Madhumati

Plot synopsis:
On a stormy night, Devendra (Dilip Kumar), an engineer, drives down a hill road with his friend to fetch his wife and child from the railway station. A landslide blocks their path and the friends take shelter in an old mansion off the road. Devendra finds the house uncannily familiar. In the large front room, he finds an old portrait which he recognises. His friend and the old caretaker join him, and Devendra, amidst flashes of memory from another life, sits down to tell his story while the storm rages outside.
Anand (Dilip Kumar) had come to Shyamnagar Timber Estate as its new manager. An artist in his spare time, he roamed the hills and fell in love with Madhumati (Vyjayantimala), a tribal girl whose songs have haunted him from a distance. Anand's employer, Ugra Narayan (Pran) is a ruthless and arrogant man and, as Anand refuses to bend down to him like others, he incurs his wrath. Anand has enemies among his staff. Sent away on an errand, he returns to find that Madhumati has disappeared. He learns that Madhumati had been taken to Ugra Narayan and confronts him, but he is beaten unconscious by Ugra Narayan's men. While the men are taking Anand's body out of the palace, they meet Madhumati's father (Jayant) who has to fight for his own daughter's death. He does it and wins but dies lying on the road, while Charandas (Johnny Walker) hides and takes Anand's body to the hospital.
Anand's life is saved but his mind wanders. One day, he meets a girl who looks exactly like Madhumati. She says she is Madhavi but Anand refuses to believe her and is beaten up by her companions when he tries to plead with her. Madhavi finds a sketch of Madhumati and realises he was speaking the truth. She takes the sketch and learns his story. Meanwhile, Anand is haunted by the spirit of Madhumati who tells him that Ugra Narayan is her killer. He appeals to Madhavi to pose as Madhumati before Ugranarayan and help him get a confession out of him and she agrees.
Returning to Ugranarayan's palace, Anand begs permission to do a portrait of him. Next evening, with a storm brewing outside, Anand paints Ugra Narayan. At the stroke of eight, Ugra Narayan sees the pretend-Madhumati in front of him. Shaken, he confesses the truth. The police waiting outside the room come and take him away. Anand suddenly realises that the questions Madhavi asked Ugra Narayan were things she could not have known, as even Anand did not know, such as where Madhumati was buried. Madhavi just smiles and moves towards the stairs. The real Madhavi, dressed as Madhumati, then rushes into the room. She is late, for the car failed on the way. Anand realises it was Madhumati's ghost he had seen, not Madhavi. He runs up to the terrace, where the ghost beckons to him. Madhumati had fallen from the same terrace, trying to escape Ugra Narayan. Anand follows the ghost, falling to his own death.
Devendra's story is over. But he says "I finally did have Madhumati as my wife. In this life – Radha." Just then, news arrives that the train in which his wife was travelling has met with an accident. The road is cleared, and they rush to the station. Devendra's wife, Radha (Vyjayantimala) appears, unhurt with her baby.

Tags: revenge, romantic, flashback

Review:
One of the most beautiful Indian Films.
Simply beauty.
Vaijyanthimala is simply exceptional as a village girl.
deals efficiently with human relationship and love.
Great movie 10/10 one of the top movies of Indian cinema.
I saw a previous comment about excessive length and I disagree with that.
it is a well made film with not a single dull moment.
The songs are the main strength of the movie are and are all time classics.
Ask an Indian about "Dil tadap tadap ke kah raha hai" or "julmi sang aankh lagi" and the first thing in mind is the word madhumati!
Like most Indian movies there is a feel good ending that some how dampens the strong emotional affect of the tragedy in the movie.
But thats what is the Indian cinema is most known for: it may be tragedy but when you come out of the cinema it feels good..
A romantic tragedy.
The movie Madhumati was made for lovers everywhere.
It portrayed the saying "love never dies" perfectly and the actors, Dilip Kumar and Vijantymala were the perfect couple in this love story.
There was just the right amount of romance and tragedy shown in this movie with a very interesting twist towards the end.
