Madan’s death. Mostly (given that Madan was so unscrupulous and had robbed his own family), Prem doesn’t seem at all bothered about avenging his brother’s death or any such thing; all he wants is to get his hands on the dragon and take it back home to Rangoon…

Directed by Shakti Samanta and based on a screenplay by Ranjan Bose, Howrah Bridge is supposed to have had its genesis during a stint in hospital by Shakti Samanta. He had been seriously injured in 1957, and thought up the story while recuperating. The story, narrated to good friend Ashok Kumar, appealed to the actor enough to make him agree to working in it. Madhubala, coaxed by Ashok Kumar to act in Howrah Bridge even though Samanta could not afford her fee, agreed as well.

The film ended up being one of the top hits of 1958, and two of its songs—the ones I mentioned in the introduction, above—ended up being classics.

What I liked about this film:

The music, by OP Nayyar (with lyrics by Qamar Jalalabadi and Hasrat Jaipuri). My favourite songs are Aaiye meherbaan, Mera naam Chin Chin Choo and Dekhke teri nazar, but there are several others, too, which I like a lot: Eent ki dukki paan ka ikka, Yeh kya kar daala tune, Mohabbat ka haath jawaani ka palla and Gora rang chunariya kaali.

Then, there’s Madhubala as Edna. She’s ethereal, so beautiful that she just has to come onscreen for me to stop seeing everybody else. Plus, I like the somewhat progressive aspect of this character: in Hindi cinema back then, for a heroine to also be a dancer (and that too a ‘Western’ dancer, not a classical Indian dancer) was a no-no. And not just any dancer; not a good college girl, for instance, who went on stage to dance for a charity—but a performer in a club. A Christian woman (probably Anglo-Indian? It’s never explicitly stated, but I’m guessing), moreover. In the average 50s Hindi film, Edna would have been the vamp, not the heroine, and she would have died protecting the hero from the villains (and the hero would have gone on to marry a good, sanskaari Hindu heroine).

That Shakti Samanta chose to have Madhubala play this refreshingly different heroine is admirable. And that Madhubala, one of the leading actresses of the time, had the guts to play Edna, is equally admirable.

Then, the climax, on the Howrah Bridge. While the bridge does appear now and then in the course of the film (as in the scene, say, when Madan’s body is disposed of; or when Edna takes Prem for a brief boat ride; also during the song Eent ki dukki paan ka ikka), it’s near the end that the bridge is truly highlighted. The architecture of it, how little the human figures look as they crawl across it, how insignificant even the crowds appear as they gather to look up: it’s all very impressive.

Overall, too, I find Howrah Bridge generally entertaining. The plethora of good songs, the noir-ish tone to some of the film, the views of Calcutta (and especially of the bridge), the good cast, even the excellent background score (which consists of instrumental re-arrangements of songs, especially Aaiye meherbaan): all come together into an enjoyable film.

What I didn’t like:

The plot holes. Some of this, I suspect, can probably be put down to Ultra, whose version I watched on YouTube (here). But there are unanswered questions too that add to the confusion: what made Prem come to Kolkata? Where does he get hold of the fake dragon with which he approaches Chang (and, really, to what end)? Why does he even pretend his name is Rakesh (does he really think he’s known to Chang and Pyarelal)? Yes, it’s fast-paced enough, and there’s much intrigue, but a good bit of connecting the dots and surmising about what might have happened is left to the audience.

And, one recurring aspect of wonky continuity that was irritating: the length of Edna’s hair. Edna’s hair, several times in the film, changes length even when her dress and other accessories remain the same. Just so careless.

But, all said and done, a likeable enough film.

32 thoughts on “Howrah Bridge (1958)”

  1. Hehe, such glitches were very common (placement and intensity of injuries as well :)).

    Aaiye meherbaan…is my favourite cabaret song, Madhubala at her best. I haven’t seen this movie though.

    Last week I watched a nice movie: ‘Apne Paraye’ (Shabana Azmi, Utpal Dutt, Amol Palekar, Girish Karnad). And now, YouTube is offering several similar options. Saved them all. :)

    Liked by 1 person

    Reply

  2. Madhu,
    A nice film. The only thing jarring for me was Madhubala’s accent. That is how Christians/Anglo Indians were supposed to speak – “Hum karenga” and so on. Though my experience is very different. In real world many Christians speak Hindi as any of us. If you ignore that I would rate it as a good movie.
    AK

    Liked by 1 person

    Reply

    • I did think of adding that in my review, AK, but then I remembered what former blogger Harvey (who is from Konkan) had mentioned to me a long time back when I had written a post about the stereotyping of Christians in Hindi cinema: he said that a lot of East Indian Christians from Bombay speak in exactly that style, which is perhaps why film-makers from Bombay tend to think all Christians speak like that. Even my mother (who grew up in Calcutta) said that most of the Anglo-Indians in Cal spoke that way. So I decided to give Edna some leeway. :-)

      Of course, in Hindi-speaking areas, Christians never speak like that. In fact, with a vast number of Christians in North and Central being actually Hindi-speaking, even church services are in Hindi.

      Like

      Reply

        • Who knows! I guess just a lyricist doing their own thing. Which reminds me, when I was watching Howrah Bridge, it struck me that Edna’s Hindi is grammatically – and from the point of view of vocabulary – perfect, when she’s singing. :-)

          Like

          Reply

  4. Nice review as always. Which Hindi cinema music lover hasn’t heard the songs of Howrah Bridge ? I have spent a few years in Calcutta (1988-1992) and would like to see how the real Howrah Bridge has been portrayed in the movie. Despite plot holes and continuity jerks if It’s an entertaining movie, I should watch it.

