When the 19-year-old Meena Kumari married 34-year-old writer director Kamal Amrohi it was a marriage of a muse and her mentor. A magnificent obsession had found its culmination in reality. But the fairy-tale romance was soon mired by dissent with the ‘mentor’ allegedly turning into her ‘tormentor’! And Meena Kumari, with her persona customised for tragedy, kept the rumours fuelled with her studied silence.

But Meena and Kamal were not meant to end as sparring spouses. Their destiny lay in rising beyond their identity as man and wife to leave behind a spectacle of splendour. Ornate in poetry, vintage in music, opulent in frame, Kamal Amrohi’s Pakeezah was an ode to the old-world courtesan – who could be desired by all but could belong to none. It embellished Meena’s character Sahibjaan with jewels and anguish and yet turned around her masochism into a feminist triumph towards the end. “Shahjahan immortalised Mumtaz Mahal by building the Taj Mahal. Baba (Kamal Amrohi) immortalised his wife Meena Kumari by making Pakeezah for her,” says Kamal’s son Tajdar Amrohi. “Pakeezah means a pure soul and Choti Ammi (Meena Kumari) was just that,” adds the stepson. He revisits the classic, first conceived in 1954 but finally released in 1972... in his own words...

The genesis

Baba (Kamal Amrohi) and Choti Ammi (Meena Kumari) had got married in 1952. Baba had laid down three conditions then. No working in films after completing the ongoing ones. No working after 6 pm. No one should be allowed in Choti Ammi’s make-up room. He was also particular that Choti Ammi travel in Baba’s car - a Buk (it had a piano-like horn) when they were together. But with time, none of these held ground. Major conflict between Baba and Choti Ammi began when she allegedly underwent ‘abortion’. Choti Ammi was told that if she had a baby, her image would be ruined. And that upset Baba. The tiffs continued.

Then one day, in 1964, due to some misunderstanding, she went off to her sister Madhu’s home (she was married to Mehmood). Baba did go to bring her back. But Choti Ammi had shut herself in a room. Baba came away saying, “Manju (his pet name for her), I’m leaving. I’ll not come again. But the doors of our house will always remain open for you.”

With this estrangement, Pakeezah, their dream, also went for a toss. Pakeezah was conceptualised in 1954 as a Black & White venture. The mujra Inhin logon ne was shot on July 16, 1956 as written on the reel under Kamal Pictures. The film was eventually released under Kamal Pictures Pvt Ltd in 1972. And in 2017... 43 years later, it’s still discussed...

Choti Ammi & I

Choti Ammi and I shared a deep bond. I was around five when she came into our lives. She was like a mother to me. My real mother (Zehra Amrohi) had told us to never disrespect her. Choti Ammi looked after my food, my clothes... everything. As a child, I’d wait for her to come home. The minute I’d hear her car come up the driveway, I’d run down to open the door. I’d hold her hand and bring her up the staircase to the second floor. I was doing my senior Cambridge in Dehradun when Choti Ammi left Baba and our home. I read about their separation there and was extremely affected by it.

After I returned to Mumbai from Dehradun after my SSC, one day Shama Apa (Meena’s step-sister) called up saying Choti Ammi wanted to see me. I went to see her. She was lying on the bed with bottles of medicine around her. We spoke through the evening. At around 3 am she said, “Beta, take me home with you.” But when we neared home, she had a change of heart. “Na! Beta tum jaao. Iss haal mein nahina aaoongi (I will not come in this condition).” I didn’t want to force her. Upstairs Baba was waiting for me. When I told him that Choti Ammi had come this far with me, he was surprised. I told him she was unwell and weak. The emotional thaw set in at that moment.

Soon Choti Ammi shifted to her own house in Landmark in Bandra. Baba began visiting her often. She had once mentioned to me that well-wishers, like Khayyam saab, Sunil Dutt saab had suggested to Baba that he complete Pakeezah. Dutt saab had told Baba, “It will be a grave injustice to cinema if you don’t.” So, once in their presence, I urged Baba to ask her. He asked, “Manju! Pakeezah poori kar dein? People say a film like that cannot not be made again.” Nervous about her medical condition, she asked, “Chandan (her pet name for him), kya tum mujhe waisa bata sakoge?” He assured her saying, “Surrender yourself to me! I’ll handle it all.”

          

Real & reel patch-up

They resumed shooting in 1968 by first filming the song Mausam hai aashiqana, which Baba had written. Due to her liver ailment, her stomach had bloated. To camouflage that, Baba made her wear a kurta and lungi. And that became a trend! The tent was set up in Filmalaya and later the shots were matched with the outdoor scenes. Though she’d feel tired, she’d perk up before the camera. After every shot, a unit hand would rush to her with a chair.

Actress and dancer Padma Khanna was used as her body double as Baba believed her body dimensions and face structure matched Choti Ammi’s. Padma’s make-up was done by Joshi Dada. Her eyebrows and lips were made to look like Choti Ammi’s. One of the background dancers in the song Chalte chalte… was also used as a body double in the scene when Sahibjaan runs away from her nikah with Salim (Raaj Kumar). As also in the scene where she runs on the railway tracks. During the last song Aaj hum apni duaon ka asar, Choti Amma had to twirl around and drop in Veenaji’s arms. That was strenuous for her. Her close-ups were taken in sitting position. The song Chalo dildar chalo didn’t focus on her face even once but yet had a surreal quality.