The songs were amazing and they fit the movie perfectly.
My favourite one was "toote hoi khabo ne." To top it off, Johnny Walker gave a wonderful performance that added much needed comedy to this film.
I cannot think of any scene that i disliked, the directors did a wonderful job making sure that the movie was always interesting.I would highly recommend this movie to anyone who likes romance..
Timeless tale.
Dilip Kumar is Anand, a man who is rushing to the train station to meet his wife and kid.
On the way his car breaks down and he has to seek shelter in a dilapidated mansion.
There he begins to have memories from a past life and remember and retells his life as Deven an accountant for the rich and cruel Ugra Narayan (Pran).
Deven meets the shy village belle Madhumati and a romance grows.
But there is past bad blood between Madhumati's father and Ugra Narayan.
Ugra Narayan's nefarious plans involve separating the two lovers and the outcome is dire.
Deven is devastated until he meets a girl who resembles his Madhumati.
What role will she play in his life?
Will Madhumati and Deven be united in this or a future life?
The movies weaves a beautiful tale of the past and the present and has a twist on the reincarnation story.I was never a huge fan of Dilip Kumar but here he is stunning.
Exceptionally good looking, understated in both the romance and the sadness but never wooden.
Vyjayanthi as Madhumati uses the finger to the lip and wide eyes to convey her innocence and it does work to a certain degree.
But in her other personas she is fabulous, and can she dance!!
Johnny Walker is kind of annoying, but strangely enough he is the only actor who won an award in this film!
Pran is the quintessential villain in the era when a villain was needed in every film.
He plays the bad man quite well and with a certain emotional depth - he first invites Deven as a friend but is spurned and you are left to wonder if he and the story could have taken a different trajectory had his offer of friendship been accepted.The direction is superb.
Bimal Roy tells the tragic tale of Madhumati in a very matter of fact way that still manages to engage the viewers' emotions - the moody way the mountains are shot with a mist enveloping the tragic lovers, the shadows and light in the forests, the precipice that immediately tells you bad things will happen.
Hrishikesh Mukherjee edited the film, Rajinder Singh Bedi and Ritwik Ghatak wrote the story and dialogs - this is an assemblage of talents that delivers the goods in an exceptional way.A discussion on Madhumati is not complete without talk of the songs.
Shailendra wrote the lyrics and Salil Chowdhary composed the music.
The movie almost begins with that mother of all road songs Suhana Safar Aur ye Mausam Haseen.
Then, in a very unusual twist, as it ends there is the start of another number - the haunting Aaja re Pardesi!
There is the folksy Daiyya re Daiyya re Chadh Gayo Paapi Bichua (you might laugh at the lyric subtitles - they do not get the point) and the stage number where the scorpion is imagined!
Then there are the peppy Dil Tadap Tadap Ke and the Zulmi sang Aankh Ladi, the soulful and sad Toote hue Khwabon Nein.
Each song is a gem and the soundtrack is worth buying.This is a fine golden oldie, worth many a repeat watch..
MadhumatiLove never dies!.
Tinged with whimsy, 'Madhumati' is a primeval tale of reincarnation, with retribution and eternal love.
Bimal Roy, a poet of light and shadow, draws you in with sheer lyricism.
Cinema here is more than just the telling of a story.On a stormy night, Devendra (Dilip Kumar) and his friend (Tarun Bose), who are on their way to railway station, take shelter in a creepy and deserted mansion.
Exploring the house, Devendra finds a painting of its former owner, Raja Ugaranarayan, and feels he has painted the portrait.This cues a flashback to his previous life as Anand, when he worked as a foreman on a timber plantation, owned by Raja Ugaranarayan (Pran).In the hauntingly beautiful jungle, he sees Madhumati (Vyjantimala), a beautiful village belle, and falls for her elemental appeal.Initially her father, the Pan Raja (Jayant) disapproves of their relationship, but when Anand vows to marry her, everything works well.
But, the wicked Ugarnarayan casts his evil eye on Madhumati.
