Indian films and posters from 1930: film (Muqaddar Ka Sikandar)(1978)
https://bombaymann2.blogspot.com/2014/10/film-muqaddar-ka-sikandar1978.html
Muqaddar Ka Sikandar (English: Conqueror of Destiny) is a 1978 Indian Hindi drama film. Produced and directed by Prakash Mehra, it stars Amitabh Bachchan .Indian films and posters from 1930: film (jo jeeta wohi sikandar)(1992)
https://bombaymann2.blogspot.com/2017/02/film-jo-jeeta-wohi-sikandar1992.html
Indian films and posters from 1930: film (Sikandar)(2009)
https://bombaymann2.blogspot.com/2014/10/film-muqaddar-ka-sikandar1978.
film Sikandar (1941)
| Sikandar | Sohrab Modi | Prithviraj KapoorSohrab Modi, Vanmala, Yakub, Zahur Raja, K. N. Singh, Sheela, Meena, Sadiq Ali, Shakir, Jillobai | Historical Epic Drama | Music: Mir Saheb, Rafique Gaznavi Lyrics: Pandit Sudarshan |
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Sikandar (1941) Cast - Actor, Actress, Director ... - Cinestaan
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Directed by Sohrab Modi, Hindi movie Sikandar stars Sohrab Modi and Prithviraj Kapoor in the lead role. Know the full star cast of Sikandar film like producer, ...
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Spectaculr film consiering the time of making.Dialogues are bit theatrical but suits the drama.Prithiraj Kapoor has lived the role physically and mentally through his movements and dialogue throwing.Sohrab Modi was no less competent to portray as Porus Hats off ...
No actor till date comes remotely close to Prithviraj Kapoor as Sikandar. ....not Colin Farell , not Richard Burton and not even our own Dara Singh.....The sheer exuberance , joie de vivre with which a handsome Prithviraj essays this role is sufficient reason to see it
Sikandar or Sikander is a 1941 epic Bollywood film directed by Sohrab Modi and starring Prithviraj Kapoor as Alexander the Great.
Written by: Sudarshan
Language: Hindustani
Country: India
Starring: Prithviraj Kapoor; Sohrab Modi; Zahur ...
| Sikander | |
|---|---|
 | |
| Directed by | Sohrab Modi |
| Produced by | Sohrab Modi |
| Written by | Sudarshan |
| Starring | Prithviraj Kapoor Sohrab Modi Zahur Raja |
| Distributed by | Esquire Ltd. (Asia) |
Release date
|
|
Running time
| 146 min |
| Country | India |
| Language | Hindustani |
Development
Plot
The story is set in 326 B.C. The film begins after Alexander the Great (Sikander in Hindustani) conquers Persia and the Kabul valley and approaches the Indian border at Jhelum. He respects Aristotle and loves Persian Rukhsana (known in the west as Roxana). Sohrab Modi plays the Indian king Puru (Porus to the Greeks). Puru requests neighbouring kingdoms to unite against a common foreign enemy.The story goes that when Sikander defeated Porus and imprisoned him, he asked Porus how would he like to be treated. Porus replied: "the same way a king is treated by another king". Sikander was impressed by his answer and set him free.
Cast
- Sohrab Modi as Porus
- Prithviraj as Alexander
- Vanmala as Rukhsana
- meena as Parthana
- Sheela as Sukhman
- Sadiq Ali as Samar
- Shakir as Aristotle
- K. N. Singh as Raja Ambhi
- LalaYakub as Salencons
- Gagendra Singh as Enmanese
- Jillo bai as Sarita Rani
- Zahur Raja as Amar
- Abu bakar
- Ghulam Hussein
- Noor Jehan
- Prakash
- G. S. Shorry
- Athavale
Release
The release of the film coincided with World War II and the quest for Swaraj or Quit India at its peak. In India, the political atmosphere was tense, following Gandhi's call to civil disobedience. Sikander further aroused patriotic feelings and nationalistic sentiment.[3] Thus, though Sikander was approved by the Bombay censor board, it was later banned from some of the theatres serving British Indian Army cantonments.[4]However, its appeal to nationalism was so great and direct, it remained popular for years. It was revived in Delhi in 1961 during the Indian march into Goa. After the movie was a huge box office success, it was dubbed and released in Persian.[5] The music of Sikandar was composed by Meer Sahib. A prominent song was "Zindagi Hai Pyar Se, Pyar Se Bitaye Ja".
