1.Pukar
Pukar is a 1939 Urdu film produced and directed by Sohrab Modi at production house, Minerva movietone. The film is about Mughal emperor Jehangir's legendary justice and focuses how Jehangir offers himself to be killed when a washerwoman accuses the empress Noorjehan (Naseem Banu) of killing her husband in a hunt.
The movie is a typical Sohrab Modi production (which always seemed to be historical) with heavy and lengthy Urdu dialogues said in a loud and dramatic style. Story and lyrics are by Kamal Amrohi. Pukar is considered to be the earliest Muslim social film.
Set at the court of the harsh Mughhal Emperor Jehangir (Chandra Mohan), the film tells two separate love stories: the first of Mangal Singh (Ali) and Kanwar (Sheela) amid the violent feud raging between their families, and the second, the famous story of Jehangir and Nurjehan (Banu). Mangal kills the brother and father of his lover. His father, the loyal Rajput chieftain Sangram Singh (Modi), captures his son and Jehangir passes the death sentence. Jehangir's claim that the law knows no class distinction is put on the test when a washerwoman (Akhtar) accuses Queen Nurjehan of having inadvertently killed her husband during a hunt. Jehangir offers his own life but the washerwoman magnanimously forgives him.
Cast
Sohrab Modi ... Sardar Sangram Singh,Chandra Mohan ... Shahenshah Jehangir,Naseem Banu ... Malika Noor Jahan (as Naseem),Sheela ... Kanwar,Sardar Akhtar ... Washerwoman,Sadiq Ali (actor) ... Mangal Singh (as Sadik Ali),Jillo,Maya Devi (actress),Shakir,Ghulam Hussein,A. B. Ramesh,
Kusum,Ram Apte,G. M. Das,Babu Singh ... Washerman
Naseem Banu
Naseem Banu was born on 4th July, 1916 in Delhi to the head of a wealthy aristocratic family. Naseem’s father was Nawab Abdul Waheed Khan of Hasanpur. Naseem, named Roshan Ara Begum, studied at Queen Mary's High School, Delhi; her mother Shamshad Begum, wanted her to become a doctor. Shamshad Begum, also known as Chhamian Bai was a famous and well earning singer of those days. Naseem once stated that her mother earned more than her even when she, Naseem, was earning a salary of ₹ 3,500.
Naseem was keen on films and admired the actress Sulochana (Ruby Myers), ever since she had seen a film of hers, but her mother was against the idea of films. On a visit to Bombay, Naseem got interested in seeing the film shootings and at one of the sets she was approached by Sohrab Modi to play Ophelia in his film Hamlet. Her mother refused permission and Naseem went on a hunger-strike till her mother agreed. Having played the role, Naseem was unable to continue her education as the school was shocked at her acting in films, then considered a lowly profession.
Naseem returned to Bombay and signed a contract with Sohrab Modi. She started her career with Khoon Ka Khoon (Hamlet) (1935) and went on to make several films with Modi under the Minerva Movietone banner. After acting in films like "Khan Bahadur" (1937), Talaq (Divorce) (1938), Meetha Zahar and Vasanti (1938) she started work in what became known as her most famous film Pukar in the role of Noor Jahan. To prepare for the film she went riding every day and learnt singing. The film took over a year to complete and brought Naseem into prominence in a spectacular manner. One of her songs, "Zindagi Ka Saaz Bhi Kya Saaz Hai" became popular with the audiences. The publicity of the film dealt on her beauty calling her Beauty Queen and Pari Chehra a name that was to endure over the years before passing on to her daughter Saira Banu. After the classic Pukar, the demand for Naseem as an actress increased and she was approached by several film studios to act with them. But Sohrab Modi refused to release her from her contract. This caused some uneasiness between the two. Sheesh Mahal (1950) produced by Minerva show-cased her acting talents devoid of make-up and jewellery and clad only in simple sarees. From Minerva Movietone, Naseem moved to Circo and then Filmistan studios where she performed in Chal Chal Re Naujawan with Ashok Kumar.
Married to Ehsan by now, the husband-wife team started Taj Mahal Pictures and made several films like Ujala (1942), Begum (1945), Mulaqat (1947), Chandni Raat (1949) and Ajeeb Ladki (1942) under the home banner. The last two were also directed by her husband, Mohammed Ehsan. However she did a couple of action and fantasy films ("low-grade films") like Sinbad Jahazi (1952) and Baghi (1953), in which she was not accepted by the audiences. She acted in Minerva’s Nausherwan-E-Adil (1957) in a small role and then quit acting. She continued to remain active, first trying her hand as a producer, and then as her daughter’s dress-designer when Saira entered films with Junglee (1961).
