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Amar - (1954) - He was so very handsome. *swoon* gifs by pooja-mahi-rai

Thoughts and trivia - by pooja-mahi-rai Meena Kumari was the initial choice for Mehboob Khan's film Amar (1954) (as seen in the first picture), however walked out of the movie due the fact that she just didn't have enough time to complete it. And so, in walks Madhubala (seen in the second picture)! 

I think Meena Kumari would have done a good job of it as she always does, because she is, of course, a very talented actress, however the role wouldn't have been as playful and had as much chemistry with Dilip Saab I don't think. You can even tell from the stills; Dilip Saab looks so very much in love with Madhubala, whereas he looks more pensive with Meena Kumari.

Overall, the phrase 'things happen for a reason' comes to mind, because I can't see the character of Anju would have matched with Meena Kumari's style of acting (even though I still think she is one of the best actresses!)

Amar (1954) - Stills & Words from (pooja-mahi-rai) So I have a lot of posts on Amar. And yes, I do agree the plot starts to get a bit fuzzy towards the end. But I can't stress how much beauty is in the direction and art of this movie. Here are a few that I find particularly themed, and just gorgeous to look at. Here's what I see in them:    The first two I see the two of the three main leads. Opposite poles - the innocent and the understanding, the 'impure' and the 'pure', the contrast of black and white. Sonia and Anju. Nimmi and Madhubala. I read a comment on YouTube that said if Nimmi and Madhu swapped roles, then the movie would be a hit. I couldn't agree less! Here, Anju has volunteered to give blood to the weak Sonia after she took a tumble down the stairs. She's giving her blood which is like, in a way, helping her sustain her life in her condition - which  mirrors her simultaneous decision to literally give Sonia the life she was planning on having by giving her Amar, again not reluctantly, but voluntarily.    The second two shows two very distinctive side shots in the movie. Two turning points. One where Amar is close to confessing to Anju but then rejects his instinct, and the other where Amar embraces his sins and accepts Sonia. Both shot beautifully. Note one shot has the two looking up and the other looking down.     The next shows how both symmetry and asymmetry can be be equally as effective; one shot showing Sonia walking back home after being raped by Amar, the next showing Amar and Anju walking down the steps of the Mandir, aka where justice is seen and told, and the very same place Amar fears.      The next two just make me feel all warm and fuzzy inside. I just can't help fall in love with the electric chemistry between these two, despite how I began to dislike Dilip Saab a little after knowing about his insensitivity to the (quite literally) heart broken Madhubala due to the Naya Daur court case. Yusuf Saab (aka Dilip Kumar) and Mumtaz Begum (aka Madhubala) are just made for each other. If you think their chemistry is amazing in this, then watch Tarana; you'll become lost in their dialogue and banter. Absolutely mesmerising to watch!       The next shows how stunning the shadows and lights can be in Black and White classics of the Golden Era of Bollywood. I find it a bit of an insult to call the movies of those days ''Bollywood''. The word Bollywood for me crops up an image in my mind of the modern razzle dazzle that India is trying to practically copy from western cinema. I don't feel the term Bollywood does the classics justice. Indian cinema of the 50's and 60's sounds more respectful and sophisticated and puts them somewhat in a league of their own. These pictures represent all that is beautiful about monochrome; emotion in simplicity, beauty in darkness, no over kill, nothing to overcompensate for. Just simple story telling, no side tracking, no unnecessary songs; to the point, and head strong! The first picture shows the scene that I find the most fascinating - Amar's inner conflict and a confession (More about that here).The second image showing Anju's own inner conflict of her own. Both pictures sharing in common Anju and Amar's backs to the camera. 

     I still have yet to find a picture that was picturised as beautifully as this one (again leaving Mughal-E-Azam in a league of it's own.) - Pooja

Wow Moments - Amar (1954)       I want to talk about this amazing scene in Amar that left me gaping at the screen the first time I saw and understood it, and appreciating vintage Bollywood and the movie makers of the yesteryears that much more.       In this scene we see the split second where Amar realises Anju is suspecting something is wrong, as Amar has been acting strangely. What he doesn't know yet is that she has also put all the pieces together and is now aware of his actions after an encounter with Sonia.       He reaches her room, about to give her a letter with his confession about the sin he has committed (raping an innocent village girl a.k.a. Sonia). However he withdraws from his confession, and he walks off with haste, avoiding the matter - cue the heart breaking song "Jaane Wale Se Mulaqat Na hone Paayi"      Look at how appropriate this picturisation is in this scene. The screen of the door to Anju's room is almost acting like the screen you would find in a confession box at church - the barrier between the sinner and the forgiver.      The same principle is here as there is at confession; Amar has gone to confess to Anju, a woman who he finds peace and contentment with (similarly how you would find peace when confiding in a priest at church). She represents virtue, compassion, empathy and rationality;  trying to understand the point of view of all involved - again much like a priest that you would go to confession for.       This film has countless moments where I sit and stare at the screen, thinking about the masterpiece that is this film. The imagery in this film, representing either Amar's guilt, Sonia's innocence, or Anju's virtue is just mesmerising.      The way Mehboob Khan has shot this is incredible. I don't know if anyone else has viewed this scene in that way, but I hope I've shown a different perspective of it to make you go ''Wow, Amar was a brilliant movie indeed'' - Pooja  - edit by me

Amar (1954) Dilip Saab. Colours by pooja-mahi-rai More to come soon!

Amar (1954) Madhu and her mischief lol.

Amar (1954)

Two are from one of my favourite songs of all time - 'Na Shikwa Hai Koi'

This, in my opinion (Mughal-E-Azam being in it's own league entirely so lets put that aside), is Madhubala AND Dilip Kumar's best performances to date. They are acting their best as well as looking their best (with Madhubala a mere 21 years old here!)

The theme of this movie wasn't well received in those days, but the way Mehboob Khan has woven such intricate detail into all songs and dialogues to fit the script and story line as well as possible so that the message is put across in a VERY powerful way; such attention to detail - if only all film makers in the industry are able to give out such masterpieces in today's Bollywood. (Unlikely!)

I learnt how to colourise black and white images, so thought I would start by colouring these. Pictures of my favourite actress who has rarely been pictured in colour.

Full of emotion, pain, and empathy, this woman was and still is amazing - and no one has come near her beauty and unique skill so far.

(and Bollywood has only been around for about 100 years :P)

Original picture in LIFE magazine taken by James Burke in 1951

Screen capture from film Amar (1954)

Screen capture from Rail Ka Dibba (1953)