Remake
It was remade in 1965 as Sikandar E Azam in color, by Kedar Kapoor, starring Prithviraj Kapoor, Dara Singh, Mumtaz, Madhumati, Helen, Prem Nath, Prem Chopra, Jeevan.See also
Watch #Sikandar 1941 Epic Historical Drama Movie. Starring Prithviraj Kapoor, Sohrab Modi, Vanmala ...
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Sikandar (1941): This film chronicles the period in the great king Alexanders life where he descends onto the ...
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A historic film set in 326 BC, Sikandar 1941 tells the tale of Alexander the Great. For more details click on ...
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Sikandar l 1941 Old Classical Movie Starring :- Prithviraj Kapoor, Sohrab Modi, Zahur Raja Directed by ...
Nov 18, 2017 - Uploaded by Action Tadka Movies
Watch #Sikandar 1941, a Classic Historical movie. Starring Prithviraj Kapoor, Sohrab Modi, Zahur Raja ...
Jun 17, 2019 - Uploaded by Bollywood Paradise
The story is set in 326 B.C. The film begins after Alexander the Great (Sikander in Hindi/Urdu) conquers Persia and the Kabul valley and approaches the Indian ...
Rating: 7.3/10 - 56 votes
The story is set in 326 B.C. The film begins after
Alexander the Great (Sikander in Hindi/Urdu) conquers Persia and the
Kabul valley and approaches the Indian border at Jhelum. He respects ...
See full summary »
Director:
Sohrab ModiWriter:
Sudarshan (story)Stars:
Sohrab Modi, Prithviraj Kapoor, Vanamala | See full cast & crew »Cast
| Cast overview: | |||
 |
Sohrab Modi | ... | King Porus |
 |
Prithviraj Kapoor | ... | Alexander the Great |
 |
Vanamala | ... | Rukhsana |
 |
Meena Shorey | ... | (as Prathna) |
| |
Sheela | ... | Sukhmani |
| |
Sadiq Ali | ... | Samar |
| |
Zahur Raja | ... | Amar |
| |
Shakir | ... | Aristotle |
 |
K.N. Singh | ... | Raja Ambhi (Maharaja Amphis) |
| |
Jillo | ... | Sarita Rani (as Jillo Bai) |
| |
Lala Yaqoob | ... | Salencons |
| |
Gajendra Singh | ... | Enmanese |
Storyline
The story is set in 326 B.C. The film begins
after Alexander the Great (Sikander in Hindi/Urdu) conquers Persia and
the Kabul valley and approaches the Indian border at Jhelum. He respects
Aristotle and loves Persian Rukhsana (known in the west as Roxana).
Plot Summary
|
Add Synopsis
Certificate:
Not RatedParents Guide:
Add content advisory for parents »User Reviews
Prithviraj Kapoor & Sohrab Modi magic
A historic epic produced & directed by
Sohrab Modi is basically based on faceoff between Alexander the Great
& King Puru, whilst Sikander enters Indian subcontinent en route to
his journey to conquer the world. Who wins the battle is a question for
everyone to find out but the movie is a feat for movie lovers. Everyone
knows the story but watch out for two acting power houses, Prithviraj
Kapoor & Sohrab Modi, facing each other. First two scenes, featuring
both of them together, are sheer magic. You will love their dialogues
& dialogue delivery. Watch this movie to find out that Prithviraj
Kapoor was the first dashing hero of Indian silver screen. He was not
less than a Dilip Kumar, a Dharmendra or a Vinod Khanna or a Salman
Khan. He looks amazing.
The Epic For All Ages: Sikandar (1941) - The India Saga
theindiasaga.com › review-corner › the-epic-for-all-age...
Aug 19, 2018 - The epic, Sikandar ( 1941), directed and produced by Sohrab Modi remains till date one of the most lavishly mounted Hindi films with its sets ...
..
Jun 2, 2019 - ... role was in 1941 epic, Sikandar, where he played Alexander the Great. On his 48th death anniversary, we look at the film that cemented his ...