Some of her best films are Pukar (1939), Chal Chal Re Naujawan (1944), Anokhi Ada (1948), Sheesh Mahal (1950) and Shabistan (1951). She co-starred with most of the top stars of those days like Sohrab Modi, Chandra Mohan, Prithviraj Kapoor, Ashok Kumar, Shyam, Surendra, Navin Yagnik, Prem Adib, and Rehman.
Naseem died on June 18 2002 in Mumbai at the age of 85 years.
2.Aadmi
Aadmi (English: Life's for Living) is a 1939 Hindi social reformist film directed by V. Shantaram. It was a remake of the Marathi film Manoos (1939) and is regarded as a classic from the Prabhat Film Company. The film starred Shahu Modak, Shanta Hublikar, M. S. Sundari Bai, Ram Marathe, Ganpat Rao, Ulhas and Gauri. The music was composed by Krishnarao Phulambrikar and the lyrics were by Munshi Aziz. The story is about a policeman who marries a sex worker in order to better her life but is faced by an unforgiving society. It was named by the Best Indian Film for 1939–40 by the Film Journalists Association of India.
Cast
Shahu Modak,Shanta Hublikar,Raja Paranjpe,M. S. Sundari Bai,Ram Marathe,Ganpat Rao,Ulhas,
Gauri,Bua Sahib,Manju,Narmada Shankar
Production
V. Shantaram used social elements in his films and in Aadmi he dealt with the life of a sex worker. The film was a remake of his classic Marathi film Manoos made the same year which was appreciated by the audiences and commended by Charlie Chaplin. The film is considered a classic along with his other two films Duniya Na Mane (1937) and Padosi (1941) and one of the best social films made that became successful.
Soundtrack
The music director Master Krishnarao was considered as an innovator with the orchestra. His tune "Ta Ra Ra Nao Na" from this film is an example of the modernisation. This was also the first film with a song in different languages.Sung by Shanta Hublikar,the song "Kis Liye Kal Ki Baat" had six different folk styles and languages, Hindi, Punjabi, Gujarati, Tamil, Telugu and Marathi. It was critically acclaimed by Baburao Patel in his review of the film in the cine-magazine Filmindia of October 1939. Another notable song cited was "Man Paapi Bhoola Kaun Ise Samjhaye" sung by Bai Sundrabai. There is also a parody of the famous Ashok Kumar and Devika Rani song from Achhut Kanya (1936) "Main Ban Ka Panchhi" to "Main Panch Ban Ban Dolu Re" sung by Shanta Hublikar.
3.Dushman
Dushman is a 1939 Hindi social romantic drama film. It was directed by Nitin Bose for New Theatres Calcutta Production. The film starred K. L. Saigal, Leela Desai, Najmul Hassan, Prithviraj Kapoor, Nemo and Jagdish Sethi. The music was composed by Pankaj Mullick and the lyrics were written by Arzu Lucknavi. Nitin Bose besides directing also wrote the story and wielded the camera for the film. The dialogue writer was Sudarshan. The story subject about tuberculosis was suggested as a propaganda film by Viceroy Lord Linlithgow and his wife, who were then the Chairman and Patron of King George’s Tuberculosis Fund.
The film is about two friends who want to marry the same girl unknowingly till one of them discovers he has tuberculosis. He decides to sacrifice his love but ends up in a sanatorium where he is treated.
Mohan (K. L. Saigal) and Gita (Leela Desai) are friends and discover they are in love. Gita visits Mohan at his house regularly and they also rendezvous at night by the lakeside where they listen to a tramp on his violin. Mohan is making plans on increasing his allowance while Gita is worried about his health. Mohan works at a radio station as a singer. His boss (Jagdish Sethi) at the radio station is rough and kind in turn. Mohan’s friend Dr. Kedar (Najmul Hassan) is also worried about his health and repeatedly suggests Mohan take a rest from work and the city for at least a year. He advises Mohan not to think of getting married till that time. Gita’s mother (Devbala) and Aunt (Manorama Sr.) have found a suitable boy Dr. Kedar, for Gita without her knowledge. They invite him for tea where he brings Mohan with him. Mohan realises the set-up and leaves the house asking Gita to meet him at their usual place. He tells Gita that it’s time for them to stop meeting and wait for some time. Gita is upset and refuses to let him complete his conversation.
