Nimmi, who puts over a convincing portrayal in P. V. Films' "Angulimaal."

Director Vijay Bhatt is noted for his period films, like “Ram Rajya,” “Bharat Milap”, “Chaitanya Mahaprabhu” and “Baiju Bawra.” An addition to this impressive record is “Angulimaal,” in which Bharat Bhooshan plays the title role.

The story, set in Bhuddhist times, depicts the life of a scholarly youth who is destined to live two lives of completely opposite charac­ter—as a killer and as a saint. He shows prowess in all the arts and is expected to bring a good name to his family and the community, but finds himself on the wrong side of the law due to the jealousy of some of the inmates of the Ashram where he is studying.

Wrongly accused of gross moral lapse, he runs amuck, kills hundreds of innocent people and lives a savage life. In the end, however, he is reformed and accepts the Buddhist teach­ing and way of life.

The story as well as the complexity of the character he portrays provide Bharat Bhooshan with plenty of scope for histrionic expression. The three main facets of the title role—the scholar, the killer and the saint– are so diverse that it is only the deep under­standing and sincerity of Bharat Bhooshan that make the character real.

As the hero’s beloved, petite Nimmi puts over a fine portrayal. It is refreshing to see her on the screen again after a long time. Anita Guha gives a compelling performance, and Ulhas is convincing as the guru. Chandra­shekhar, Achala Sachdev, Manmohan Krishna, the late Prem Adib, Vinod Kumar and Sheila Kashmiri are adequate in their respective roles. Dancing starlet Helen does justice to her dance numbers.

Maestro Anil Biswas has written a fine music score, and the theme song, “Buddham, Sharanam, Gachhami,” is inspiring. Bharat Vyas’s lyrics are appropriate to the theme as well as the mood of the film.

Bhavani Prasad Misra’s dialogue, Kanu Desai’s art direction and V. Avdhoot’s photo­graphy together help to make “Angulimaal” a memorable film (Source – Filmfare Magazine – February 24th, 1961)

Cast and Production Credits

Year – 1960, Genre – Historical/Mythical, Country – India, Language – Hindi, Producer –Thai Information Service, Director – Vijay Bhatt, Music Director – Anil Biswas, Cast - Bharat Bhushan, Anita Guha, Ullhas, Achla Sachdev, Manmohan Krishna, Prem Adeeb, Kesari, Helen, Nimmi, Chandrashekhar

Bharat Bhushan and Suraiya in Mirza Ghalib (1954)

Mirza Ghalib, Sohrab Modi’s eagerly awaited production, was released at a glittering premiere in Bombay on December 10th 1954, at the Minerva, Excelsior and Palace cine­mas.

Inspired by the tragic romance between the great poet Ghalib and Moti Begum, the dancing girl—whom the poet fondly named Chaudavin—J. K. Nanda’s adaptation of Minto’s original story closely follows the pattern of the lives depicted there, the depar­tures from recorded fact being dictated by dramatic considerations and regard for the censors.

Bharat Bhushan plays the title role while Suraiya portrays the feminine lead. They re­ceive excellent support from an all-star cast comprising Nigar Sultana, Ullhas, Durga Khote, Murad, Iftikhar, Mukri and —Baij Sharma, while veteran actor Jagdish Sethi appears as a guest artist.

Directed and produced by Modi on his usual lavish scale, the film magically re-crea­tes the poignant love story of the Poet and the Dancer in the atmosphere of the magni­ficent court of the last of the Moghul em­perors. He has with deftness preserved the atmosphere of the times and those aspects of life which inspired the wistful ghazals of Ghalib.

The film sympathetically depicts the torments suffered by the poet in his love for two women. Torn between his sense of duty to­wards his lovely wife Umrao Begum, and his love for Chaudavin, his troubles and frustra­tions increase and assume the proportions of tragedy.

Sohrab Modi’s direction is unquestionably inspired. Not only has he re-created the world of the Moghuls, but has paid due tri­bute to the poet in a film which is as warm and dignified as the story it tells. Ghalib’s exquisite ghazals and couplets have been admirably incorporated into the narrative and they richly embellish an already masterly production.

Bharat Bhushan is superb as the poet, Ghalib. Enacting his role with quiet restraint and dignity, he presents both the genius of Ghalib the poet, as well as his shortcomings as a man.

Suraiya beautifully brings to life the fascinating Chaudavin, drawing every ounce of sympathy through the character she por­trays. The skill she displays in her rendering of Ghalib’s exquisite ghazals together with the flexibility of her voice enables her to reach the depths of meaning in the poet’s words and draw out their subtlety to the full.