Initially, Dharmendra was to play Salim’s role. In fact, the baraat sequence was already shot with him. But in the film, when the dulha lifts the sehra, it’s Raaj Kumar! Because of the rumours that were circulating about Choti Ammi and him, Dharamji gracefully opted out of the film. Raaj Kumar was cast in 1968.

Fine aesthetics

Baba came from a cultured family in Amroha, UP. He was exposed to the poetry and culture that the nawabs patronised. The courtesans were well-versed with art. The set, called the Bazaar-e-husn, where Inhin logon ne was filmed, took six months to erect. In the background, there are around 16 nautch girls dancing in different kothas. But they all look harmonious in the frame.
Baba’s sensibilities have inspired filmmakers, particularly Sanjay Leela Bhansali who once wondered how the camera could pass through the water fountain in the song Chalte chalte. The mujras Chalte chalte and Thare rahiyo were shot on the set called Gulabi Mahal. Though Baba had recorded 12 songs with music director Ghulam Mohammed, he retained only six. When asked to change the music as the tunes seemed outdated, Baba said, “I would have, had Ghulam saab been alive. But now that he’s no more, I won’t do it.”

The sringardaan (dressing table) had genuine attar jars. Attar was poured in the pond in which Sahibjaan soaks her hair. Baba believed the audience would ‘smell’ the fragrance. Real jewellery was got from Jaipur and Bangalore. The artificial plaits were picked up from Bhendi Bazaar while the bangles were sourced from Null Bazaar in Mumbai. The fabrics were bought from Dadar and stitched by Kareem Bhai in Mahim.

The haunting alaap, rendered by Lata Mangeshkar, symbolises the presence of Nargis’ soul – Sahibjaan’s mother. Whenever Sahibjaan is in trouble, the alaap is played. But in the end, when Sahibjaan unites with her love…the alaap is not played. Nargis’ soul has found peace.

The train is the hero of the film. Sahibjaan has not seen her admirer, the one who had left the poetic note between her toes. But she begins to associate him with the train’s whistle as it tears through each night. The train has a shehnai like rhythm. It indicates romance, a search. The train’s rhythm changes with the emotions of the protagonist. When Sahibjaan runs away from her nikaah, the whistle sounds upset.

The message that Baba wanted to convey through Pakeezah lies in the end. As Sahibjaan’s baraat is leaving the kotha, a young courtesan wistfully watches it. She dreams of getting married some day with the same dignity. The editor DN Pai had cut out this scene. Baba insisted that it be retained. After the film released, amongst the huge fan mail, was one letter which mentioned that scene. The writer asked Baba to send him the picture of that girl. Baba felt vindicated and said, “This person has actually watched the film.”

Pakeezah is complete

The premiere of Pakeezah was held on February 4, 1972 at Maratha Mandir. Choti Ammi had worn a white gharara. After watching the film, she held Baba’s hand and said, “Chandan promise me you won’t make a film after this.” The film was released in many theatres - Novelty, Liberty, Maratha Mandir. It was doing well.

Choti Ammi was hospitalised in March. Through her last days she kept saying, “I will not forgive those who ruined my home.” When the doctors declared that she was in the last stage, Baba broke down. He sat next to her, running his fingers in her hair. Shama Khala said, “Bhaijaan aap issey maaf kar dijiye.” Before leaving Baba said, “Khuda Hafiz!”. Choti Ammi passed away on March 31, 1972. Being still married to Baba (contrary to rumours of a divorce), she was buried in Rehmatabad, Mazgaon our family burial place.
From then on, people started flocking to watch Pakeezah. But Baba didn’t cash on it saying ‘see her for the last time’. Gomti Ke Kinare, Mere Apne, Meena Kumar Ki Kahani – all released after Pakeezah. But they didn’t turn immortal. Yes, Pakeezah did good business. Baba’s income tax issues were resolved. Investors got their money back. But it wasn’t as though Baba became a millionaire.

An afterthought

As long as Choti Ammi was with Baba... till 1964, she was never maligned. There were no stories about her alcoholism. She always said, “I respect your Baba the most in the world.” She never said I ‘fear’ him. My father was a non-violent man. He was painted as a villain. After Sharda and Parineeta the image of a tragedienne stuck to Choti Ammi and worked for her career. In fact, she was revered as a ‘devi’. She once told Baba that people picked strands of her hair to make a taweez (talisman) out of it.

Baba never watched his films – be it Mahal, Pukar or Jailor. But he watched Daera because it showed Choti Ammi dying. He did miss her and would say, “Manju bahut masoom thi. People led her astray.” He loved Choti Ammi’s voice, her smile and her graceful walk. “There’s character in her walk,” he’d say. “Kahan se chali aarahi ho kharama kharama (a slow and swaying walk) meri jaan!” he’d ask her. Baba passed away in 1993, 21 years after Choti Ammi. He’s buried right next to her. But their tale is still alive... through Pakeezah.

More on: Pakeezah, Meena Kumari, Kamal Amrohi, Filmafre

SHOW COMMENTS

ncG1vNJzZmivp6x7p7XLpp2aqpVjsLC5jp%2Bcmqylp7K0e9OhnGasoqrBqXnBnp%2BippRivaK3xJ6xmqBdqru3scilnJ1lYmZ%2FeX%2BNoaumpA%3D%3D