Mohan starts developing daily evening fevers and he tells Dr. Kedar over the phone, Kedar insists on taking care of him but Mohan refuses. Dr. Kedar visits Gita as they have planned to see a film together. However, Gita takes him to the rendezvous place where they are seen by Mohan. A distraught Mohan rushes from there not caring whether he lives or dies. He meets a doctor who is an assistant (Bikram Kapoor) at a sanatorium run by an old doctor (Prithviraj Kapoor). The doctor forces Mohan to come with him to the sanatorium. At the sanatorium after initial hesitation Mohan becomes interested in the working and finances of the hospital. The Chief says that they can’t forcibly treat TB patients but maybe in the near future it may be rendered compulsory and then maybe they can get help. But first they have to make the people aware of the problem. A radio station comes to their help to set up a connection from the sanatorium.
Since Mohan was in the first stages of TB he starts improving and sings on the radio to make an appeal. The song is heard by Gita who has a nervous breakdown. Dr. Kedar sees this and understands about Gita and Mohan. He tells Gita’s mother that if she truly wants to help her daughter then she will try to understand her needs and see what it is that Gita really wants. On gaining consciousness Gita takes the car and speeds in it to the sanatorium. Kedar sees her and follows. Gita’s car meets with an accident outside the sanatorium. She is brought in unconscious and wounded. Mohan was planning to leave for a couple of days to attend what he thinks is the marriage of Kedar and Gita. The Chief who’s heard his story earlier stops him and takes him to where Gita is lying covered in bandages with Kedar by her side. Kedar happily points out Mohan to Gita. The Chief leaves them telling Mohan to make sure that Gita never drives rashly again. Mohan promises.
Cast
K. L. Saigal as Mohan,Leela Desai as Gita,Najmul Hassan as Dr. Kedar,Prithviraj Kapoor as chief doctor at the sanatorium,Jagdish Sethi as radio station manager,Nemo as Raibahadur Hiralal, Gita’s father,Devbala as Gita’s mother,Manorama Sr. as Gita’s Aunt,Bikram Kapoor as the assistant doctor at the sanatorium
Soundtrack
Pankaj Mullick gave the music for this film and also sang his version of the K. L. Saigal song "Karun Kya Aas Niraas Bhayi". The lyrics were written by Arzu (Arzoo) Lucknavi. All songs in the film were by K. L. Saigal.
4.Adhuri Kahani
Adhuri Kahani ( The Unfinished Tale) is an Indian film directed by Chaturbuj Doshi released in 1939. The cast include Durga Khote, Prithviraj Kapoor, Rose, Keshavrao Date, Ila Devi, Ishwarlal, Meerabai, Yakub, Khatoon, Mirza Musharraf, T. Zaidi. The film also had Meena Kumari as a child artist, Kumari was not rechristined as baby meena then.
Plot
The educated and liberal Harbala (Khote) is oppressed by her conservative husband Seth Gopaldas (Date). Determined that her children Somnath (Kapoor) and Neelam (Rose) shall lead freer lives, she is frustrated by Gopaldas' authoritarian traditionalism and commits suicide. Neelam and Somanth, haunted by guilt, join her in death. The film leaves open the possibility that in the future a less oppressive society will be achieved: literally translated, the title means 'The Unfinished Tale'.
Songs
Music is by Jnan Dutt. The film featured eleven songs
1- Aao Laalan Aao Ma Ki Godi Aao
2- Bhai Mori Laaj Bairan Bhai Aaj Piya Pardes Sidhaare
3- Chaandni Khili Hui Mast Fiza Mein Mand Mahak Hai
4- Chhal Bal Kar Ke Chitwan Bhar Ke
5- Jeevan Ki Daali Pe Do Panchhi
6- Jhoom Rahi Daal Daal Jhool Rahe Patte
7- Maiya Soona Mandir Tera Dhoop Nahin Hai
8- Meri Chatak Matak Ki Chundri
9- Sajeela Chhabila Chhaila
10- Shubha Ghadi Sahab Ghar Aaye Jee
11- So Ja Lalna So Ja Maa Ki Godi Hai Ghar Tera
5.Ladies Only
Ladies Only is a 1939 Hindi social comedy film directed by Sarvottam Badami. Produced by Sagar Movietone, it had music by Anupam Ghatak and starred Surendra, Sabita Devi, Bibbo and Prabha. This was the last comedy film made by Sarvottam Badami before he left Sagar Movietone. He joined his mentor Ambalal Patel, at Sudama Pictures to start making "socially relevant" films.
The story involved three girls from different region (States) meeting at a railway station, and their relationship with each other thereafter. Three girls from different regions of India, Sabita Devi (Gujarat), Bibbo (Punjab), and Prabha (Bengal) meet at a railway station. With no place to stay they decide to find accommodation together. A cook (Bhudo Advani) joins them speaking the language from each state. A young crook (Surendra) enters their life and trouble starts brewing between the girls when they all fall in love with him.