Nigar Sultana as Umrao Begum and Durga Khote as Chaudavin’s mother are both

brilliant in their character roles, while Baij Sharma as Fiddan the opium-eater turns in a noteworthy performance.

Ullhas, the villain of the piece, is con­vincingly evil and lecherous, Iftikhar with regal dignity almost instinctively lives his part of the Emperor, Bahadur Shah, and Mukri contributes a fine cameo of the self-important but kindly money-lender.

Rajinder Singh Bedi’s  expressive dialogue registers much of the elegance of speech characteristic of Moghul times. Ghulam Mohammed’s music and Shakil Badayuni’s lyrics give further evidence of their creative talents.

With delightful grace, Roshan Kumari and Kumkum present the spectacular dances directed by Lachhu Mahraj and Badri Prasad.

Production values of costume, sets and decor constitute spectacular additions to the film which also has excellent photography – Filmfare Review – January 7, 1955

Cast and Production Credits

Year – 1954, Genre – Historical/Romance/Drama, Country – India, Language – Hindi, Producer – Sohrab Modi, Director – Sohrab Modi, Music Director – Ghulam Mohammed, Cast - Bharat Bhushan, Suraiya, Nigar Sultana, Durga Khote, Ulhas, Mukri, Murad, Baij Sharma, Iftikhar, Jilani, Saadat Ali, Ghulam Mohiuddin, Kumkum, Roshan kumari

Prithvi Raj Kapoor in Sikandar (1941)

The historical film is one of the oldest genres of Indian cinema, often closely linked with themes of nationalism and the freedom struggle. Favourite periods include the Mughal era (the most popular film being Mughal-e Azam) and, less often, classical India, often used to evoke the glory that was India or highlight how the Indian nation and its unity are rooted in the mists of time. The historical’s popularity waned from the early 1960s but several have succeeded in the 2000s (including Lagaan and Gadar), experimenting with new periods (partition and even the 1960s).

Sohrab Modi, a Shakespearean actor, and his production company, Minerva Movietone, were always associated with this genre. His major historicals include Pukar (1939), which almost ousted Sikandar for its performances by Chandramohan and Naseem Bano, with able support from Sohrab Modi and others, its lavish sets and high drama; Prithvivallabh (1941), based on the novel by K. M. Munshi; Jhansi ki Rani (1953), documenting the fight by Queen Laxmibai against the East Indian Company; and the life of the great Urdu poet, Mirza Ghalib (1954), if only for Suraiya’s songs. However, Sikandar is held to be his greatest film.

326 BCE. Sikandar (the Indian name for Alexander the Great) (Prithviraj Kapoor) has reached the Jhelum and is set to conquer India but has to defeat the Indian King Porus (Sohrab Modi). Sikandar’s Persian lover Rukhsana (known in the west as Roxanna) (Vanamala), though shunned by Sikandar’s tutor Aristotle (Shakir), pleads with Porus to spare Sikandar but Porus’ only son (Zahur Raja) is killed in battle, and Porus is captured. However, the two heroes recognize kindred spirits and become friends. Sikandar releases Porus and begins his journey back home.

The film was epic in all senses. Its sets and battle scenes were lavish and no expense seemed to have been spared in creating the grandeur of ancient India. However, it must have been a great risk to make a film in 1941 (at the height of the freedom struggle) in which leaders debate nationalism and defeat. Nevertheless, apparently it managed to evade censor cuts, although it was not shown in cantonment towns (towns where the army was based).

The film is also remembered for the performances of these two imposing Shakespearean actors. Modi had worked in the Parsi theatre, specializing in Shakespeare, and Prithviraj Kapoor had also acted in Shakespearean touring companies. Both men began their careers in silent cinema. Prithviraj remained only an actor, starring in the first talkie, Alam ara (1931), and worked in New Theatres before returning to Bombay to appear in films such as Phool. From a generation who preferred theatre to cinema, he discovered that the latter paid the bills. His sons Raj (whose films include Awaara, Shree 420 and Bobby) and Shammi (Junglee, Teesri manzil, among others) worked almost entirely in cinema, while a third, Shashi (Waqt, Jab jab phool khile, Deewaar, Kabhi kabhie and Silsila), despite a good film career, subsequently devoted his energies to the theatre.

Cast and Production Credits

Year – 1941, Genre – Historical, Country – India, Language – Hindi, Producer – Mohan Pictures, Director – Sohrab Modi, Music Director – Mir Sahib, Cast - Prithviraj Kapoor , Sheela, Sadiq Ali, K. N. Singh, Meena, Shakir, Yakub, Jilloo Maa, Vanmala, Sohrab Modi, Zahur Raja, Abu Baker