Madhumati :: Hitchcock comes to enjoy blending of music and dance !
Madhumati remains Bimal Roy’s most successful film at BO. A great team was gathered to create this magic on screen. Story was provided by Ritwik Ghatak. Dialogues were written by Rajendra Singh Bedi. Lyrics were written by Shailendra. Music was given by Salil Chaudhary. Editing was done by Hrishikesh Mukherjee and captain of this team was, ofcourse, Bimal Roy.
Anecdote says that Ritwik Ghatak had written this story, full of formulas, to bring down the image of Director Bimal Roy. This anecdote could be wrong but if one does not know who is author of the story of the Madhumati and knows Ritwik Ghatak as intellectual director of films like Meghe Dhaka Tara then one will not believe that actually Ritwik Ghatak had written the story. This is midasian touch of Bimal Roy that he made a wonderful film out of that story and screen play and gave it ultra matured treatment and one has to see it again and again to open the layers maestro has woven to bind attention of audience.
Had seen this film on DD, years ago in childhood and had liked it then also. Then saw it again in September 2007 and was mesmerized to see its onion like layered nature. Film opens its mystery layer by layer, slowly in a truly feminine way.
To say a mysterious story through visuals one needs actors who are skilled in plunging deeply in the mood of the screen play because they have to show swiftly what is not happening even during shooting also. Whoelse than Dilip Kumar could be suited for this role, who is central point of the film and film has to be told through his life?
If scripts are bounded and given to actors and they know in advance that what is shown at a particular point in the film is not true and later scenes are going to reveal the confusing mystery then that touch may be lost which is required to maintain mystical touch in the film. But Dilip Kumar dissolves himself in the films screen play so successfully, like salt in a cooked dish, that carries mood of the film throughout on his shoulders. There is not a single trial to rise above the scenes.
Moods and shades of his characters are played by him in so genuine manner and a mystic tale around his character is developed in a very convincing manner that audience goes ahead and feels ups and downs his character through the psychological development of his character. What he is facing on screen, audience can correlate to that all happenings because of his closed to true performance. He is passing through loving phase and is happy and its all happiness all around and crest is fallen on his life on screen and everything is covered with gloominess.
* * * *
It’s a rainy night and car is going on a hill side road. Rain is heavy and driver finds it difficult to drive fast as his master Dilip Kumar sitting in rear seat along with Tarun Bose, demands every 2 minutes.
Suddenly Driver stops the car, already angry Dilip Kumar, gets irritation and asks him why he has stopped the car and he says that there is land slide ahead. Driver is asked by Dilip Kumar to clean the road. Dilip Kumar andTarun Bose also come out of the car to help the driver.
Driver says that it will need lot of people to clean the road and he must go to a near by village to bring some men. He says that they should go to a near by old Haveili till he cleans the road.
Dilip Kumar and Tarun Bose have no other option and they go to Haveily. They knock the door of the old Haveili. Like a true horror film, main doors of the haveili open on their own and later an old watchman comes at door having a lantern in his hands. Tarun Bose asks who opened the doors?
Watchman replies that there is a lever there and he had opened the door. Audiences are relieved. Horror factor is gone.
Watchman ask them to come in. Dilip Kumar gets strange feelings when he goes inside the main hall. He sees a wall attentively and says that there should have been painting here at this place at wall. Watchman says that yes there was a painting here but few days ago it was fallen down. Tarun Bose is surprised and he asks how Dilip Kumar knows about the painting. DK is unable to reply him and says he himself does not know but he fells there should have been a painting here.
Guests rest in a room upstairs and watchman arranges fire for them and they sleep. DK wakes up all of a sudden and hears a female shouting. He is visibly disturbed. Tarun Bose also wakes up and asks whats the matter. DK asks him if he listened any female shouting. He denies. He goes to window and sees outside. DK asks him if there is a lake outside and he says yes there is a lake but how you know. DK says he does not know. TB asks him to sleep. DK tries to sleep but again he listens a female voice. He sees that TB is sleeping and he takes the lantern and goes downstairs.
He sees another painting of a man. He is watching it when watchman comes there and TB also comes there and TB asks watchman, whose painting is this? Before watchman could reply, DK says,”Ugranarayan”.
Watchman also says Ugranarayan. Astonished TB asks watchman who is Ugranarayan. Watchman says Ugranarayan was the last king of this estate and this haveili belonged to him.