Cast
Sabita Devi,Surendra,Bibbo,Prabha,Bhudo Advani,Harish,Pande,Sunalini,Kaushalya
Music
Music was composed by Anupam Ghatak with lyrics by Zia Sarhadi and Pandit Indra Chandra.[
6.Punjab Mail
Punjab Mail is 1939 action adventure Hindi film directed by Homi Wadia for Wadia Movietone.The score was provided by Madhavlal Damodar Master, and stars Fearless Nadia, John Cawas, Sayani Atish, Sardar Mansoor, Boman Shroff and Sarita Devi. The film once again had Nadia playing the avenging female with mask and whip astride on a horse dispensing justice and beating up the villains.
Cast
Fearless Nadia,John Cawas,Sayani Atish,Sarita Devi,Boman Shroff,Sardar Mansoor,Master Chhotu
Shahzadi,Nazira,Master Mohammed
Production
The Wadia brother films normally starred Boman Shroff in the Douglas Fairbanks Sr. style roles, but with Punjab Mail Boman Shroff was replaced by John Cawas as a leading man though Shroff continued to act in character roles for them. The action films Nadia starred in like Hunterwali (1935), Miss Frontier Mail (1936) and Punjab Mail (1939) had patriotic implications and showed her fighting against persecution and prejudice with all the films turning out to be box-office successes. The train "metaphor" likening the female protagonist to a speedy train and its "thrilling settings" was continually used in the Wadia Brothers films with titles like Toofan Mail (1932), Miss Frontier Mail (1936), Toofan Express (1938) and Punjab Mail` (1939).
Music
The music director was Madhavlal Damodar Master with lyrics written by Pandit Gyan Chandra. The singers were Sarita Devi, Sardar Mansoor and Master Mohammed.
Fearless Nadia
Mary Ann Evans, also known by her married name Mary Evans Wadia and her stage name Fearless Nadia (8 January 1908 – 9 January 1996) was an actress and stuntwoman, who is most remembered as the masked, cloaked adventurer in Hunterwali (the woman who hunts) released in 1935, which was one of the earliest female-lead Indian films.
Fearless Nadia was born as Mary Ann Evans on 8 January 1908 in Perth, Western Australia. She was the daughter of Scotsman Herbertt Evans, a volunteer in the British Army, and Margret. They lived in Australia, before coming to India. Mary was one year old when Herbertt's regiment was seconded to Bombay. Mary came to Bombay in 1913 at the age of five with her father.
In 1915, her father’s untimely death at the hands of Germans during World War I prompted the family’s move to Peshawar (now in Pakistan). She learned horseback riding, hunting, fishing, and shooting during a stay in the North-West Frontier Province (now Khyber Pakhtunkhwa). In 1928, she returned to Mumbai with her mother and a son, Robert Jones, about whom not much is known, and then studied ballet under Madam Astrova.
She had earlier tried her hand at a job in the Army & Navy Store in Bombay as a salesgirl and had at one point wanted to learn "short-hand and typing to get a better job". Astrova’s troupe performed for British soldiers at military bases, for Indian royalty, and for other crowds in dusty small towns and villages. She mastered the art of cartwheels and splits, which came in handy later during her film stunts. An Armenian fortune teller had foretold that a successful career lay ahead but she would have to choose a name starting with the letter ‘N’. She chose the name Nadia because it was "exotic-sounding".
She toured India as a theatre artist and began working for Zarko Circus in 1930. She was introduced to Hindi films by Jamshed "J.B.H." Wadia who was the founder of Wadia Movietone, the behemoth of stunts and action in 1930s Bombay. At first, J.B.H. was bemused at Mary's insistence on trying out for the movies, but he took a gamble by giving her a cameo as a slave girl (in a hand-painted colour sequence that accentuated her blonde hair and sparkling blue eyes) in the film Desh Deepak, and then as Princess Parizaad in Noor-e-Yaman. Nadia proved a huge hit with the audience, whereupon, considering her skills at performing circus and other stunts, J.B.H., by then joined by his younger brother Homi, chose to develop her into a star. In 1967-68, when she was in her late 50s, she appeared in a James Bond spoof called Khiladi (The Player).
In 1993, Nadia's great grandnephew, Riyad Vinci Wadia, made a documentary of her life and films, called Fearless: The Hunterwali Story. After watching the documentary at the 1993 Berlin International Film Festival, Dorothee Wenner, a German freelance writer, and film curator, wrote Fearless Nadia - The true story of Bollywood's original stunt queen, which was subsequently translated into English in 2005.
Nadia married Homi Wadia in 1961 and thus became Nadia Wadia.
