FilmIndia (1948)

OUR REVIEW " Mehndi " Gives A Bad Headache ! Muslim Social Fails To Entertain ! MEHNDI Producers: Fazli Films Language: Hindustani Story: Syed M. Fazli Dialogue and ) Songs: I ^Shar Nizami Photography: P. Divecha Audiography: A. Nadir and Panchal Music: Ghulam Haider Cast: Begum Para, Nargis, Murad, Ghory, Jillo Bai, Jani Babu etc. Released At: Capitol, Bombay Date of Release: 19th December '47 Directed By: S. FAZLI This is what Muslim producers :all a Muslim social picture. In fact there is nothing specially Muslim about it as the pattern of the plot is typically Indian and as such common to all the communities of India. Nevertheless, it is still a "Muslim Social" because its producers call it so and because not a single Hindu, except, of course, the ever friendly Karan Dewan, has acted, or perhaps, has been permitted to act, in it. The story fails to appeal mainly because stories with similar themes have come on the screen before — the nearest parallel being "Pehli Nazar" produced by Mazhar Khan. When you see a Muslim social story you mustn't be shocked by the complete absence of Hindus, Christians, Parsis or Jews in it. The characters of these Muslim socials almost always live in a special Garden of Allah where no one except Muslims live. Even in weddings when all the neighbours, whatever their religion, are invited you don't see even a single Hindu even as a solitary sample for future conversion to Islam. RABBLE OF POETS In this particular picture we see the poets of Allah. They are Recruit Thakur R Gurbaxani of 2, Club Road, Bikaner, is 24, a graduate and 5'-8V2'. called "Shayars" who write verses and keep saluting in gratitude when others around cough out their almost too-ready appreciation. The way Muslims like almost every word of Urdu and every line of any verse written by every and all Urdu poets, it seems that all Muslim poets, without a single exception, are indeed great composers whom Allah has specially sent down to entertain the faithful. Even the women, from behind the curtain, enjoy the Urdu jugglery of words which almost tickles them into marrying some poet or other. The poets also imagine themselves to be great singers and bray and bellow till you feel the presence of quadrupeds dangerously near. Even this braying and bellowing by bearded poets is loudly applauded with "Mashallahs" and "Subhanallahs" by the generous crowd before and behind the curtain. S. Fazli has introduced a "mushaira", a mutual admiration rabble, in the picture. Making this an excuse, he shows us some poets of India in a separate reel and completely destroys the glamour nursed by us through intimate association with their poems. Except Josh Mallihabadi, not one Urdu poet introduced by Fazli looks a poet. The faces of others have almost taken away the beauty from their poetic words. What a pity! This clumsy "mushaira" apart, the plot of the story is childishly simple. Kulsum and Nadira are friends. Kulsum is poor and Nadira is rich and fashionable. Kulsum marries a poor school teacher who soon loses his job and goes to Europe with the help of his wife's ornaments. He returns from Europe and becomes the principal of a school and meets Nadira whom ho inveigles to marry him without telling her of Kulsum's relationship with him. On the day of the marriage the two friends, Kulsum and Nadira, meet and very soon the story reaches its climax in which the teacher is exposed and saved from bigamy even though Islam sanc tions four wives and the Congress Ministries do not come in the way of the Muslims. NARGIS SHINES The entire picture is an amateurish attempt. There is nothing experienced or seasoned about it. The story is poor; the dialoguei could have been better and the music is hopelessly poor and unattractive. The technical work is careless. The direction of S. Fazli is about the most amateurish part of the picture. It has neither intelligence nor imagination. The solitary merit of the picture is the performance of Nargis in the role of Kulsum. It is unusually good because Nargis hasn't to shout or shriek long and passionate dialogue in this picture. In the scene in which Nargis discovers the material evidence of her husband's intention to marry the other girl and subsequently talks with her brazen faced husband sitting on the same sofa she excels herself and gives a superb performance of restrained pathos. Begum Para has nothing to do except weaj good dresses and wait upon Kulsum. She does all that well. The rest in the picture prove boring. In spite of Nargis's good performance "Mehndi" gives a bad headache and bores one stiff throughout, Even the interval doesn't seem to come, then why speculate about the end! "Mehndi" is not a money maker for exhibitors. There are more chances of losing money than making it in this picture. 47