The Epic For All Ages: Sikandar (1941) - The India Saga
theindiasaga.com › review-corner › the-epic-for-all-age...
Aug 19, 2018 - The epic, Sikandar ( 1941), directed and produced by Sohrab Modi remains till date one of the most lavishly mounted Hindi films with its sets ...
Jul 15, 2016 - What I liked about this film: The casting of Prithviraj Kapoor as Alexander and Sohrab Modi as Puru. Both, in their own way, fit their assigned roles ...
Jun 2, 2019 - ... role was in 1941 epic, Sikandar, where he played Alexander the Great. On his 48th death anniversary, we look at the film that cemented his ...
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when people connected with films were not viewed upon agreeably.
Vanmala
Do we know, If it wasn't for alam-ara which film would have been India's first talkie movie? Initially, be it a spot boy or the topmost lead actor, all were just employees of a studio being paid only a monthly salary? There were three more color films made in the 30's itself before 'Mother India'? Ashok Kumar never wanted to be an actor? Which was the first English film made in India? To know more about the journey of Hindi cinema..Log in and blog in‘Shyamchi Aai’-Vanmala
....................Shishir Krishna Sharma
(Translated from original Hindi to English by Ms. Akhsher Apoorva)
(Posters provided by Mr.S.M.M.Ausaja)
(Translated from original Hindi to English by Ms. Akhsher Apoorva)
(Posters provided by Mr.S.M.M.Ausaja)
There was a time when people connected with films were not viewed upon agreeably. Times changed, cinema’s power and importance transformed the perception of the society, educated people from respectable families started to gradually incline towards films and then with the passing of time, cinema became a flourishing industry in itself. But even today, where the common man’s perception of the women associated with films is concerned, not much has changed. At the outset, the women in films would, as a rule, come from families with song and dance backgrounds but, there were also some educated girls from good families who were exceptions to the rule like Durga Khote and Leela Chitnis who despite all the opposition from their families and society, carved their future in cinema on the basis of their talent, diligence and hard work and engraved their names in golden letters in the history of cinema. Amongst these, one was Vanmala who forayed into Hindi cinema with Sohrab Modi’s film ‘Sikandar’ which was made in 1941, but due to contrived circumstances after a brief career of 13 years and despite amassing all possible fame, she had to bid farewell to the blitz and glamour of the cinematic world. Made in 1953 the Marathi film ‘Shyamchi Aai’, also recipient of first President’s Award, was Vanmala’s last film after which she went to Vrindavan and immersed herself in lord’s service and social work.
Vanmala’s father ‘Colonel Raobahadur Bapurao Anandrao Pawar’ other than being Malwa State’s collector and Shivpuri’s commissioner at that time was also a member of the trust set up by Gwaliors king Madhav Rao Scindia before his untimely death to look after his estate. Vanmala was born on 23rd may 1915 in Ujjain and was brought up on Gwalior estate in royal fashion. She was schooled in horse riding, marksmanship, polo, swimming and fencing since childhood. She completed her initial education in ‘Sardar Daughter’s School’, a school especially for the children of the royal family after which she received her B.A. degree from Gwalior itself. Thereafter she went to Mumbai and enrolled herself for M.A. But in 1935, due to her mother’s sudden demise, she left her studies midway and returned to Gwalior.
Vanmala’s entry into films was a sheer coincidence. During a meeting she had said that, “My Mother’s sister used to live in Pune and was the principle in ‘Agarkar High School’ which was run by Marathi writer and theater personality Acharya Atre. After spending some time in Gwalior I went to live with my aunt in Pune and I too started teaching in ‘Agarkar High School’. While in Pune I also completed my B.T. Through Acharya Atre, I met renowned filmmakers like V.Shantaram, Master Vinayak and Baburao Pendharkar. V.Shantaram wanted to keep me as an assistant director with him, an offer which I declined. But when all these film personalities insisted that I play the heroine in Marathi film ‘Lapandav' (the game of Hide & Seek), I just could not refuse.”