When Pan Raja goes to the city, Ugaranarayan arranges for Anand to visit a nearby village.
And then the news of Anand's accident reaches Madhumati, and she rushes to the mansion, little knowing that this is a plan to trap her'Madhumati' won 9 Filmfare Awards.(Best Art DirectorSudhendu Roy, Best CinematographerDilip GuptaBest Dialogue WriterRajinder Singh Bedi, Best DirectorBimal RoyBest EditorHrishikesh Mukherjee, Best FilmBimal RoyBest Music DirectorSalil Choudhury, Best Playback Singer  FemaleLata Mangeshkar For the song 'Aaja Re Pardesi,' Best Supporting ActorJohnny Walker)Vyjantimala is excellent, and Dilip Kumar's convincing turn at befuddlement, earnestness and fascination anchors our belief in the events.The story, punctuated by plenty of dark cloudbursts, sustains its suspense through complications that include a flashback within the flashback a train wreck in the frame story, and no less than three different embodiments of the heroine.The film deploys an eerily romantic atmosphere, enhanced by Salil Choudhury's background score and Hrishikesh Mukherjee's editing.The imagery evokes passion, linking the beautiful Madhumati with nature and tribal cultures, beyond the grasp of capitalist appropriation..
Madhumati(1958).
Although the main theme of this film was a by-word in Indian cinema,superior direction by Roy and acting by Kumar and Vyjantimala plus the haunting music and lyrics contrived to make this the ultimate movie of its kind.
It has its flaws.The comedy apart from Walker is unasked for.As the tragic lovers Dilip KUmar and Vyjantimala never acted better together.An enduring masterpiece which never ceases to amaze.I have seen it countless times but still marvel at it.Pran and Jayant are also in good form and the photography is excellent.Alesson for the modern times,making maximum use of natural scenes to show feelings,moods and the fallacy of man.Few directors could have surpassed Bimal Roy..
An achievement in Indian Cinema.
Most reviewers forget that they are watching a movie made in India in 1958 and that too in black and white.
To see it with FX-laden tinted glasses would be do do a disservice to the makers and the actors.
regardless of the overall delivery of the film.
Though even today ( and i must have seen this movie 10 times already ) you shudder at the thought of Pran in the empty large house, you creep at the surreal lighting, you rejoice at the music and its uplifting raw tribal rhythm, and how you wish you had the panache of Dilip Kumar or the grace of a Madhubala.
The plot keeps you in your grip while the music and the acting are a feast for your senses.
- if you appreciate good cinema, this is a treat.
But remember it belongs to a time, when films, like people used to take their time to unfold and once open would invite you into their arms and never let you go.
As a tribute to the masters and a tongue in cheek to Bollywoods plagiarist accusations - the recent Blockbuster of 2007, OM Shanti OM, has lifted its Climax totally from this film.
Go Check..
Beautiful love story.
Bimal Roy's movies were invariable a tragedy.
In this movie he tried to make a happy ending story.
Music being the hallmark of his movie, takes the centerstage here too.
The song 'suhana safar...' was put to get that romantic touch and happiness into the movie.
But invariable that tinge of sadness is apparent.Madhubala at her best and what to say of Dilip Kumar, better watch it.
And for those non-Indian viewers, look for the song 'bichuva..' ..
Very Good Plot.
The movie is the story about a hilly village, Shyamnagar.
One of the most important things in the movies of 50's and 60's was that they shown strong characters and each and every word that the characters spoke shown a sense of strength.
Madhumati is no exception.
The direction is excellent.
Bimal Roy was on his road to be a legend after Madhumati.
Dilip Kumar and Vijayantimala played another great roles after their success in Devdas.
Music was another strength of the movie.
The songs "Suhana Safar" and all others created history.
Pran also played his role exceptionally well.
The movie is recommended for everyone.
The main drawbacks of the movie were:1.
The scene in which Dilip Kumar saves a child from the horse of Pran was really poor.