TB asks DK how he knows man in painting is Ugranarayan. DK is himself confused and he says he does not know but he feels that he himself has made this painting. Watchman also sees DK with astonishment.
DK goes near window and sees outside. He listens female voice, coming from far away. His mind is churning. Something is coming through his memory but he is unable to see it clearly.
Curtains are waving due to wind and DK is covered with those curtains. Metaphor of Bimal Roy ! Curtains are falling on his memory. Slowly curtains are raised from his memory and he is able to recall clearly everything. A scene of high technical skills !
He starts telling TB and watchman that perhaps its tale of his previous birth.
* * * *
Flashback………..
A happy young man is walking, running and singing
Suhana safar aur ye mausam haseen
He is lost in his joy and is stopped suddenly by a warning.
Babuji age mat barhna age khatra hai ( Don’t walk ahead. Its danger ahead).
He cant see ahead due to fog and when its clear for him to see, he is stunned to see a sudden fall just one step ahead. One more step and he was going to fall down the hill in to a rift. He tries to see who has saved him? He finds a woman standing at a distant mountain. She disappears behind the clouds.
* * * *
DK has to work as manager in a timber estate. This is his job to earn livelihood but by heart he is an artist, a painter. Mountains, river, forest, animals, birds etc all give him opportunity to live in the close proximity of the nature. He is honest and performs his job carefully but destiny plays individually with everyone in life. His honesty is going to create problems for corrupt workers.
His honest presence in that small place is going to create problem for bad people. But its life and his creative urge has to be given acceleration by nature and love has to be sprouted inside him because a doe like woman is also present in that atmosphere.
While he is wandering in the mountains, he listens a haunting song sung by a woman.
Aja re mein to kab se khari is paar
Even those who have less hearing capacity can be haunted by this melody so what to say about a artistic soul like DK. He is pulled towards the voice He finds the glimpses of the woman singing the song but every time he goes near she is disappeared behind the clouds.
But they have to meet and they meet and innocent existence of that beautiful woman, played by Viajayanti Mala (VM), takes the place inside the heart of DK. For him she is the magnet and she too is interested in him.
A fair is organised near by and DK goes there. VM is also sees him there and she sings
When everything is going fine in the fair, there comes a commotion because a careless horse rider disrupts the order of the fair. His horse is running without caring about the people coming on the way. DK saves a small kid sitting on the path and calls rider as an animal.
Rider stops and comes back and asks who has called him Animal? DK rebukes him for his careless riding. Rider stares at him but says a reluctant sorry and goes away.
Like any great film, different characters enter in the film at appropriate place and then there is given enough scope to highlight their characteristics. Rider is Ugranarayan (Pran), the king of the estate, who has come back from the city.
Corrupt Munim, informs DK that raja Ugranarayan has come back and he should visit him. DK says he would meet him in 2-3 days. DK is summoned in the palace of king. He reaches there and finds a good painting hanging at the wall. He hears a voice from backside,”Tasveer pasand ayee (did you like the painting)”?
When he returns then they both are surprised to identify each other. Ugranaryan says that ok so you are new manager. You are a brave man.
He tries to make friends with DK and says that its difficult to pass time here among illiterate people and if DK spends some time with him then it will be good.
DK tries to pass this offer and says excuse of load of work. Ugranarayan gets angry.
Audience know that Ugranarayan is a bad man and he could be a typical villain and nobody would have minded but here we have Pran – an actor of high calibre.
He swiftly changes not only his facial expressions but body language also to bring subtlety in his performance. This way after him, only two actors Vinod Khanna and Amrish Puri could have enacted the scene in same layered way as Pran saab had enacted in this villaneous role. He would do same magic again in another scene.
Ugranarayan says in anger everybody came to salute me but you did not come.
DK says he was busy in work.
Ugranarayan says that its custom here and he should follow the custom. DK says he did not know and he would take care in future.
On one hand DK’s love story is budding with VM and on the other hand evil forces are uniting under the flagship of vulture Ugranarayan. DK’s honest presence turns them bad, his white presence suggests how black they are, so they are uniting against him.
