CHAUDVIN KA CHAND), which offers a contemporary and essentially secular tale centered around main characters who happen to South Asian Muslims, fairly realistically depicts their cultural and social life, and features chaste and elegant Urdu/Hindi with a rich Persian resonance. it belongs to the comparatively rare category of “Muslim social” (cf.Batish, Shankar Shamboo, Balbir, Suman Kalyanpur, Kamla Barotĭespite the poor image quality and subtitles on the available DVD (see below)-there are at least three good reasons to watch (and vah!) this under-appreciated gem of a film: KhochikarĪrt Direction: Gonesh Basak Playback: Lata Mangeshkar, Asha Bhonsle, Sudha Malhotra, Mohamed Rafi, Manna Dey, S. And guess where Shabnam and her family are going to be staying? ( Idle comment No.2: Where would we be without all these coincidences? Idle comment No.3: Without a film to watch, that's where we would be.Story: Rafi Ajmeri Dialogue: Sarshar Sailani
He is going to stay at his friend’s – Aftaab, who, coincidentally is the same Aftaab that Shabnam is affianced to. Amaan agrees but refuses to stay with the poet. Talk about spineless dolts! The imposter is street smart – he offers to pay Amaan to write poetry which he will then pass off as his own. He surreptitiously informs the imposter that he is Amaan Hyderabadi, thank you very much! But he is fully aware that he cannot write or recite poetry under his own name, in case the police are still looking for him. While travelling, Amaan runs into a party of qawwals, and a poet who is claiming to be Amaan Hyderabadi. They go off to fetch the qazi.Īnd so, Shabnam and her parents board a train to Lucknow, little knowing that Amaan is on the same train, escaping from the threat of imprisonment. Shabnam is legally an adult and once they are wed, nothing can be done. Sudhakar, a lawyer, insists that the only way out for the eloping couple is for them to get married at once. Amaan has indeed taken Shabnam to Sudhakar’s house. (One can see how he rose to be police commissioner!) He tells Shekhar that Sudhakar must have lied for love of Amaan and asks him to go to Jabalpur to see for himself. Khan Bahadur is not as easily hoodwinked. He has been making enquiries about Amaan among their mutual friends, especially Sudhakar, who he knows is very close to Amaan, but has turned up nothing. However, Shekhar, who hears him recite his poetry over the radio, recognises his voice.
Shabnam tries to convince him but finding that he is still wavering, throws his verses back at him – Zindagi bhar nahi bhoolegi woh barsaat ki raat ek anjaan musafir se mulaaqaat ki raat.* Amaan is upset at seeing her cry and reassures her saying that he will recite under a different name. How are they going to live? He tells Shabnam that she can still go home without being dishonoured.
He can neither write poetry under his own name, or take up a job for fear of her father. A sudden flash of lightning makes her cower against him, their eyes meet, she is aghast, he is enraptured, he lights a cigarette, she leaves in a hurry… but not before inspiration strikes the poet.īut Amaan is worried. He bumps (literally) into a very beautiful and very wet girl (Madhubala) who has the same idea. The director of All India Radio requests Amaan to recite something new seeking inspiration, Amaan wanders the streets of Hyderabad, until inclement weather forces him to take refuge in a blacksmith’s shop. However, he has great admiration for Amaan, and his ability to write poetry. Shama is unhappy at his going away, but makes him promise that he will write to tell them of his safe arrival.Īmaan lands up at his friend, Shekhar’s (Chandrashekhar) house Shekhar is now a police officer, and has no great appreciation of poetry. Amaan promises to help, but his own straitened circumstances force him to travel to Hyderabad where he has been called to recite his poetry. He begs Amaan to help him win back his musical acclaim. Mubarak Ali is in distress – a loss to the legendary Daulat Khan (Balam?) in a qawwali competition has led to a career setback.
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