Released in 1940, ‘Lapandav’ was actress Nanda’s father Master Vinayak’s Kolhapur based company ‘Navyug Chitrapat’s’ film. According to Vanmala, She met Sohrab Modi at film Lapandav’s premier who at that time was searching for a new face for the lead role of ‘Rukhsana’ in the film ‘Sikandar’. Impressed with Vanmala’s performance in ‘Lapandav’, Sohrab Modi chose Vanmala to essay the role of ‘Rukhsana’. Released in 1941, film ‘Sikandar’s’ male lead was Prithviraj Kapoor, composer were Mir Sahab & Rafiq Ghaznavi, and writer-lyricist was Pandit Sudarshan. This is the same Pandit Sudarshan whose novella ‘Haar ki Jeet’ is still considered a milestone in Hindi literature. ‘Sikandar’ proved to be a big hit at that time and its tremendous success propelled Vanmala into stardom. But Vanmala’s foray into films was objected to heavily at a social and familial level and her father cut off all ties with her and he barred her from coming to Gwalior.
After ‘Sikandar’ Vanmala did about 22 Hindi films like ‘Charno Ki Daasi’ (hero-Avinash/1941), ‘Vasasntsena’ (Sahu Modak/1942), ‘Raja Rani’ (Trilok Kapoor/1942), ‘Muskurahat’ (Motilal/1943), ‘Shahenshah Akbar’ (Kumar/1943), ‘Dil Ki Baat’ (Ishwarlal/1944), ‘Kadambari’ and ‘Mahakavi Kalidas’ (Pahadi Sanyal/1944), ‘Parbat Par Apna Dera’ and ‘Suno Sunata Hoon’ (Ulhas/1944), ‘Sharbati Ankhein’ (Ishwarlal/1945), ‘Parinde’ and ‘Aarti’ (Surendra/1945), ‘Khandani’ (Kumar/1947), ‘Chandrahaas’ (Prem Adib/1947), ‘Beete Din’ (Motilal/1947), 'Pehla Pyar' (Aghajaan/1947) ‘Azadi Ki Raah Par’ (Prithviraj Kapoor/1948) and 'Bachelor Husband' (Charlie / 1950) and 10 Marathi films as heroine. She sang songs for herself in few films like ‘Vasasntsena’, ‘Raja Rani’, ‘Dil Ki Baat’ and ‘Aarti’. In keeping with her educational qualifications at that time, during films publicity her name used to appear as ‘Vanmala B.A.B.T. As a partner of ‘Atre Pictures’ other than films like ‘Charno Ki Daasi’, ‘Vasasntsena’, ‘Raja Rani’, ‘Dil Ki Baat’, ‘Tasveer’, ‘Parinde’ and ‘Khandani’ she also produced some Marathi films.
One of the movies made under the banner of ‘Atre Pictures’ was the Marathi film ‘Shyamchi Aai’ which was based on the famous Marathi writer Sane Guruji’s novel and it was given the first ‘President Award’ in 1953 by Dr. Rajendra Prasad. Other than being the co-producer for the film, Vanmala also portrayed the part of ‘Shyamchi Aai’ meaning ‘Shyam’s Mother’. According to Vanmala her father’s resentment towards her hadn’t subsided as yet and had become a fair cause of concern for her father’s friends namely Gwalior’s King Jivaji Rao Scindia and Gujrat’s Sachin estate’s Nawab Hyder Ali. After his friends counsel, Vanmala’s father forgave her but according to his condition Vanmala left the film industry forever. And just like that ‘Shyamchi Aai’ proved to be Vanmala’s last film and she returned to Gwalior, however, her film ‘Angaare’ was released in 1954 after she left Mumbai, which can be considered her last ‘released’ film.
According to Vanmala she had received her religious and spiritual values in heritance. As atonement she had to accompany her father to a pilgrimage to Badrinath Dham after which she started spending maximum of her time at the temples in Mathura-Vrindavan. According to her, along with prayer and worship, circling Govardhan had become a part of her daily routine. When she was in Mumbai, other than films, she would also participate in dramas with Durga Khote. From the income acquired from dramas, the two actresses founded the famous ‘Marathi Sahitya Sangh Auditorium’ at Grant Road. Despite staying in Mathura, Vanmala couldn’t resist her fascination towards art. Other than assuming the posts of trustee of ‘Shiv Mudra Pratishthan Chaitanyalaya Trust’ and the post of president for ‘Braj Kala Kendra’ Mathura, she also founded the ‘Swami Haridas Kala Sansthan’ at Vrindavan and Govardhan. Associated with Lucknow’s Bhatkhande University, this school would provide dance and music lessons to children at a very nominal fee.
