Mahal Movie Download Free Hindi Movie
Laverne Levenstein
The Movie Mahal programme that Channel 4 screened 18 months ago was a 75-minute special, The Golden Years of Indian Cinema, based on the series of the same name and covered Hindi cinema from the late 1940s to the early 1960s.
The programme focused on songs, singers, composers and lyricists, with interviews with Lata Mangeshkar, Helen, Javed Akhtar and Gulzar as well as archive footage featuring songwriters and singers Talat Mahmood, Majrooh Sultanpuri and Laxmikant.
it wouls br gr8 if such docs are uploaded to you tube if any of u have them,i feel we need to share such rare things with other passionate cinema lovers ,there are so few docs on indian cinema in general,no autobiographies,making of movies,dvd extras etc ,such pathetic sad state of bollywood
if such kind of doc exists i would love to pay money also but i doubt if its possible,so if any of u lucky ones have it,kindly be sharing enf to upload on youtube etc,just a rqest frm a passionate cinema lover
I was 3 years old when this movie was released in 1949. I remember my parents taking me with other siblings to the movie theatre. The only scene that stuck to my mind from this movie was a clock tower in the night from which a huge bat was flying away. The part I got right was the sense that this movie was spooky. But when I watched this movie recently after all these years I discovered that the scene, which was stuck in my mind, was a juxtaposition of two different scenes. Well, I am glad I cleared that up.
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One of the old Hindi songs that I have always enjoyed is from this movie. Here it is,
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The lyrics of this song are as follows. They express a beautiful longing.
Art is where what we survive survives, reads a line from Kaveh Akbar's poem, The Palace. Whether we acknowledge it or not, art is how most of humanity copes with the futility of existence. Art as a form of entertainment isn't a bad way to look at it either. But there is this popular and culturally detrimental notion that mainstream cinema is the way it is because your average working-class viewer does not want to see themselves on-screen. They come to a movie theatre to relax, laugh, and look at a life that is far removed from their reality, or any reality in general. There might be some truth in it, but it is discouraging to see a trend of filmmakers choosing to treat this as gospel to hide inadequacies.
Sheesh Mahal too was shaped by support and love that came the duo's way, at times from unexpected corners. The film ends with thanking Rajeev Ravi, and Sasi reveals that he was the one who introduced them to Piyush Mishra. "We showed Rajeev Sheesh Mahal rushes, (and) he was very impressed." Mishra wrote three songs, sang two of them, and even composed one, yet he only took eleven rupees of remuneration. "When Piyush came to Hyderabad to sing, we became very greedy and asked him for one more song. He agreed and gave us his own tune." Stories like this might be rare, but they manage to slightly dent the dog-eat-dog-world reputation that shadows the film industry.
A forced marriage with Ranjana (Vijayalaxmi) is as futile as a decision to leave Allahabad far behind. The later portions of Mahal have a song too many and a creaky twist. What endures is the sustained mood of doom, which begins the minute Shankar sets foot in Sangam Bhavan.
Both these movies are also about the inexorability of time. This is perfectly captured in Mahal when Ranjana takes charge of her situation by attacking the clock that seems to have followed her from Allahabad and never leaves her or Shankar alone.
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I don't even wanna give single star rating. It's 0. What a climax! Wah wah! Cringe to the core. I feel bad using shanvi for this movie. No story at all. Don't watch this movie, save some 3 hours of your life or Netflix n chill!
The film is based in a small town where a young man called Krishna runs a movie theater. To his bad luck, the theater runs into huge losses and Krishna is left alone to repay all the debts which have been taken to maintain the theater.
Comedy by Satya entertains in parts. The way one of the twists is revealed during the break time is very intriguing. Also, the manner in which the hero fights hard to remove the film from his theater looks quite interesting. His performance during these scenes is pretty decent.
One of the biggest drawbacks of the film is the lazy execution. Except for the interval block, rest of the film is quite routine and has many predictable moments. The main back story and the suspense behind it have been dealt with in a very poor manner. Also, the performances done by the supporting cast during these tense scenes is very bad.