*Youtube full movies Aadmi, Pukar, Dushman, Kangan available
Pukar is a 1939 Urdu film produced and directed by Sohrab Modi at production house, Minerva movietone. The film is about Mughal emperor Jehangir's legendary justice and focuses how Jehangir offers himself to be killed when a washerwoman accuses the empress Noorjehan (Naseem Banu) of killing her husband in a hunt.
The movie is a typical Sohrab Modi production (which always seemed to be historical) with heavy and lengthy Urdu dialogues said in a loud and dramatic style. Story and lyrics are by Kamal Amrohi. Pukar is considered to be the earliest Muslim social film.
Set at the court of the harsh Mughhal Emperor Jehangir (Chandra Mohan), the film tells two separate love stories: the first of Mangal Singh (Ali) and Kanwar (Sheela) amid the violent feud raging between their families, and the second, the famous story of Jehangir and Nurjehan (Banu). Mangal kills the brother and father of his lover. His father, the loyal Rajput chieftain Sangram Singh (Modi), captures his son and Jehangir passes the death sentence. Jehangir's claim that the law knows no class distinction is put on the test when a washerwoman (Akhtar) accuses Queen Nurjehan of having inadvertently killed her husband during a hunt. Jehangir offers his own life but the washerwoman magnanimously forgives him.
Cast
Sohrab Modi ... Sardar Sangram Singh,Chandra Mohan ... Shahenshah Jehangir,Naseem Banu ... Malika Noor Jahan (as Naseem),Sheela ... Kanwar,Sardar Akhtar ... Washerwoman,Sadiq Ali (actor) ... Mangal Singh (as Sadik Ali),Jillo,Maya Devi (actress),Shakir,Ghulam Hussein,A. B. Ramesh,
Kusum,Ram Apte,G. M. Das,Babu Singh ... Washerman
Naseem Banu
Naseem Banu was born on 4th July, 1916 in Delhi to the head of a wealthy aristocratic family. Naseem’s father was Nawab Abdul Waheed Khan of Hasanpur. Naseem, named Roshan Ara Begum, studied at Queen Mary's High School, Delhi; her mother Shamshad Begum, wanted her to become a doctor. Shamshad Begum, also known as Chhamian Bai was a famous and well earning singer of those days. Naseem once stated that her mother earned more than her even when she, Naseem, was earning a salary of ₹ 3,500.
Naseem was keen on films and admired the actress Sulochana (Ruby Myers), ever since she had seen a film of hers, but her mother was against the idea of films. On a visit to Bombay, Naseem got interested in seeing the film shootings and at one of the sets she was approached by Sohrab Modi to play Ophelia in his film Hamlet. Her mother refused permission and Naseem went on a hunger-strike till her mother agreed. Having played the role, Naseem was unable to continue her education as the school was shocked at her acting in films, then considered a lowly profession.
Naseem returned to Bombay and signed a contract with Sohrab Modi. She started her career with Khoon Ka Khoon (Hamlet) (1935) and went on to make several films with Modi under the Minerva Movietone banner. After acting in films like "Khan Bahadur" (1937), Talaq (Divorce) (1938), Meetha Zahar and Vasanti (1938) she started work in what became known as her most famous film Pukar in the role of Noor Jahan. To prepare for the film she went riding every day and learnt singing. The film took over a year to complete and brought Naseem into prominence in a spectacular manner. One of her songs, "Zindagi Ka Saaz Bhi Kya Saaz Hai" became popular with the audiences. The publicity of the film dealt on her beauty calling her Beauty Queen and Pari Chehra a name that was to endure over the years before passing on to her daughter Saira Banu. After the classic Pukar, the demand for Naseem as an actress increased and she was approached by several film studios to act with them. But Sohrab Modi refused to release her from her contract. This caused some uneasiness between the two. Sheesh Mahal (1950) produced by Minerva show-cased her acting talents devoid of make-up and jewellery and clad only in simple sarees. From Minerva Movietone, Naseem moved to Circo and then Filmistan studios where she performed in Chal Chal Re Naujawan with Ashok Kumar.
Married to Ehsan by now, the husband-wife team started Taj Mahal Pictures and made several films like Ujala (1942), Begum (1945), Mulaqat (1947), Chandni Raat (1949) and Ajeeb Ladki (1942) under the home banner. The last two were also directed by her husband, Mohammed Ehsan. However she did a couple of action and fantasy films ("low-grade films") like Sinbad Jahazi (1952) and Baghi (1953), in which she was not accepted by the audiences. She acted in Minerva’s Nausherwan-E-Adil (1957) in a small role and then quit acting. She continued to remain active, first trying her hand as a producer, and then as her daughter’s dress-designer when Saira entered films with Junglee (1961).