Vanmala had given up not only Cinema but also materialistic pleasures and had retired as a hermit and came to be known as Sushila Bai in Mathura-Vrindavan. She spent the last 3 years of her life predominantly living with her sister Sumati Devi Dhanvate at the latter’s home in Mumbai’s Mahalaxmi area. Sumati Devi was married to Maruti Rao, son of Dada Saheb Dhanvate who was the owner of the biggest printing press in Asia called ‘Shivraj Fine Arts Litho Works’, which was based in Nagpur. In 2003, on the golden jubilee of making of ‘Shyamchi Aai’, Maharashtra government made a documentary on Vanmala. At the same time, Mumbai based ‘Dada Saheb Phalke Academy’ honored her for Outstanding services and achievements in the field of cinema. After a long fight with illness, Vanmala passed away at the age of 92 on 29th May, 2007 in Gwalior.
It has been 5 years since Vanmala’s death, but her name has been etched in the history of Hindi and Marathi Cinema forever. It is very rare to see such an exceptional combination of spirituality, art and social work like that of Vanmala’s.
(Original write up, was published in Sahara Samay - Weekly dated 26th June, 2004 / A tribute after demise was published on 8th June, 2007 in Daily Rashtriya Sahara / this article has also been published on www.anmolfankaar.com )
Acknowledgements : We are thankful to Shri D.B.Samant, Shri Harmandir Singh ‘Hamraz’ and Shri harish Raghuvanshi for their valuable suggestions and guidance. We are also thankful to well known film historian and posters & booklets collector Shri S.M.M.Ausaja for providing the posters used with the write up. ......................................................................................................
Few links :
A documentary on Vanmala ji
Utth Jaag Jawani Aati Hai / Sikandar/1941
Jo Dard Banke Zamaane Pe / Parbat Pe Apna Dera /1944
Song from the Marathi movie Shyamchi Aai /1953
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‘श्यामची आई’-वनमाला
................................शिशिर कृष्ण शर्मा
===============================================
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| An article I'll link to below refers to Sikandar's outfits as "knee-length." Ummm...those aren't knees. It also says no one would wear outfits like this as well as Prtihviraj Kapoor again except perhaps Dharmendra, and with that I completely agree. |
I'm not certain that Indian cinema has improved overall in its presentation of historical battle scenes in the 70-odd years since this film was made. For starters, the staging of the Greeks vs Hindustanis is clearly full of actual people, horses, and elephants, since there is no CGI in 1941.
For starters, his physical presence strikes me as absolutely perfect: not just because he's beautiful and has Greek god wavy hair but because he's simultaneously imposing and dynamic. The writer (Sudarshan) gives the character some important complexities—he's obedient to his teacher and the gods yet clearly considers himself the rightful ruler of the known world; he's imperious yet makes sure to remember the lowliest member of his troops when gifts are distributed; he bellows in front of armies yet stomps around in juvenile snits when things don't go his way, flinging his cape here and there—and Prithviraj somehow rolls all these things up into a very flawed but likable character. Says Sukanya Verma in Rediff: "Almost every sentence coming out of his mouth reeks of narcissism. But Prithviraj Kapoor humanizes his pomposity, turns him into someone who isn't self-indulgent on purpose, he just doesn't know better because he is the best. Such arrogance is almost naive."
Verma also says "Spontaneous, natural acting wasn't the trend back then and it takes about 10 minutes to adjust to Sikandar's verbose theatrics. Once you get used to it, there's much to appreciate in the marriage of booming baritone and vigorous physicality." I'd agree firmly with that too: no one in this film is easy to watch by today's standards but they are all powerful and compelling. If the style puts you off, try to hold out a little bit longer until you're swept up in all the action and ideas. Everyone I've discussed this film with has mentioned how easy it is to see traces of each of his three sons in Prithviraj Kapoor in Sikandar. In the picture above, for example, I see Shashi in his face but Shammi in the stylized, exuberant gesture. Watching the film made me realize how much arrogance is a part of what I associate with the Kapoor men, even more than might come naturally from careers as filmi heroes, although it takes a different form in each of the sons. Shashi inherited (or used, I'm not sure which) the sort of golden, confident version, in which the central male figure is truly befuddled when he realizes someone doesn't return his affections or agree with him; Shammi got the "Look at me look at me look at me!" antics and certainly built most successfully on the energetic gestures and movements; and Raj...well, the man can pout.