While DK is busy in making a portrait of VM in the mountain, she gets indication that somebody else is also there. Birds have left the trees and they are flying in the sky as if they try to give indication that there is a danger. She goes from there. Ugranarayan reaches there on his horse and he sees the beautiful portrait of a woman on canvas. He praises the portrait but DK tries to pass his praise and says that its just amateur trial to paint something.
Ugranarayan says happily that he may not have any other quality but he has eyes which can identify the good art. He invites DK to palace to make his portrait. DK politely takes excuses of lack of time. Ugranarayan again becomes angry and in frustration he goes back. He has doubt that the lady in the portrait is not product of imagination of DK but she should be some real woman.
A corrupt worker fuels his desire to see the woman in the portrait and he tells him that lady is the daughter of king of hill area people and DK and that lady love each other. He praises a lot the beauty of VM and Ugranarayan starts burning with hunger to get VM.
Lovers DK and VM’s love is flourishing and different phases of love, union, wait, temporary separation, longing to meet each other etc are expressed through the songs
daiya re daiya charh gaya papi bichua
On the other hand Ugranarayan is becoming impatient to get VM. His man suggests him that if DK is sent away for few days then he can manage this job and he can get the lady.
Ugranarayan forcefully sends DK away under the excuse of an unavoidable emergency work and his man allures Johny Walker, who is assistant of DK.
He is drunk and he sings
Johny Walker becomes tool to bring VM in the palace.
DK comes back and finds that VM is missing and her father is searching her for 1-2 days. His life has taken a sad turn. Johny Walker tells him everything and angry DK goes to palace to take revenge from Ugranarayan. But there he is beaten badly and Ugranarayan orders his men to throw his body in the valley.
Johny walker and VM’s father (Jayant) save DK. DK is cured at hospital. DK’s life has been ruined. He is a restless soul. He is unable to accept that his VM is died now. He thinks she is still alive.
He wanders all day in the mountains searching his lost lady love. His sadness is expressed through the song
Film has to see many twists. He is sad because his lady love is lost. He is angry because he is a weak and poor man without job and he cant take revenge from a powerful king.
But destiny has many other mysteries in its basket to unfold in future.
While wandering in the forest DK finds his lady love, but in different and modern city based dresses.
She declines to recognise him. He is stunned and he tries to convince her. He is taken to police station where he says his story.
He cant get peace unless he takes revenge from Ugranarayan. He makes a plan and he convinces the police that he will force Ugranarayan to confess his crime.
He goes back to Ugranarayan and asks his forgiving and asks some money so that he can go back to his home. He offers to make a portrait in lieu of that money.
Ugranarayan asks him to come in evening.
DK reaches there and events happened beyond his own imagination. He witnesses there what he never thought. He gets to know there which he never knew before. Ugranarayan confesses his crime and is caught by the police.
Now DK’s revenge is fulfilled but what about his sadness which has come in to his life because of the absence of his lover?
He says the words coming from the valley of sadness,” Sinner will get punishment for his doings but how my life will get peace and solace? My life has been ruined”.
This is an ultimate realisation of a lover. He cant live without his lover. His true love saves from this trauma and he is also died.
* * * *
Flashback is finished and DK in present birth has finished his story of previous birth. He has recalled everything happened to him in his previous life. Their driver also comes back.
On the way, DK tells TB that his love in previous life remained unfulfilled but he has fulfilled his love in this life. His face is glowing, eyes are shining by reminding his wife.
Life has taken a complete turn. He has got VM as his wife in present life also.
But they get another sad news that the train through which DK’s wife was coming with their first new born child, has got accident.
Audience have to go through the acute pain again. Will these eternal lover ever met successfully?
* * * *
There is a scene in blockbuster film Sholay, where Soorma Bhopali (Jagdeep) is boasting before the villagers, how he captured Jai and Veeru.
That scene in Sholay is lifted from Madhumati. In Madhumati, Johny Walker boasts before villagers how he rules his boss DK.
* * * *
To see the beauty of such films is to get first hand watching experience.
First class cinematography, super class acting, super class music, and brilliant direction makes Madhumati a film still watchable in 2008 while the film was released in 1958. 50 years later also it brings pleasure of watching a wonderful film.
Film has to be seen for the wonderful use of light and shade, and how camera can show beauty of nature even in black and white format.
Dilip Kumar, Pran and Vajayanti Mala all three do a wonderful job in their roles and they are very ably supported by Jayant, Johny Walker, Tiwari and Tarun Bose. Pran has relatievly short role but once he appears on screen first time, his presence is felt all the time, that is his personaility on screen.