Some of her best films are Pukar (1939), Chal Chal Re Naujawan (1944), Anokhi Ada (1948), Sheesh Mahal (1950) and Shabistan (1951). She co-starred with most of the top stars of those days like Sohrab Modi, Chandra Mohan, Prithviraj Kapoor, Ashok Kumar, Shyam, Surendra, Navin Yagnik, Prem Adib, and Rehman.
Naseem died on June 18 2002 in Mumbai at the age of 85 years.
2.Aadmi
Aadmi (English: Life's for Living) is a 1939 Hindi social reformist film directed by V. Shantaram. It was a remake of the Marathi film Manoos (1939) and is regarded as a classic from the Prabhat Film Company. The film starred Shahu Modak, Shanta Hublikar, M. S. Sundari Bai, Ram Marathe, Ganpat Rao, Ulhas and Gauri. The music was composed by Krishnarao Phulambrikar and the lyrics were by Munshi Aziz. The story is about a policeman who marries a sex worker in order to better her life but is faced by an unforgiving society. It was named by the Best Indian Film for 1939–40 by the Film Journalists Association of India.
Cast
Shahu Modak,Shanta Hublikar,Raja Paranjpe,M. S. Sundari Bai,Ram Marathe,Ganpat Rao,Ulhas,
Gauri,Bua Sahib,Manju,Narmada Shankar
Production
V. Shantaram used social elements in his films and in Aadmi he dealt with the life of a sex worker. The film was a remake of his classic Marathi film Manoos made the same year which was appreciated by the audiences and commended by Charlie Chaplin. The film is considered a classic along with his other two films Duniya Na Mane (1937) and Padosi (1941) and one of the best social films made that became successful.
Soundtrack
The music director Master Krishnarao was considered as an innovator with the orchestra. His tune "Ta Ra Ra Nao Na" from this film is an example of the modernisation. This was also the first film with a song in different languages.Sung by Shanta Hublikar,the song "Kis Liye Kal Ki Baat" had six different folk styles and languages, Hindi, Punjabi, Gujarati, Tamil, Telugu and Marathi. It was critically acclaimed by Baburao Patel in his review of the film in the cine-magazine Filmindia of October 1939. Another notable song cited was "Man Paapi Bhoola Kaun Ise Samjhaye" sung by Bai Sundrabai. There is also a parody of the famous Ashok Kumar and Devika Rani song from Achhut Kanya (1936) "Main Ban Ka Panchhi" to "Main Panch Ban Ban Dolu Re" sung by Shanta Hublikar.
3.Dushman
Dushman is a 1939 Hindi social romantic drama film. It was directed by Nitin Bose for New Theatres Calcutta Production. The film starred K. L. Saigal, Leela Desai, Najmul Hassan, Prithviraj Kapoor, Nemo and Jagdish Sethi. The music was composed by Pankaj Mullick and the lyrics were written by Arzu Lucknavi. Nitin Bose besides directing also wrote the story and wielded the camera for the film. The dialogue writer was Sudarshan. The story subject about tuberculosis was suggested as a propaganda film by Viceroy Lord Linlithgow and his wife, who were then the Chairman and Patron of King George’s Tuberculosis Fund.
The film is about two friends who want to marry the same girl unknowingly till one of them discovers he has tuberculosis. He decides to sacrifice his love but ends up in a sanatorium where he is treated.
Mohan (K. L. Saigal) and Gita (Leela Desai) are friends and discover they are in love. Gita visits Mohan at his house regularly and they also rendezvous at night by the lakeside where they listen to a tramp on his violin. Mohan is making plans on increasing his allowance while Gita is worried about his health. Mohan works at a radio station as a singer. His boss (Jagdish Sethi) at the radio station is rough and kind in turn. Mohan’s friend Dr. Kedar (Najmul Hassan) is also worried about his health and repeatedly suggests Mohan take a rest from work and the city for at least a year. He advises Mohan not to think of getting married till that time. Gita’s mother (Devbala) and Aunt (Manorama Sr.) have found a suitable boy Dr. Kedar, for Gita without her knowledge. They invite him for tea where he brings Mohan with him. Mohan realises the set-up and leaves the house asking Gita to meet him at their usual place. He tells Gita that it’s time for them to stop meeting and wait for some time. Gita is upset and refuses to let him complete his conversation.
