Director: J.K. Nanda; Writer: D.N.Madhok; Producer: R.B. Haldia, G.D. Seth; Cinematographer: Dilip Gupta; Editor: Niranjan R. Chauhan; Cast: K.L.Saigal, Suraiya, Najma, K.N.Singh, Azurie, S.Nazir, Baby Khurshid Sharma
Duration: 01:58:22; Aspect Ratio: 1.333:1; Hue: 242.769; Saturation: 0.015; Lightness: 0.276; Volume: 0.197; Cuts per Minute: 7.383
Summary: Parwana, moths, drawn irresistibly to the flame in which they must inevitably perish! So are human creatures driven eternally by that mysterious living Fire which some call Life, other Love, which inspires men to unheard of toil and heroism unbelievable and women to impossible sacrifices, even the ultimate. Humanity dancing round the Fire of life, warmed by its glow, gay in its glitter, snatching at the flying sparks which gild its moments with the gold of dying sunsets, unaware in its bliss that the sun must set and that its irrevocable destiny is to be consumed in that very fire! They perish by the thing they love! Such are the characters in this moving tale of Parwana brought to the screen by Producer Haldia and Director Nanda., with cast of four of the most brilliant character actors and actresses in the industry. Inder a rich man's young son, played by the dying Saigal, patronizes Sakeena, the little daughter of a Muslim beggar. This is a Hindu-Muslim unity touch. Inder is soon married to Roopa, a woman who seemed to be walking on stilts all the while. Their life begins with a misunderstanding and bitterness comes in with the death of little Sakeena, who is ill-treated by Roopa. Inder gets ill ? a very natural sequence for the late Mr. Saigal ? and he is sent to hill station with his female 'grasshopper' to nurse him. There he meets Gopi, the solitary village belle in an obviously big village. Inder and Gopi soon have uncertain emotions between them and their friendship sets the village tongues wagging. Here Kishen, the brother of the belle, steps in and raises the temperature of the story grunting and swinging about like a wild boar in pain. Inder and Roopa rush back to town ? Inder to fall mysteriously ill and Roopa to look worried. A member of the idiotic order of physicians usually seen on the Indian screen, declares the illness beyond him unless? The climax is soon reached at the wedding of the Gopi. Inder and Roopa had gone to village and hearing of the occasion Inder went to congratulate her, when he saw her brother rushing at him with a knife. Inder asked Gopi to jump aside, she jumped, but, alas! Her foot slipped and she fell over precipice to a cruel death on the rocks beneath. There are two good things about this picture: the singing of Saigal and the technical direction of Nanda despite poor story material. The rest of it is commonplace stuff including the usual Madhok songs which constitute neither music nor poetry. This time, additionally, the story is also by Madhok. You can, therefore, imagine the rut of entertainment presented. The theme of the story is confused. It seems to be a result of muddled thinking. At places one feels that the writer is trying to argue against parent-arranged marriages. In spots, through Roopa, the wife of the hero, the writer almost screams against blind unreasonable jealousy in married life. Then there is the socialistic temperament of the hero when he befriends a beggar girl. And the communal angle when the Hindu hero loves the Muslim beggar girl as his sister. Add to these the different and temporary facets of brotherly, manly, sisterly and 'sweetheartly' love between the hero and the heroine (Gopi) and imagine the unholyness in which the writer has presented the story on the screen. There are two good things about this picture: the singing of Saigal and the technical direction of Nanda despite poor story material. The rest of it is commonplace stuff including the usual Madhok songs which constitute neither music nor poetry. This time, additionally, the story is also by Madhok. You can, therefore, imagine the rut of entertainment presented. The theme of the story is confused. It seems to be a result of muddled thinking. At places one feels that the writer is trying to argue against parent-arranged marriages. In spots, through Roopa, the wife of the hero, the writer almost screams against blind unreasonable jealousy in married life. Then there is the socialistic temperament of the hero when he befriends a beggar girl. And the communal angle when the Hindu hero loves the Muslim beggar girl as his sister. Add to these the different and temporary facets of brotherly, manly, sisterly and 'sweetheartly' love between the hero and the heroine (Gopi) and imagine the unholyness in which the writer has presented the story on the screen.
Indiancine.ma requires JavaScript.
