Director: O.P. Ralhan; Writer: Akhtar-Ul-Iman, O.P. Ralhan, Ehsan Rizvi; Producer: O.P. Ralhan; Cinematographer: Nariman A. Irani; Editor: Vasant Borkar; Cast: Meena Kumari, Dharmendra, Shashikala, Lalita Pawar, Sunder, Jeevan, Ram Mohan, Manmohan Krishna, Madan Puri, Tun Tun, Leela Chitnis, Iftekhar, D.K. Sapru, Brahm Bhardwaj, Shyam Kumar, Satish, Baby Farida, Neelam, Master Aziz, Ram Avtar, Johnny Whisky, Raj Neta, Pal Sharma, Master Anil, Narbada Shankar, Ravikant, H. Prakash, Maqbool, Bhairon, Shyam Ralhan, Nishan, Aruna, Assi Dutt, Jerry, Ajit Soni, K. Narula, Prem Prakash, Daya Devi, Radha, Sarda Chopra, Rami Samdeva, K. Duggal, Raj Dutt, Mauji, Madhumati, Laxmi Chhaya, Rani, Saroj Khan, Indira Billi, O.P. Ralhan
Duration: 02:44:10; Aspect Ratio: 1.333:1; Hue: 228.859; Saturation: 0.057; Lightness: 0.285; Volume: 0.111; Cuts per Minute: 11.238
Summary: Circumstances have made Shaka a career criminal. When plague empties a town of its inhabitants, he takes the opportunity to burgle a house. He finds nothing except Shanti, a widowed daughter-in-law who has been left to die by her cruel relatives. Shaka nurses her back to health. When her relatives return they are not pleased to find her alive and even less pleased to discover that someone has tried to rob them. Shanti gets the blame and a beating. Shaka saves her from worse, at the hands of brother-in-law, and the pair flee. They set up home in Shaka's house, much to the displeasure of the respectable neighbours who are all too ready to think the worst. Shanti's relatives are dismayed when a lawyer arrives to announce that Shanti has been left a legacy. They hatch a plot to get her back. Meanwhile, Shaka's rehabilitation is proceeding - much to the chagrin of his former criminal associates. Fire and redemption for some, death and handcuffs for others is what fate has in store.
Club Song of the 1950s
ZINDAGI MEIN PYAR (PHOOL AUR PATTHAR)
This song is 16 years or so after Guru Dutt's Baazi. The girl is now blonde, thus foreign, and non-Indian. The setting has been upgraded—the steps, music, clothes, but the basics remain the same. The chorus dancers are male and female. The criminals, who use the club as a front, are wearing white dinner jackets.
Here the focus is on the song. Also, since this is in colour, many of the 50s Noir elements, such as lighting and shadows, are missing.
American musical influences are visible, in the dancing and chorus line. The tune itself is copied from a Brazilian song.
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