Note: I've marked the spoiler sign- but this is a well known myth so no surprises here (not even the ending- which is also a popular myth where Anarkali comes back as NurJahan).
Prepare to be dazzled. A luscious feast for the senses, the new restored & colorized version allows us to appreciate the fine attention to detail. The colors are breathtaking- and that is when I realized that Sanjay Leela Bhansali- much as I like that director- isn't all that original. K. Asif got there first. Bhansali tried to do the lavish sets, gorgeous costumes, attention to detail, assault of color in Devdas. But K. Asif got there first- and without the digital technology of today.
That is only the film's visual victory over your defenses. When there is silence in a scene- you can only just hear the fountains, and the crystal droplets of the "shama daans" or lamps tinkling in the soft breeze. And then there are the gorgeous, tight, beautifully written dialogs rendered in chaste Urdu (by all actors, regardless of religion- Prithviraj Kapoor's progeny might like to take a feather off his cap, and polish up their enunciation - really there is no reason why the poet Ghalib must be referred to as Gaalib by today's lazy actors). It was a relief to my ears which are usually accosted in even the best Karan Johar entertainer, by an unfortunately politicized and degraded Hindustani.
Then there are the performances. Albeit some performances and dialogs are melodramatic, over-the-top- especially the ones with the mother, Queen Jodha Bai, yet one must understand the requirement of the time, as well as the archetypes that were (and are) close to the heart of the audiences. These often have religious and mythological overtones which most people would immediately have picked up on- the mother, the wife, the beloved.
Technically, so much has been said about the cinematography, especially in the dance scene in the Hall Of Mirrors, and the battle scenes- that I wont repeat them- but I'll just say- pay attention to these and remember these scenes were shot despite the limitations of available technology. Amazing! Finally- the fabulous on screen chemistry of Dilip Kumar and Madhubala. With his nuanced acting and the slightest inflection in tone conveying volumes- Dilip Kumar is simply arresting and with her naughty, flirtatious first dance as Radha, Madhubala conveys the passionate Anarkali. Their scenes together are never vulgar or titillating- just terribly erotic- sensuous- again tactile: Prince Salim brushing a feather against Anarkali's skin...
Really- there's so much more to write- but I'll just say that there is a reason this is a classic. Enough said.
10/10
Prepare to be dazzled. A luscious feast for the senses, the new restored & colorized version allows us to appreciate the fine attention to detail. The colors are breathtaking- and that is when I realized that Sanjay Leela Bhansali- much as I like that director- isn't all that original. K. Asif got there first. Bhansali tried to do the lavish sets, gorgeous costumes, attention to detail, assault of color in Devdas. But K. Asif got there first- and without the digital technology of today.
That is only the film's visual victory over your defenses. When there is silence in a scene- you can only just hear the fountains, and the crystal droplets of the "shama daans" or lamps tinkling in the soft breeze. And then there are the gorgeous, tight, beautifully written dialogs rendered in chaste Urdu (by all actors, regardless of religion- Prithviraj Kapoor's progeny might like to take a feather off his cap, and polish up their enunciation - really there is no reason why the poet Ghalib must be referred to as Gaalib by today's lazy actors). It was a relief to my ears which are usually accosted in even the best Karan Johar entertainer, by an unfortunately politicized and degraded Hindustani.
Then there are the performances. Albeit some performances and dialogs are melodramatic, over-the-top- especially the ones with the mother, Queen Jodha Bai, yet one must understand the requirement of the time, as well as the archetypes that were (and are) close to the heart of the audiences. These often have religious and mythological overtones which most people would immediately have picked up on- the mother, the wife, the beloved.
Technically, so much has been said about the cinematography, especially in the dance scene in the Hall Of Mirrors, and the battle scenes- that I wont repeat them- but I'll just say- pay attention to these and remember these scenes were shot despite the limitations of available technology. Amazing! Finally- the fabulous on screen chemistry of Dilip Kumar and Madhubala. With his nuanced acting and the slightest inflection in tone conveying volumes- Dilip Kumar is simply arresting and with her naughty, flirtatious first dance as Radha, Madhubala conveys the passionate Anarkali. Their scenes together are never vulgar or titillating- just terribly erotic- sensuous- again tactile: Prince Salim brushing a feather against Anarkali's skin...
Really- there's so much more to write- but I'll just say that there is a reason this is a classic. Enough said.
10/10