Garam Hawa (1973)
Director: M.S. Sathyu; Writer: Kaifi Azmi, Shama Zaidi, Ismat Chughtai; Producer: Ishan Arya, Prema Kannan, Madhav, J.K. Mathur, M.S. Sathyu, Abu Siwani, Hari Verma; Cinematographer: Ishan Arya; Editor: S. Chakravarty; Cast: Balraj Sahni, Dinanath Zutshi, Badar Begum, Geeta Siddharth, Shaukat Kaifi, Abu Siwani, Farooq Shaikh, Jamal Hashmi, Yunus Pervez, Jalal Agha, Kalpana Sahni, Shanta Agarwal, A.K. Hangal
Duration: 02:09:27; Aspect Ratio: 1.323:1; Hue: 134.824; Saturation: 0.105; Lightness: 0.040; Volume: 0.233; Cuts per Minute: 9.872; Words per Minute: 47.852
Summary: The FFC-sponsored film debut of the IPTA stage director Sathyu is one of the last titles by the generation of 50s Marxist cultural activists (Sahni, Azmi and Chughtai) and chronicles the plight of the minority Muslims in North India. Set in Agra after the first major Partition exodus, the film tells of an elderly Muslim shoe manufacturer, Salim Mirza (Sahni) and his family who must decide whether to continue the ancestral business or to migrate to the newly formed state of Pakistan. Salim’s brother Halim (Zutshi) migrates but Halim’s son Kazim (Hashmi) returns illegally across a sealed border to marry Salim Mirza’s daughter, Amina (Siddharth). He is arrested and sent back. The family loses its ancestral property which under new laws is allocated to a Sindhi businessman; refugees from Pakistan start competing with Salim’s business while moneylenders refuse to invest in someone who might emigrate; Amina commits suicide after yet another lover leaves her to go to Pakistan. These adversities persuade the old patriarch to leave as well, leading to a poignant scene where his ancient mother (Badar Begum) hides herself to try to stay in her ‘home’. On the way to the station, the family comes across a communist rally proclaiming the unity of all the dispossessed, regardless of religion or caste. Salim’s son Sikandar (Shaikh) abandons his emigration plan and joins the rally, determined to stay in India. The film, with its lovingly re-created portrait of Agra’s Muslim milieu, is dominated by Sahni’s remarkable performance in his last major role.
Opening credits with black and white documentary photographs depicting key events and individuals in the run up to Partition; assassination of Gandhi; Kaifi Azmi's recitation.
H.E. Shri C. Rajagopalachari, Governor-General of India arriving
at participate in Jama Masjid, Delhi, to the celebrations held on Independence eve.
M.A. Jinnah flanked by Sir Nizam-ud-Din (Home Minister, Bengal government) and Sir Sikander Hayat Khan (Punjab Premier) at the All India Muslim League's working committeee meeting in Lahore.
Liaquat Ali Khan
Intro Balraj Sahni/ Salim Mirza who is evidently bidding someone farewell at the train station. Central dilemma of the protagonist introduced via conversation with tongawala: as Muslim businessman in post-Partition India, should he stay or leave?
Intro haveli and Amina
Intro haveli - corrected.
Halim Mirza satirized through sound and juxtaposition. Intellectual sonic montage.
Mirza is refused a bank loan
Custodian summons to vacate haveli
different kinds of loss
brilliant sequence of family leaving haveli; grandmother hides in wood shed; Halim Mirza's portrait overlaid with sound of applause.
Kazim Mirza arrested; Amina in shock
Fatehpur Sikri; Salim Chishti Dargah; Shamshad and Amina; doosre ko udne nahi doongi.
salim
salim Mirza
The film debut of the IPTA stage director Sathyu is one of the last titles by a generation of 50s Marxist cultural activists. It was written by Kaifi Azmi and Shama Zaidi and was based on an unpublished short story by Urdu writer Ismat Chughtai. It is often credited with pioneering a new wave of Art cinema movement in Hindi Cinema, and alongside a film from another debutant film director, Shyam Benegal, Ankur (1973), are considered landmarks of Hindi Parallel Cinema
Set in Agra after the first major Partition exodus, the film tells of an elderly Muslim shoe manufacturer, Salim Mirza and his family who must decide whether to continue the ancestral business or to migrate to the newly formed state of Pakistan. Salim’s brother migrates but his son returns illegally across a sealed border to marry Salim's daughter. He is arrested and sent back.
The film details the slow disintegration of his family, and is one of the most poignant films made on India's partition. It remains one of the few serious films dealing with the post-Partition plight of Muslims in India.
Salim Mirza is played by IPTA thespian Balraj Sahni, who died shortly after the film was shot.
薩伊德・米爾扎由印度人民劇院協會（IPTA）的演員巴拉吉・沙尼（Balraj Sahni）所飾演，薩伊德在電影拍攝後不久就去世了
Qawwali on Salim Chisti by Warsi brothers, Lyrics by Kaifi Azmi.
Sikander at job interview; Shamshad-Amina at Taj Mahal
Amina lays out the plates
Amina and Shamshad make love in the shadow of the Taj
Dadiamma back in her haveli; aural flashbacks; dies
Amina's heart is broken
Shamshad has a different bride
Amina makes up her mind
Final sequence.
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