…which could probably have been more appropriately titled How to Jump to Conclusions and Mess up Lives. Or Never Trust a Sinister Mamu. This is one Muslim social – a genre I have long admitted to being very fond of – which has been recommended to me so often, I’ve lost track of the recommendations. On the one hand, I wanted to see it because it has some lovely songs; on the other, the thought of watching Meena Kumari in one of her last few films – well, that wasn’t something I was really looking forward to with anticipation. But all those recommendations tilted the balance.
Whenever people ask me what my movie blog is about, I say pre-70s cinema. Pre-70s, yes, but with a few (very few) exceptions, and those are films released in the very early 70s, but with a distinctly 60s feel to them. Pakeezah is the example I invariably give: a film released in 1972, but with an aura that’s recognisably of an earlier period about it, whether it’s in the fashions, the actors, or the overall look of the film.
Since I generally steer clear of reviewing very well-known films, the format of this review is going to be slightly different from my usual film review. I’ll begin with a much briefer synopsis than usual, then go on to discussing—in far greater detail than I normally do—what I liked about the film, what I didn’t like, and sundry other musings regarding Pakeezah.
‘Bimal Roy’s Benazir’ is what it says on the DVD cover. Enough to conjure up, for me, memories of some of the greatest Bimal Roy films I’ve seen: tender, thought-provoking, real films about real people. Benazir, perhaps because it wasn’t directed by Bimal Roy himself but by S Khalil (who also scripted the film) falls short of the standard of Parakh, Prem Patra, Sujata, Do Bigha Zameen, or Bandini. A top-notch cast, a very well-respected production company, a master music director—but why does this film rarely get mentioned in the same breath as those?
I’ve always had a soft corner for Muslim socials—I find the tehzeeb quite beguiling. It also probably has a lot to do with the fact that Urdu has a mellifluousness that few languages possess. And most actors look great in achkans!
So, having recently re-seen some old favourites (including Mere Mehboob, Pakeezah, Chaudhvin ka Chand and Nakli Nawab), I decided it was time to watch some I hadn’t seen before. This was the first of the lot, and not bad, really.