Another aspect of Sikandar with which I am utterly smitten is how it challenges what I think is going to happen. It is a blast of surprise against my...I'll say hubris (to be appropriate to the film's subject) in thinking I know what a Hindi film is going to do. Of course I didn't expect any major feature film to narrate the story of Alexander the Great as that era's historians understood it, but I reeeeally didn't expect, for example, Aristotle to show up in the Persian capital with Alexander and remind him how important it is not to be distracted by women when you're planning battles in foreign lands. "He who would conquer the world should stay away from women," says Aristotle. Putting aside the refusal by the narrative to acknowledge anything other than married heterosexuality even when depicting ancient Greek culture (and I'm sure a Hollywood version of his story made in this era would do the same), this little detour into the risks of romance establishes a theme about the power of love.
This twist on the typical tale of historical Alexander also gives Rukhsana a chance to spar feisitily with Aristotle—and sets up the bizarre sight of her throwing a shawl over him and using it as reins to trot him around a garden fountain. Given that Aristotle is involved, you should take heart that the game of horsey (and the whole scene) is more philosophically complex than what I've just described, but the gist is that Sikandar realizes Aristotle is right and that a woman can distract a man from his ambitions. He vows not to see her again until he has conquered India, and as he goes, she says "Peace of mind comes not from war or victory but from peace and love." That's a perfectly Bollywood battle cry, especially since these troops are invading rather than defending the desh, and, in a move that will surprise historians everywhere, the Greeks gallop off towards the subcontinent on their clip-clopping horses singing "Life exists because of love, so let it be spent in love. At the feet of beauty, give up your heart, give up your life.... Life is a gamble; don't look at it from afar. Step up to it, and put your life on the line." (See "Zindagi Hai Pyaar Se" here.) Rukhsana, for her part, is visibly inspired by that last little bit of lyrics. As any good filmi girlfriend or sister would, she goes along to India anyway and—again, the historical record may not bear this out—ties a rakhee on Puru in order to protect Sikandar from him in the looming battle.
That's the kind of ruler Puru is. A promise made to a total stranger who forces herself upon him as a rakhee sister is enough to stop him from the ultimate victory on the battlefield. He doesn't want to fight but he knows he must, because stopping a power-hungry land-grabbing egomaniac is the right thing to do, even though he is such a jovial chap. (The last clause aside, the rest of it seems a clear statement of contemporary events the year the film released.)
I know so little about the film industry in the era Sikandar was made, and I'm wondering if the fact that it was released at all indicates the British were either not terribly involved in the censor board or just didn't have the energy to bother much, given what else was on their international plates. Perhaps they saw Sikandar as a European hero and didn't think much about the film beyond that? Or do they see him as representing Germany, with wise Hindustan inspiring in him better behavior and being the only place where he listened to the gods telling him to turn back his relentless drive for conquest? (The fact that his troops are about to mutiny because they desperately want to go home has less impact on the cinematic emperor.) An article in The Hindu a few years ago says that the film was later banned in some cinemas for its power in inspiring nationalism, and indeed there is significant conversation about the dangers and indignities of having a foreign ruler. It's curious to see a story where the invader is so...I can't exactly call Sikandar nuanced, but he and his desires are more complex than most filmi villains. I don't even think it's fair to call him a villain. He's the threat to and opponent of Hindustan in the film, but he's not evil. Still, it's interesting that we can read different contemporary empires into him, and it's downright amazing to see a film this patriotic that has such an empathetic and engaging enemy.
While thinking about Sikandar's status as more of an equal than an enemy, it occurred to me that it's almost possible to read Sikandar as a typical love triangle in which neither of the heroes (monarchs) competing for the girl (India) is bad, and they have similar status or backgrounds and might even be friends (peers), and their interactions and competition might illuminate virtues and ideologies, but in the end one of them must be wiser or more virtuous and therefore satisfy us as the champion. And then it occurred to me that perhaps Sikandar is like Student of the Year, only instead of completing a scavenger hunt and bike races to get Alia Bhatt/admission to an Ivy League university, the heroes are battling over the even more priceless motherland. Which is probably for the best for Puru, because there's no way he'd win the dance-off.