Mohan starts developing daily evening fevers and he tells Dr. Kedar over the phone, Kedar insists on taking care of him but Mohan refuses. Dr. Kedar visits Gita as they have planned to see a film together. However, Gita takes him to the rendezvous place where they are seen by Mohan. A distraught Mohan rushes from there not caring whether he lives or dies. He meets a doctor who is an assistant (Bikram Kapoor) at a sanatorium run by an old doctor (Prithviraj Kapoor). The doctor forces Mohan to come with him to the sanatorium. At the sanatorium after initial hesitation Mohan becomes interested in the working and finances of the hospital. The Chief says that they can’t forcibly treat TB patients but maybe in the near future it may be rendered compulsory and then maybe they can get help. But first they have to make the people aware of the problem. A radio station comes to their help to set up a connection from the sanatorium.
Since Mohan was in the first stages of TB he starts improving and sings on the radio to make an appeal. The song is heard by Gita who has a nervous breakdown. Dr. Kedar sees this and understands about Gita and Mohan. He tells Gita’s mother that if she truly wants to help her daughter then she will try to understand her needs and see what it is that Gita really wants. On gaining consciousness Gita takes the car and speeds in it to the sanatorium. Kedar sees her and follows. Gita’s car meets with an accident outside the sanatorium. She is brought in unconscious and wounded. Mohan was planning to leave for a couple of days to attend what he thinks is the marriage of Kedar and Gita. The Chief who’s heard his story earlier stops him and takes him to where Gita is lying covered in bandages with Kedar by her side. Kedar happily points out Mohan to Gita. The Chief leaves them telling Mohan to make sure that Gita never drives rashly again. Mohan promises.
Cast
K. L. Saigal as Mohan,Leela Desai as Gita,Najmul Hassan as Dr. Kedar,Prithviraj Kapoor as chief doctor at the sanatorium,Jagdish Sethi as radio station manager,Nemo as Raibahadur Hiralal, Gita’s father,Devbala as Gita’s mother,Manorama Sr. as Gita’s Aunt,Bikram Kapoor as the assistant doctor at the sanatorium
Soundtrack
Pankaj Mullick gave the music for this film and also sang his version of the K. L. Saigal song "Karun Kya Aas Niraas Bhayi". The lyrics were written by Arzu (Arzoo) Lucknavi. All songs in the film were by K. L. Saigal.
4.Adhuri Kahani
Adhuri Kahani ( The Unfinished Tale) is an Indian film directed by Chaturbuj Doshi released in 1939. The cast include Durga Khote, Prithviraj Kapoor, Rose, Keshavrao Date, Ila Devi, Ishwarlal, Meerabai, Yakub, Khatoon, Mirza Musharraf, T. Zaidi. The film also had Meena Kumari as a child artist, Kumari was not rechristined as baby meena then.
Plot
The educated and liberal Harbala (Khote) is oppressed by her conservative husband Seth Gopaldas (Date). Determined that her children Somnath (Kapoor) and Neelam (Rose) shall lead freer lives, she is frustrated by Gopaldas' authoritarian traditionalism and commits suicide. Neelam and Somanth, haunted by guilt, join her in death. The film leaves open the possibility that in the future a less oppressive society will be achieved: literally translated, the title means 'The Unfinished Tale'.
Songs
Music is by Jnan Dutt. The film featured eleven songs
1- Aao Laalan Aao Ma Ki Godi Aao
2- Bhai Mori Laaj Bairan Bhai Aaj Piya Pardes Sidhaare
3- Chaandni Khili Hui Mast Fiza Mein Mand Mahak Hai
4- Chhal Bal Kar Ke Chitwan Bhar Ke
5- Jeevan Ki Daali Pe Do Panchhi
6- Jhoom Rahi Daal Daal Jhool Rahe Patte
7- Maiya Soona Mandir Tera Dhoop Nahin Hai
8- Meri Chatak Matak Ki Chundri
9- Sajeela Chhabila Chhaila
10- Shubha Ghadi Sahab Ghar Aaye Jee
11- So Ja Lalna So Ja Maa Ki Godi Hai Ghar Tera
5.Ladies Only
Ladies Only is a 1939 Hindi social comedy film directed by Sarvottam Badami. Produced by Sagar Movietone, it had music by Anupam Ghatak and starred Surendra, Sabita Devi, Bibbo and Prabha. This was the last comedy film made by Sarvottam Badami before he left Sagar Movietone. He joined his mentor Ambalal Patel, at Sudama Pictures to start making "socially relevant" films.
The story involved three girls from different region (States) meeting at a railway station, and their relationship with each other thereafter. Three girls from different regions of India, Sabita Devi (Gujarat), Bibbo (Punjab), and Prabha (Bengal) meet at a railway station. With no place to stay they decide to find accommodation together. A cook (Bhudo Advani) joins them speaking the language from each state. A young crook (Surendra) enters their life and trouble starts brewing between the girls when they all fall in love with him.