Vajayanti Mala is there so only a foolish director will miss a chance to use her dancing skills and hence she has been given enough songs to display her dancing skills.
Film has out of context song Jangal mein Mor nacha. It has a patch like Tantrik scene but odd things don’t reduce the impact of the film. Film remains a strong film which can easily sway away the audience with its flow.
What was thought as a tool which would bring down image of a sensitive film maker Bimal Roy, maestro turned that soil in to gold.
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
As usual RK a fabulous post …take a bow for bring back the old indian gems time and again … ^:)^
Madhumati is also one of my fav old films ….the suspense element works big time and is unpredictable as most of the movies these days aren’t ….Even Subhash Ghai’s Karz is somewhat inspired from madhumati ……….once again a great post …..
@Anand,
Thanks for comment. Film certainly raises high the flag of films revolving around re-birth etc.
Bimal Roy had given a high standard treatment to this tale of mystery and this is an important aspect of this film. He does not make it just for sake of making a commercial film. He brings heights in this otherwise usual screen play.
Direction is top notch.
Normally mystery based films dont get respect in India but Madhumati dispels that impression.
btw OSO had very similar climax …..
=OSO, is a parody of so many films from Madhumati, Do Anajane, Dastan and Karz. So its climax. Like new Don they have tried to sound like clever by giving turn that Arjun Rampal recognises her because he sees blood on her hand.
—-
Police of 11 countries are hankering after Don and Kareena Kapoor, without even seeing him once, directly approaches Don at disco.
Ye hai Don ye hai Don. Dan dana dan Don:)
Awesome post!! This one time i think nobody would mind a scene-by-scene disection, coz very few of us are gonna have access to this gold-mine..
Looking forward for more dissection of such classics by u !!
@ Anand Kadam
Read this with a pich of salt to get more idea about the OSO Madhumati conenction !!
Sudhir ..LOL… i had read it before ..
@Sudhir,
Thanks for your comment.
Dont worry I have not given more than 22.5% of the film.
If one has to see the subtle art of performance of Pran saab (shown in Poster 3) then one has to see the scene. It cant be written and described in written manner. only it can be mentioned.
Its quite a long scene. Almost half length of the post will be used in describing that scene in a detailed manner.
To transcript the film one needs 800-1000 pages.
These are only peeping in efforts here and there
RK ..was Madhumati the first hit of Viajayanti Mala ?? or am i wrong …..
@Anand,
Much before Madhumati she had appeared in Nagin a super hit film. Devdas had also got ok success at BO.
Then she had a film with Kishore Kumar in her early years.
hmm ..coz i mostly remeber her for madhumati and sangam…and jewel thief ..btw jewel thief was a good thriller …
Jewel Thief is unique Hindi film. No other film touches it in its genere.
—–
Sadhna, Amar Deep, Paigham, Nazrana, Naya Daur, Ganga Jamuna, Leader, Dr Vidha, Suraj, Amrapali, sungharush, saathi, prince, ganwar are few other major films of Vajayanti Mala. where she has worked with trio of Raj-Dev-Dilip and jublie kumar Rajendra Kumar, Shammi Kapoor, Manoj Kumar etc
@RK
Jewel Thief remains one of the best thrillers that i have seen even though its such an old movie..but the funny thing is that the movie failed when it released..vijay anand thought that maybe the movie was a bit too classy that the audience didn’t get it..which is the reason why he went on to make a masala filled Johny Mera Naam.and yeah this movie did work..
RK – thanks for this. I distinctly remember the first time I saw it and I loved it. And yes, it has one of my favorite Lata numbers – Zulmi Sang Aankh Ladi. Salil creates a rhythmic pattern which Lata does full jsutice to.
RK
THanks for bringing back those lovely memories. Madhumati reains one of my favourite movies of all time. A complete package. I am going to get a DVD of it and watch it all over again. By the way, is there a post on Mahal somewhere in PFC???
I had a Madhumati/Naya daur compilation audio cassette. Toasted it by repetitive hearing within a few months. :-)
Madhumati.. What a film and what a beautiful musical score by Salil da in not so musical genre.. Thanks RK for the Post..