Watch the restored version of Sikandar (with English subtitles) by Edu Productions on their youtube channel here. Additionally, if you want to refresh your knowledge of the actual history, I recently watched and loved Michael Wood's BBC documentary In the Footsteps of Alexander the Great, in which he and a crew follow Alexander's whole path, key segments of it on foot just as the armies did. It's worth a watch just to see the harsh (and breathtaking) terrain and distance, but for me the highlight was getting a sense of just how many cultures are involved in this incredible period of history. In fact, it is this documentary that finally spurred me to watch Sikandar, because Michael Wood actually discussed the film and there is footage of him watching it in a theater somewhere in...I think he's in Pakistan at that point. To me, Wood's film stacks up plenty of evidence to indicate that Alexander was profoundly out of touch with reality (or perhaps even mentally ill), whether with just delusions and narcissism or also, later, with sociopathic revenge. That background makes this film's portrayal of him all the more interesting, as it manages to constrain his contradictions of character into a sympathetic whole. I cannot find anything admirable in the real Alexander when his whole history is considered, but Sikandar shaves off his ruthlessness and presents him as driven by exuberance and hunger that can be redirected by input or sound arguments from worthy rivals. I wonder what this film's portrayal of Alexander says about the general Hellenistic legacy in Indian history and culture—he is decidedly not of Hindustan in this film, but he is alike enough that he respects its leaders and in fact his life is spared because of Rukhsana's use of an Indian tradition. He is foreign yet not as "other" as we might expect. He's not right for India, but he's worthy of it.
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| The chessboard of his dreams of Indian empire. |
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Zindagi Hai Pyaar Se, Pyaar Me Bitaye Ja | Khan Mastana | Mir Saheb, Rafiq Ghaznavi | Vanmala, Sohrab Modi, Prithviraj Kapoor |
Lyrics of Zindagi Hai Pyaar Se, Pyaar Me Bitaye Ja - ज़िंदगी है प्यार से, प्यार में बिताये जा
zindagi hai pyaar se, pyaar me bitaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi hai ek raat, pyaar us me hai chiraag
zindagi hai ek raat, pyaar us me hai chiraag
ye chiraag jitani der jal sake jalaaye jaa
ye chiraag jitani der jal sake jalaaye jaa
raushani lutaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi hai ek baag, pyaar is me hai bahaar
zindagi hai ek baag, pyaar is me hai bahaar
us me aankh kaa khumaar daal kar milaaye jaa
us me aankh kaa khumaar daal kar milaaye jaa
shauq se pilaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi hai ek juaa, dur se dekhataa hai kyaa
zindagi hai ek juaa, dur se dekhataa hai kyaa
aage badh kar apani jaan, daav par lagaaye jaa
aage badh kar apani jaan, daav par lagaaye jaa
hansake maat khaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi junun hai junun se nibhaaye jaa
zindagi junun hai junun se nibhaaye jaa
tu apane azm ko khudaa-e-zindagi banaaye jaa
tu apane azm ko khudaa-e-zindagi banaaye jaa
aasmaan pe chhaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
husn hai shabaab hai, vaqt laajavaab hai
husn hai shabaab hai, vaqt laajavaab hai
mai bhi chehachahaa uthun, tu bhi chehachahaaye jaa
mai bhi chehachahaa uthun, tu bhi chehachahaaye jaa
bansari bajaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi hai ek raat, pyaar us me hai chiraag
zindagi hai ek raat, pyaar us me hai chiraag
ye chiraag jitani der jal sake jalaaye jaa
