Musafir, 1957 Director: Hrishikesh Mukherjee Music: Salil Chowdhary Lyrics: Shailendra Playback: Kishore Kumar, Lata Mangeshkar, Manna Dey, Dilip Kumar Cast: Dilip Kumar, Usha Kiran, Nirupa Roy, Nasir Husain, Kishore Kumar, Suchitra Sen, Shekhar, Sulochana Sen, Raj Shekhar, Mohan Choti, Bipin Gupta, Daisy Irani, Rashid Khan, Durga Khote, Paul Mahendra, Keshto Mukherjee, Hira Sawant
Anu has created from scratch subtitles for Musafir, a film I don't think has even been subtitled before. Those of us not speaking or understanding Hindi owe her a huge debt of gratitude.
Many thanks to Aparna for providing the source files for this project.
The Encyclopedia of Indian Film says this about Musafir:
The experienced editor Mukherjee’s directorial debut constituted an important attempt to carve out a viable independent production sector in the Hindi cinema at the time. The film was made by a loose collective of mainly Bengali film people, including Ghatak and composer Choudhury who shared a background in radical theatre and were in Bombay mainly through Bimal Roy’s patronage. Many of them worked together again on Madhumati (1958). Set in an old suburban house, presumably in Calcutta, the film narrates three tenuously related Chekhovian stories about three sets of the house’s occupants. The first has the Bengali star S. Sen as an orphaned young woman, Shakuntala, who desperately wants her husband Ajay (Shekhar) to make up with his estranged parents so that she may belong to a family once more. The second story has a wayward young man, Bhanu (K. Kumar), desperate to find a job to support his aged father (Hussain) and his widowed sister-in-law (N. Roy). The third and longest story focuses on the shadowy figure of a neighbourhood ‘madman’ (D. Kumar) who crops up in the previous stories as well. He was in love with Uma (Kiron) who lived in the house but disappeared just before their wedding day. In the end, the madman’s death and the miraculous recovery of Uma’s paralysed son coincide. The stories invoke a cyclical sequence of marriage, birth, death and rebirth, enhanced by Choudhury’s score and some remarkable camerawork.