Each song from Suhana Safar to Raha Gardishon me har dam and from julmi sang aankh ladi to papi bichhua is a listener’s delight.. Even Jungle was a big hit and not out of place (primarily for relief factor) and those days it was customery to have a song on Johnny Walker.. and not to forget Mubarak Beghum’s super one “Hum haal.e.dil sunayenge, suniye ke na suniye”
About four years back we did a survey on “Top 25 Albums” of individual choices in a group of music lovers.. and to every one’s Surprise Madhumati came out as the “Top Most” score with the inclusion by most, followed by Guide, Pyasa, Hum Dono..
@Anand,
VM’s initial films like Bahar and Ladki too were hits.. Specially Bahaar (saiyyan dil me aana re, kusoor aapka) was very popular due to its songs..
wow RK excellent post
I was going to mention ‘hum haal-e-dil sunayenge…’ but Pavanji already did. What a song!
by the way, it starts with ‘rahega ishq tera khaak mein mila ke mujhe…’ which is also the starting point of ‘aa bhi ja..’ song from Teesri Kasam. Is it by some famous poet?
When the music of Madhumati came out, at one point of time, radio ceylon had 7 songs from Madhumati in its top ten!
If I remember correctly Madhumati held the record of 9 filmfare awards for a long time till DDLJ surpassed it with 10 in 1995. In 1994, 1942-A Love Story also got 9 or 10 filmfare awards but no one talks about that because a) the film flopped, and b) except the music awards, most of the awards it got were not in the ‘popular category’ (it sweeped the technical awards).
@ Neeraja: I think he she’r “Rahega Ishq tera” is by Daag Dehlavi.
Btw, lyrics for Madhumati as well as Teesri Kasam were written by shailendra
long live UTube.:)…………….
I have seen 100s times songs of Madhumati. My favorite – zulmi sang… and bichua… and men to kab se…
unfortunately could not see madhumati as could not find it. I should get dvd someday
http://movies.nytimes.com/movie/150058/Madhumati/overview
star cast – Pran and jayant.
this is how newyorktimes understands and presents indian films?;)
@Aditya
Thanks.
mission Daag Dehlavi starts now…googling
Vijay Anand was a genius too. Just Guide would get him that status but we cannot forget his mystery suspense trio – Jewel Thief (excellent set up that leaves one constantly wondering – is there or isn’t there a doppelganger?), Teesri Manzil (a murder mystery with a high entertainment quotient, Shammi in a soulful act – Tumne mujhe Dekha ho kar meharbaan), and Johnny Mera Naam (bol tera naam kya hai? johnny mera naam nahin hai!).
Some unique features of Madhumati – yes there is a reincarnation story but there is an extra bonus if you recall. There is Madhumati who has just died, there is a pining dejected Dilip and we are all convinced of the punarjanam story when the director throws us a googly in the form of a Madhumati look alike (who cannot be the reincarnated Madhumati – they co-existed!). I also loved the fact that there were two beautiful back to back songs Suhana Safar and Aaja re Pardesi, both together show us two souls who were destined to meet and love across time.
@Sudhir (14),
Had no idea that Jewel Thief was not that successful film at BO. When DD announced in 1986 Winters that it will be telecasted then it was difficult to wait for that day to come. Hours were counted and then time came when film started and it was a thrilling experience. Curiosity found no decline through out the film.
It was “what a film” then and still this impression is alive there, 22 years later.
@Subrat (15), thanks for comment. Even picturisation of Zulmi sang ankh ladi is something. Dance of that small girl who dances with Vajayantimala is so appealing.
and her steps and smile which indicates she does not have some teeth.
Music of Madhumati is one of the strongest pillars that provide strength to the film.
@Sarang (16),
Thanks for comment. Perhaps noone has covered Mahal at PFC till now. You must do it. Please enrich Iview with Mahal’s memories.
That will be wonderful.
@DPac, I had azad with Naya Daur and Madhumati was with Paigham.
Wonder if Madhumati is available alone with dialogues in a cassette or CD. That kind of arrangement was very good. that way we watched, through imagination, several films with the help of audio listening. Sholay, Heer Ranjha, Mughal -i-Azam etc were among such cassettes
@Pavan,
yes from film’s POV Jangal mein Mor Nacha fits very well and even symbolicism is also there. Mor and its doings/dancing could be symbol of Pran’s doings.