Cast
Sabita Devi,Surendra,Bibbo,Prabha,Bhudo Advani,Harish,Pande,Sunalini,Kaushalya
Music
Music was composed by Anupam Ghatak with lyrics by Zia Sarhadi and Pandit Indra Chandra.[
6.Punjab Mail
Punjab Mail is 1939 action adventure Hindi film directed by Homi Wadia for Wadia Movietone.The score was provided by Madhavlal Damodar Master, and stars Fearless Nadia, John Cawas, Sayani Atish, Sardar Mansoor, Boman Shroff and Sarita Devi. The film once again had Nadia playing the avenging female with mask and whip astride on a horse dispensing justice and beating up the villains.
Cast
Fearless Nadia,John Cawas,Sayani Atish,Sarita Devi,Boman Shroff,Sardar Mansoor,Master Chhotu
Shahzadi,Nazira,Master Mohammed
Production
The Wadia brother films normally starred Boman Shroff in the Douglas Fairbanks Sr. style roles, but with Punjab Mail Boman Shroff was replaced by John Cawas as a leading man though Shroff continued to act in character roles for them. The action films Nadia starred in like Hunterwali (1935), Miss Frontier Mail (1936) and Punjab Mail (1939) had patriotic implications and showed her fighting against persecution and prejudice with all the films turning out to be box-office successes. The train "metaphor" likening the female protagonist to a speedy train and its "thrilling settings" was continually used in the Wadia Brothers films with titles like Toofan Mail (1932), Miss Frontier Mail (1936), Toofan Express (1938) and Punjab Mail` (1939).
Music
The music director was Madhavlal Damodar Master with lyrics written by Pandit Gyan Chandra. The singers were Sarita Devi, Sardar Mansoor and Master Mohammed.
Fearless Nadia
Mary Ann Evans, also known by her married name Mary Evans Wadia and her stage name Fearless Nadia (8 January 1908 – 9 January 1996) was an actress and stuntwoman, who is most remembered as the masked, cloaked adventurer in Hunterwali (the woman who hunts) released in 1935, which was one of the earliest female-lead Indian films.
Fearless Nadia was born as Mary Ann Evans on 8 January 1908 in Perth, Western Australia. She was the daughter of Scotsman Herbertt Evans, a volunteer in the British Army, and Margret. They lived in Australia, before coming to India. Mary was one year old when Herbertt's regiment was seconded to Bombay. Mary came to Bombay in 1913 at the age of five with her father.
In 1915, her father’s untimely death at the hands of Germans during World War I prompted the family’s move to Peshawar (now in Pakistan). She learned horseback riding, hunting, fishing, and shooting during a stay in the North-West Frontier Province (now Khyber Pakhtunkhwa). In 1928, she returned to Mumbai with her mother and a son, Robert Jones, about whom not much is known, and then studied ballet under Madam Astrova.
She had earlier tried her hand at a job in the Army & Navy Store in Bombay as a salesgirl and had at one point wanted to learn "short-hand and typing to get a better job". Astrova’s troupe performed for British soldiers at military bases, for Indian royalty, and for other crowds in dusty small towns and villages. She mastered the art of cartwheels and splits, which came in handy later during her film stunts. An Armenian fortune teller had foretold that a successful career lay ahead but she would have to choose a name starting with the letter ‘N’. She chose the name Nadia because it was "exotic-sounding".
She toured India as a theatre artist and began working for Zarko Circus in 1930. She was introduced to Hindi films by Jamshed "J.B.H." Wadia who was the founder of Wadia Movietone, the behemoth of stunts and action in 1930s Bombay. At first, J.B.H. was bemused at Mary's insistence on trying out for the movies, but he took a gamble by giving her a cameo as a slave girl (in a hand-painted colour sequence that accentuated her blonde hair and sparkling blue eyes) in the film Desh Deepak, and then as Princess Parizaad in Noor-e-Yaman. Nadia proved a huge hit with the audience, whereupon, considering her skills at performing circus and other stunts, J.B.H., by then joined by his younger brother Homi, chose to develop her into a star. In 1967-68, when she was in her late 50s, she appeared in a James Bond spoof called Khiladi (The Player).
In 1993, Nadia's great grandnephew, Riyad Vinci Wadia, made a documentary of her life and films, called Fearless: The Hunterwali Story. After watching the documentary at the 1993 Berlin International Film Festival, Dorothee Wenner, a German freelance writer, and film curator, wrote Fearless Nadia - The true story of Bollywood's original stunt queen, which was subsequently translated into English in 2005.
Nadia married Homi Wadia in 1961 and thus became Nadia Wadia.
*Youtube full movies Aadmi, Pukar, Dushman, Kangan available
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