मुसाफिर (1957) Full Movie | Musafir | Dilip Kumar, Kishore Kumar, Suchitra Sen
Musafir, 1957
Director: Hrishikesh Mukherjee
Music: Salil Chowdhary
Lyrics: Shailendra
Playback: Kishore Kumar, Lata Mangeshkar, Manna Dey, Dilip Kumar
Cast: Dilip Kumar, Usha Kiran, Nirupa Roy, Nasir Husain, Kishore Kumar, Suchitra Sen, Shekhar, Sulochana Sen, Raj Shekhar, Mohan Choti, Bipin Gupta, Daisy Irani, Rashid Khan, Durga Khote, Paul Mahendra, Keshto Mukherjee, Hira Sawant
Anu has created from scratch subtitles for Musafir, a film I don't think has even been subtitled before. Those of us not speaking or understanding Hindi owe her a huge debt of gratitude.
Many thanks to Aparna for providing the source files for this project.
The Encyclopedia of Indian Film says this about Musafir:
The experienced editor Mukherjee’s directorial
debut constituted an important attempt to carve
out a viable independent production sector in
the Hindi cinema at the time. The film was
made by a loose collective of mainly Bengali
film people, including Ghatak and composer
Choudhury who shared a background in
radical theatre and were in Bombay mainly
through Bimal Roy’s patronage. Many of them
worked together again on Madhumati (1958).
Set in an old suburban house, presumably in
Calcutta, the film narrates three tenuously
related Chekhovian stories about three sets of
the house’s occupants. The first has the Bengali
star S. Sen as an orphaned young woman,
Shakuntala, who desperately wants her
husband Ajay (Shekhar) to make up with his
estranged parents so that she may belong to a
family once more. The second story has a
wayward young man, Bhanu (K. Kumar),
desperate to find a job to support his aged
father (Hussain) and his widowed sister-in-law
(N. Roy). The third and longest story focuses
on the shadowy figure of a neighbourhood
‘madman’ (D. Kumar) who crops up in the
previous stories as well. He was in love with
Uma (Kiron) who lived in the house but
disappeared just before their wedding day. In
the end, the madman’s death and the
miraculous recovery of Uma’s paralysed son
coincide. The stories invoke a cyclical
sequence of marriage, birth, death and rebirth,
enhanced by Choudhury’s score and some
remarkable camerawork.
#OldHindiMovie #ClassicHdMovie #SuperhitClassicMovie #DilipKumar #MalaSinhaMovie
Director: Hrishikesh Mukherjee
Music: Salil Chowdhary
Lyrics: Shailendra
Playback: Kishore Kumar, Lata Mangeshkar, Manna Dey, Dilip Kumar
Cast: Dilip Kumar, Usha Kiran, Nirupa Roy, Nasir Husain, Kishore Kumar, Suchitra Sen, Shekhar, Sulochana Sen, Raj Shekhar, Mohan Choti, Bipin Gupta, Daisy Irani, Rashid Khan, Durga Khote, Paul Mahendra, Keshto Mukherjee, Hira Sawant
Anu has created from scratch subtitles for Musafir, a film I don't think has even been subtitled before. Those of us not speaking or understanding Hindi owe her a huge debt of gratitude.
Many thanks to Aparna for providing the source files for this project.
The Encyclopedia of Indian Film says this about Musafir:
The experienced editor Mukherjee’s directorial
debut constituted an important attempt to carve
out a viable independent production sector in
the Hindi cinema at the time. The film was
made by a loose collective of mainly Bengali
film people, including Ghatak and composer
Choudhury who shared a background in
radical theatre and were in Bombay mainly
through Bimal Roy’s patronage. Many of them
worked together again on Madhumati (1958).
Set in an old suburban house, presumably in
Calcutta, the film narrates three tenuously
related Chekhovian stories about three sets of
the house’s occupants. The first has the Bengali
star S. Sen as an orphaned young woman,
Shakuntala, who desperately wants her
husband Ajay (Shekhar) to make up with his
estranged parents so that she may belong to a
family once more. The second story has a
wayward young man, Bhanu (K. Kumar),
desperate to find a job to support his aged
father (Hussain) and his widowed sister-in-law
(N. Roy). The third and longest story focuses
on the shadowy figure of a neighbourhood
‘madman’ (D. Kumar) who crops up in the
previous stories as well. He was in love with
Uma (Kiron) who lived in the house but
disappeared just before their wedding day. In
the end, the madman’s death and the
miraculous recovery of Uma’s paralysed son
coincide. The stories invoke a cyclical
sequence of marriage, birth, death and rebirth,
enhanced by Choudhury’s score and some
remarkable camerawork.
#OldHindiMovie #ClassicHdMovie #SuperhitClassicMovie #DilipKumar #MalaSinhaMovie
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