Jangal mein mor nacha kisi ne na dekha.
What Pran does nobody knows except Vajayanti Mala who is dead now.
But in an audio cassette this song and Mubarak Begham’s mujara song hale dil bring entirely different taste among other pleasant songs.
This is like in film Andhi Arti devi ayee hain, fits very well but when plunging in to the world of the rest 3 soulful songs then this song breaks the continuity while listening audio.
That was the reason behind saying Jangal mein mor nacha odd among other sweet songs. Mood of the song is different than rest other songs.
This is also true audience wanted to see a song on Johny Walker when he was in film.
@Neerja,
Thanks for comment. Madhumati’s music is still alive in the heart of listeners and its longevity is the proof of its class.
@Aditya (20) Thanks for Daag Dehlavi info.
These number of awards etc can only justify only data sector else comparison of past and present film is not possible. Even a very low standard film can win many awards in a given year because it has no competition that year or may be awards are manipulated.
When great composers like Naushad, SDB, SJ, OP Nayyar, LP, KA, CRamchandra, Ravi, Roshan etc etc are composing at same time then its a futile attempt to choose only one composer.
Dosti had good music but in no way it can be said as superior to music of Guide and Sangam. So competition in art when masters are active is useless.
@Krisn(21,22)
Hope you soon get DVD of Madhumati and enjoy the film.
May be Newyork times people forgot names of Dilip Kumar and Vajayanti Mala.;)
@rxtreme(24),
Vijay Anand was a genius Director. There can not be two opinion about that. He did not get his due place because neither he nor his illustratious brother Chetan and Dev Anand were involved in propaganda for creating their images. Anand brothers were too apolitical and relied on their cinematic works only.
a family which contains names of Dev Anand, Chetan Anand, Vijay Anand and Shekhar Kapoor dont find mention as a single family. They seem to be too shy to promote otherwise their contribution in the progress of Hindi cinema is not less than any other filmi family. It can be even more than others.
———
yes Madhumati shows a twist in the tale when a second Vajayanti Mala makes her entry. Bimal Roy establishes his love story subtly that its never based on face but on soul. If face is the case then Dilip Kumar could have gone for second Vajayanti Mala because her face resembles with his dead lover. But his character loves Madhumati and not only her face.
Films like Kaho Na Pyar Hai, Lamhe etc are weak films here because they work more on survival of the character whose lovers or love interests have been died and they go for look alikes.
That make their love somewhat shallow as they are interested only in faces and not in souls.
Pavan !! Raha Gardishon Mein from Madhumati ? :o
You forgot Madhumari’s Asha-Sabita song “Kancha re kanchi re” & Dwijen Mukherji’s “Tan Jale”
Yes. My most fav album in HFM ( shared by other two ;) ) What a fantastic score by Salilda !!!
@kcp (34)
Pavan meant tute hue khwabon ne.
What is this BrahmanandSingh.com connection with your url?
are you making Pancham Unmixed?
Details will be appreciated much:)
RK it was a super post. Madhumati remains one of the best made thriller cum suspense cum love story on the planet :d
For me the gay abandon in the song Suhaana Safar, had set my jawaani in full swing ( in the 80’s when I saw this movie repeatedly on morning shows ) and always longed for finding a soul , whenever I grew up and went out for work !! Alas that was never to happen and has remained a dream, never to be fulfilled after marriage :D
I was really besotted by VM’s beauty in the film. I think she was at her peak that time ( like Madhuri was at the time of Parinda )
Fortunately for me one of my dreams connected to Madhumati came to be true when my Wife’s short name “is” “Madhu” !! I was thrilled at the time of my marriage !!!
Wah wah !!! phir se dekhni padegi yaar picture !! :x
are nothing as such…it is my temporary signature…abhi pooch hi liya hai to bata doonga : just promoting silently :D
@kcp (36)
Thats where song “janam janam ka saath hai hamara tumhara” comes in to the picture.
Your longing for Madhumati in some form is fulfilled by nature. You desired and Nature showered its blessings:)
Vajayanti Mala remained a very important actress in those years. Appearing in all those so good films, has some meaning.
kcp (37),
So its not your own site?:-?
will have to catch Pavan to know all the details of Pancham unmixed ? :-?
50 years of madhumatiiiiiiiiiiii
>-
I never imagined I