Dilip Kumar comes from a long way and it is shown that the child was very near to the coming horse, so it was totally impossible for someone to come from 200 meters and save a child.2.
The voice "Aaja Re Pardesi" of Vijayantimala that comes from the hills creates a sense of mystery in Dilip Kumar but there was nothing like that.
In fact, it should have been shown like a girl singing in hills but it looks as if a spirit is singing.3.
When Pran invites Dilip Kumar to make his portrait, he refuses in less than a second, but he should have waited for at least two seconds.
Then he says that he is busy but he was enjoying the scenery.
So when Pran says that yes he is seeing how much busy he is, he does not show any kind of expression that may show that if Dilip Kumar is busy, and he has no time for making my portrait, then what is he doing there at the moment..
The genius called Bimal Da. Perhaps if not "the best" certainly one of the best from Bimalda's kitty.
Way back in 1958 Bimalda managed to weave a intriguing and nail- biting suspense movie which is nothing short of creative genius.
The black-and-white format actually works to the advantage of the storyline to give it an eerie feel.
♦ Dilip Kumar:: Honestly after watching "Madhumati" I could really appreciate Dilip Kumar's authority over the fine nuances of performance.
The subtlety he effectively brings up on the screen deserves special mention.
As Deven/ Anand he delivers a spot-on performance.
♦ Vyjayanthimala:: The actual protagonist of the movie.
As Madhu she gets into the skin of the character without going overboard.
The rest two characters Madhavi & Radha can be categorised as special appearances.♦ Pran:: Now no wonder Dilip Kumar refused to work with Pran after Madhumati.
If not stealing the thunder right under the nose, he gave a tough fight.
As Ugra Narayan he ensures you hate him to no limits.Rest of the star-cast was adequate.
Music was integral to Madhumati.
Had it not been Shailendra lyrics churned into haunting melodies by Salil Chowdhary, the movie would not have reached the cult status.
Lata Mangeskar I am sure catapulted to dizzying heights after the success of the her numbers.
Songs by Mukesh & Rafi are equally soulful.
Due credit is deserved for the story by Ritwik Ghatak who later on became a yard-stick in his own right.
And of course Rajinder Singh Bedi who pens the dialogues.No wonder Bimal Da held maximum number of Filmfare awards and held undisputed record for many decades..
Gorgeous, heated, classic Indian melodrama....
Here's a brooding and heated melodrama, that seems to me (as an non- Indian, English person) to have taken some great lines from myth and legend and put them all into a romantic drama that transcends time.Having bought director Bimal Roy's 'Devdas' and played that, I found that I'd recorded Mudhumati from Film 4 years ago, but had never got round to playing it - what better time than now to do so?I loved the multilayers of humour, the darker, sinister sides, the romance, the beauty and the love shown for the landscape and even the singing and dancing, which I have to admit, had always put me off 'Bollywood' films, before.
Though long, over 3 hours with ad breaks, it was always compelling and ticked so many boxes that make for a really good film.The on-screen quality, though, was a different matter, though, so bad were the white blemishes, it looked like it was sleeting on occasion!
Sound was poor, too.
One does get used to this, at least a bit, though and would probably lose some of its mysticism if it were a perfect digitally restored version, though I might actually buy such a disc, if one was released here and at a keen price..
Flawed but still interesting.
Madhumati is far short of a perfect film.
it's main flaw, like with many Bollywood ventures, lies in its pacing.
The narrative is stretched out too thin (although there are rumors that some additional convolutions of the plot's reincarnation themes were chopped off after it was felt that they would make the story confusing), there are an insane number of song-breaks (although the songs are crisp with lyrics bearing relevance to the film's theme) and apart from the prologue almost 2/3rds of the film is a conventional fairy-tale romance and tragedy theme.
But in entirety it does have points of interest for the genre fan and is a good notch above uninspired mainstream Bolly product.The film boasts some very effective scenes thanks to excellent editing and moody cinematography.
Also a great performance from Dilip Kumar as the obsessed lover.