    Liked by 1 person

    Reply

  5. Not quite my favourite Shakti Samanta movie but entertaining enough because of OP Nayyar’s music and of course, Madhubala. How lovely is she! And yes, so refreshing to see a Christian/Anglo Indian character who’s a club dancer not just as the lead but also get a happily ever after.

    Liked by 1 person

    Reply

  7. Madhuji, I watched bits and pieces of the movie. I will surely try and watch it fully sometime. By the way, when I was researching for my post on Rafi’s interviews I found a small clip of the rehearsal of the song Mohabbat ka haath jawaani ka palla. It is really interesting to see how a song takes shape and how much of reworking goes into a song before it is finally launched. Here is the link. https://www.youtube.com/watch?v=82FIfMX0lU8. Hope this comment does not land in the spam category as I have added a link.

    Liked by 1 person

    Reply

  8. Good review , Madhu. I saw this movie in bits and pieces some time back and didn’t like it much. However I’ll have another go at it after reading your review. I’m very interested in the financial deals of old movies and to compare them with this age .You mention that Pyarelal was willing to pay Rs. 1,00,000 for Edna ! That was an Enormous sum in 1958 ! I often wonder how people could bandy about such huge sums of money back in the ’50’s and ’60’s when India was quite poor. ( In ‘Parakh’ the sum of Rs. 5 lakhs is offered to the best citizen of a small village in 1960 ! That would be a staggering amount in today’s revenue ). Anyway, now because of your post on “Zindagi” I started this New Year with the movie “Zindagi Zindagi” recommended in your blog . Starring Sunil Dutt and Waheeda Rehman, both past their prime, it was about the caste system, the movie , however, was a drag . Here’s a racist joke, but not really so ‘coz it was created by a Bengali himself .( Actually a large number of Bengalis speak awesomely good English , better that most people of other states. ) But the common man over there says “I am enjoying the brij at Howrah Breeze “.

    Liked by 1 person

    Reply

    • I’m sorry you found Zindagi Zindagi a drag! It’s been ages since I watched it, so I have very little memory of it.

      That’s an interesting insight into the monetary aspect of things. Yes, I see it again and again, and it does make me marvel at how things have changed, how very different it is. Actually, even in the course of a lifetime. In the late 1980s, I remember going with my sister for lunch at a local Udupi restaurant in Delhi. A big, satisfying lunch, for the princely sum of Rs 12. Today, Rs 12 is unlikely to get you very much more than a couple of bananas, if that!

      That joke is hilarious. My brother-in-law (who is Bengali himself) first told me that, and it’s always been a favourite joke in our home. :-)

      Like

      Reply

  11. Though Howrah Bridge was touted as one of the best crime thrillers of its time, I was left feeling a bit dissatisfied by it. There wasn’t enough intrigue and suspense for my liking, and plot holes/ loose ends are, unfortunately, a staple of older Hindi thrillers. Still, I remember quite liking Howrah Bridge when I first saw it, primarily for Madhubala. I didn’t notice just how unconventional Madhubala’s role was at that time, but you are right; it was certainly a bold move for her to play such a heroine. I was delighted that Edna wasn’t just a love interest who resorted to singing and dancing but had a somewhat substantial role. Even Police (1958), which I rewatched on TommyDan’s channel, turned out to be a pleasant surprise because Madhubala’s character played an integral role (by Hindi film standards) in solving the crime and catching the culprits.

    Liked by 1 person

    Reply

  12. Lovely review, Madhu! And for a change, of a movie I’m familiar with. I really enjoyed watching the movie. Agreed OPN’s music was superlative, and so was the oooooh! the divine, divine Madhubala! Geeta Dutt’s rendition of Mera Naam Chin Chin Choo was another high point for me.

    Liked by 1 person

    Reply

    • I’m glad you enjoyed this review, Abhik. Thank you! And yes, Geeta Dutt’s rendition of Mera naam Chin Chin Choo is fabulous. She was so versatile, far more so than many of her contemporaries.

      Like

      Reply

  13. A nice review of an excellent movie Howrah Bridge ! Among the top three films of my choice. Whatever plus or minus in the film, it comes to my mind whenever I think to watch an old classic. So fascinating that you start loving every frame of the film; even the mike which Madhubala holds singing ‘Aaiye Meharban’ evokes nostalgia.

    A short stint of musical score of only few seconds, when Ashok Kumar looks at the Howrah Bridge through the window of Uncle Joe’s hotel, truly expresses the sentiments of gloomy Askok Kumar.

    Interestingly, all the male voice songs, solo or duet, were picturised on comedians !

    Dekh ke teri nazar – Paachhi.
    Muhabbat ka haath – Sunder.
    Main jaan gayi tujhe saiyan – Sunder.*
    Eint ki dukki – Om Prakash.
    Gora rang chunariya kali – Mehmood.

    ( Wishing, Johny Walker was also in the film to give us one more musical hit from OP Nayyar ! )

    Ashok Kumar, perhaps didn’t prefer to sing, though he simply whistles in ‘Ye Kya Kar Dala Tuney‘.

    * The wordings sung by illiterate Tongewala Bhiku, Sunder, are really wonderful :

    तूं मस्त घटा मैं बादल,
    तूं आंख है मैं हूँ काजल,
    मेरी सांस में तेरी खुशबू,
    तेरे प्यार ने कर दिया पागल ।

    Really a must watch movie, & equally excellent review ! I have watched the movie countless number of times, & still counting.

    Indra Pal Singh Pahwa.

    Like

    Reply

    • I am glad you liked the review, thank you. And an equally heartfelt thank you for that very interesting comment about how all the male voice songs here are picturised on male comedians, not on the hero. I hadn’t even noticed that!

      Like

      Reply

Leave a reply to dustedoff Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.