Eid-Ul-Fitr 2021: Chaudhvin Ka Chand, Mere Mehboob, Pakeezah And Others; 5 Films That You Must See On The Festival

On the joyous occasion of Eid-Ul-Fitr 2021, check out the films where Eid serves as a pivotal plot point. Chaudhvin Ka Chand, Mere Mehboob, Pakeezah, Nikaah and Silvat; five films that you need to add to your Eid watchlist

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Eid-Ul-Fitr 2021: Chaudhvin Ka Chand, Mere Mehboob, Pakeezah And Others; 5 Films That You Must See On The Festival
Eid-ul-Fitr has been celebrated in a big way in many of our films. The festival is also called ‘The Festival of Breaking the fast’ which marks the end of the month-long dawn-to-sunset fasting of Ramadan celebrated by the Muslims across the world. On the joyous occasion of Eid-Ul-Fitr, check out the films below, the ones where Eid serves as a pivotal plot point. Chaudvin Ka Chand, Mere Mehboob, Pakeezah, Nikaah and Silvat; five films that you need to add to your Eid watchlist.

Chaudhvin Ka Chand (1960):  Guru Dutt’s first and only ‘Muslim Social’ a genre  of cinema that  celebrated  the obsolete  if not altogether non-existent Nawabi culture,  was  made to  counter the losses he suffered with  the autobiographical  Kagaz Ke Phool . While that film was all about life  Chaudhvin Ka Chand  had nothing to do with real life. Two Muslim  best friends  Aslam and Nawab (played by Guru Dutt and his real-life buddy Rehman) both  love  the same beauty Jameela (Waheeda Rehman). The  title song written by Shakel Badayuni as  the ultimate ode  to  love and beauty, captured  the actress in  all  her  resplendent beauty in colour  while the rest of  the  film is in black and white. The film is  set  in the city of nawabs Lucknow and captures the ethos of  luxuriant  romance  rather  flamboyantly. This is Guru Dutt’s least subtle  work.

Mere  Mehboob (1963): This Muslim Social blockbuster  featured Rajendra  Kumar and Sadhana , two non-Muslim actors, who fall in love on a  train  and have  to go  through  various  storms in ornate teacups  before the  ultimate nikaah. The film was remarkable in  capturing the  colours  music and festive   mood  of  a decadent nawabi culture. The songs composed by Naushad are specially delightful in their dulcet delicacy. My favourite being Sadhana and Nimmi dancing around water fountains and under sparkling chandeliers singing Mere  Mehboob mein  kya  nahin   not knowing that the ‘Mehboob’ they are both crooning about is  the same  person. After the release  of this film Sadhana was  often mistaken for a Muslim, and she  loved  it. Rahul Rawail’s father H S Rawail directed  this all-time hit.

Pakeezah (1972): Meena Kumari lived  the part  of  the tawaif  Sahib Jaan and the credit  for her  heart-melting  performance  must  got to  a large extent to the  music by Ghulam Mohammed. As  sung by Lata  Mangeshkar, the  Mujras, the  life  and breath of every  tawaif’s tale, are among the  finest heard in  Indian cinema: Chalte chalte yuhi koi mil gaya ttha,  Teer-e-nazar  dekhenge, Thare rahiyo  ho banke yaar re, Inhi logon ne  le lee na dupatta mera…which one  do  we choose? All ornone?  I could watch Pakeezah a million times for the songs. Meena Kumari’s performance was dependent entirely on the music. During a large part of the  film’s shooting Meena Kumari couldn’t even move because of ill health let  alone dance. The Mujra Chalte chalte was  shot with chorus  dancers and Teer-e-nazar was  performed  by a duplicate  dancer, Padma  Khanna.

Nikaah (1982):  The film that dared to challenge the Sharia laws of India. Salma Agha, freshly imported from Pakistan, played wife to Deepak Parasher who divorces her by saying Talaq thrice. Boldly, the  film questions the male spouse’s right  to discard  his marital  duties on a whim. Salma Agha not only played the lead but also sang Ravi’s chartbusting compositions which went a long way in making this  film a superhit during the  year of Amitabh Bachchan’s Nalam Halaal,  Khuddar, Satte Pe Satta and  Desh Premee.  Again the  music of Ravi  went a long  way in accentuating the  film’s  love triangle where Haider (Raj Babbar) loves Nilofer (Salma Agha) who ends  up marrying Wasim (Deepak Parasher) who  divorces her after saying ‘Talaq’ thrice. While Ms Agha was a Muslim  the two heroes were Hindus. Raj Babbar once told me he had  to brush up his Urdu to understand some of the songs  and dialogues before  vocalizing them. B R Chopra  who directed

Silvat (2018):  Playing a Muslim darzi in Tanuja Chandra  40-minute  film situated in  the crowded gully  of  what looks like Mumbai’s  Haji Ali locality, Kartik is  every bit Anwar,  the shy sensitive  tailor who develops  a secret passion for his  favourite  client: a  lonely abandoned wife  Noor(Meher Mistry) whose husband has  migrated to  Riyadh for  a job with nary  a glance back for the woman he has left behind. The  focus of  the passionate  plot, pulsating with unspoken ardour, is Noor. But it’s Kartik’s Anwar  who silently steals   the show.There is  no exhibition of outward passion here.And yet  so much is said through Anwar’s eyes. Every stolen glance is  laden with longing. The  film is shot on location in a Muslim locality  with  streetside  vendors frying parathas and  malpuas,  hawkers selling bangles . The bustle of the street is weighed against those  heavy loaded silences between Noor and Anwar. .This is 1997. And, the riots don’t  happen  only on the streets. Sometimes they also occur  in a woman’s  lonely heart.



Image source: IMDb
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