The climax of the film is quite silly as the hero solves the entire two-hour mystery with just a simple scene. There are way too many logical errors in the film which have been overlooked completely. The climax is also hurried up as the proceedings have been wrapped up in a hurry.
I was wondering the same thing about the anthem--guess standing for the National Anthem is ingrained in all of us. I remember we always sat in the same spot in the theater too. It's wonderful to know the theater is opening again for this generation.
Thank you Lynn, I remember seeing Psycho and a lot of Beatles movies there. It was strange to go to other theaters where they didn't have the National Anthem or remember those This week in the news or something like that? Also, I remember guys and girls making out in the back row! Of course I had nothing to do with that!!!
Spunky archaeologist Megha steals a 700-year-old diary from an abandoned house called Kasthuri Mahal, while on one of her excavation. Soon after, bizarre and eerie events begin to occur among Megha and her friends that refer to the same abandoned house and an unfinished love story written in the diary. As the ghost of that unrequited love lures everyone back to the house to reveal their possible connection to the house, things get spooky and begin to spiral out of control.
The very first phrase that is likely to occur to you while watching Kasthuri Mahal is "outdated". While that doesn't necessarily bring negative connotations, it is apparent throughout the length that veteran director Dinesh Baboo is unwittingly attempting a genre film that is supposed to exist in the '90s and not anytime later. Baboo, making his 50th film, is known for his work across languages but is particularly adored by the Kannada audience for cult hits like 'Inspector Vikram' and 'Amruthavarshini'. His nearly four-decade-long career has seen him churn out several impressive films, and when the filmmaker offers an intriguing horror film, one expects to witness at least a semblance of his past credibility. However, his latest offering Kasthuri Mahal is a sincere effort that ultimately comes off bland, uninspired, and least scary for a film of the horror genre.
One of the main reasons Kasthuri Mahal feels old-fashioned is its drawly setup. We are introduced to the ghost or the spirit almost right away but in an intermittent manner, for the director intends on etching the rest of the story and characterization first. Scene after scene, we see each character build association with the horror element as they grow confused and spooked but the slothy screenplay fails to penetrate the heart of the matter until the second hour of the run time. The entire first half of the film is lost in character exposition and unimpressive stylization, comprising a few jumpy shots and blaring sound effects, and the remainder of the film is left with too much to carry.
Another sense of familiarity with Kasthuri Mahal shows in the way it employs its characters. Megha, played by Shruti Prakash, has a penchant to find a souvenir from every ancient site she visits as an archaeologist and in this case, she has her hands on an alluring personal diary that dates almost 700 years back. There are poetic details of an unfinished love story in the diary, and when Megha and her friends land at the obscure and very antique Kasthuri Mahal to shoot an ad film, they end up irking the place's resident ghost. However, the film fails to create any kind of intimacy for the horror to breathe and evolve, let alone have any originality in its execution. Dinesh Baboo falls quite short in building an effective narrative and despite the efforts to embellish a rather weak and meek story, one is left wanting a real movie.
Shanvi Srivastav stars in a dual-ish role but has no material to play with. She does light up the screen every time she shows up but by the time she tries to flex even a little, the film meets a rather abrupt end. For an actor who is currently on the rise with tremendous expectations, it is likely that Kasthuri Mahal will down a lapse in judgment for Shanvi. Shruti Prakash is joined by Skanda Ashok, Kaashima Rafi, Kempegowda, and Akshar to make up the friend gang in the film but there's very little that's interesting or exciting about any of their roles. However, it is the very dependable Rangayana Raghu who curbs the film from descending further with his effective performance - it is surely evident that the senior actor had to conjure up a role out of his own from a script that fails to do any justice to his talent.
For a generation that's now attuned to an evolved grammar and ethos of filmmaking with respect to horror, 'Kasthuri Mahal' will be an out-of-date experience. The film lacks immensely in both novelty and execution and the audiences are sure to find the seasoned Dinesh Baboo's lackluster efforts a little surprising.
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