ye chiraag jitani der jal sake jalaaye jaa
raushani lutaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi hai ek baag, pyaar is me hai bahaar
zindagi hai ek baag, pyaar is me hai bahaar
us me aankh kaa khumaar daal kar milaaye jaa
us me aankh kaa khumaar daal kar milaaye jaa
shauq se pilaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi hai ek juaa, dur se dekhataa hai kyaa
zindagi hai ek juaa, dur se dekhataa hai kyaa
aage badh kar apani jaan, daav par lagaaye jaa
aage badh kar apani jaan, daav par lagaaye jaa
hansake maat khaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
zindagi junun hai junun se nibhaaye jaa
zindagi junun hai junun se nibhaaye jaa
tu apane azm ko khudaa-e-zindagi banaaye jaa
tu apane azm ko khudaa-e-zindagi banaaye jaa
aasmaan pe chhaaye jaa
zindagi hai pyaar se, pyaar me bitaaye jaa
husn ke huzur pe apanaa dil lutaaye jaa
apna sar jhukaaye jaa
zindagi hai pyaar se
husn hai shabaab hai, vaqt laajavaab hai
husn hai shabaab hai, vaqt laajavaab hai
mai bhi chehachahaa uthun, tu bhi chehachahaaye jaa
mai bhi chehachahaa uthun, tu bhi chehachahaaye jaa
bansari bajaaye jaa
Lyrics of Jite Desh Hamaaraa - जीते देश हमारा
jite desh hamara jite desh hamara
bharat hai ghar-baar hamara
bharat hai sansar hamara
bharat ke ham bahadur bache hai
bharat ke ham bahadur bache hai
bharat hai gulzar hamara
jite desh hamara jite desh hamara
charno me sone ki lanka
charno me sone ki lanka
kanth me dariya moti-mala
kanth me dariya moti-mala
iska rup anup manohar iska rup anup manohar
sir pe sundar taaj himala sir pe sundar taaj himala
jite desh hamara jite desh hamara
yaad apne dil ki khushnuma aaj wo jaga
kuch apne vansh ki khaufnakh andhiya utha
tu apne desh hame de apna hausla hame de
jaage sab jahan par use bhanwar bana jalegi
saty ki mashal saty ki mashal
jite desh hamara jite desh hamara
mahadev ham sabke swami
mahadev ham sabke swami
sabkuch tere hath sabkuch tere hath
rah sikha de jyot jaga de
rah sikha de jyot jaga de
aaj andheri rat aaj andheri rat
hamko tera hai sahara hamko tera hai sahara
jite desh hamara jite desh hamara
bharat hai ghar-baar hamara
bharat hai sansar hamara
bharat ke ham bahadur bache hai
bharat ke ham bahadur bache hai
bharat hai gulzar hamara
jite desh hamara jite desh hamara
charno me sone ki lanka
charno me sone ki lanka
kanth me dariya moti-mala
kanth me dariya moti-mala
iska rup anup manohar iska rup anup manohar
sir pe sundar taaj himala sir pe sundar taaj himala
jite desh hamara jite desh hamara
yaad apne dil ki khushnuma aaj wo jaga
kuch apne vansh ki khaufnakh andhiya utha
tu apne desh hame de apna hausla hame de
jaage sab jahan par use bhanwar bana jalegi
saty ki mashal saty ki mashal
jite desh hamara jite desh hamara
mahadev ham sabke swami
mahadev ham sabke swami
sabkuch tere hath sabkuch tere hath
rah sikha de jyot jaga de
rah sikha de jyot jaga de
aaj andheri rat aaj andheri rat
hamko tera hai sahara hamko tera hai sahara
jite desh hamara jite desh hamara
Lyrics of Uth Jaag Javaani Aati Hai - उठ जाग जवानी आती है
uth jaag javani aati hai
uth jaag javani aati hai uth jaag
uth jaag javani aati hai
uth jaag javani aati hai uth jaag
uth-uth darwaza khol zara
uth-uth darwaza khol zara
kuch dekh zara kuch bol zara
kuch dekh zara kuch bol zara
kuch hans le kuch ga le
kuch apna rang jama le
kuch hans le kuch ga le
kuch apna rang jama le
khud qismat se khushqismat hai
khud qiamat se khushqismat hai
khud tere ghar me phulo ki rangin kahani aati hai
uth jaag
khud tere ghar me phulo ki rangin kahani aati hai
uth jaag uth jaag javani aati hai
uth jaag javani aati hai uth jaag
pine ka mausam aaya hai
pine ka mausam aaya hai
jine ka mausam aaya hai
jine ka mausam aaya hai
kuch kha le kuch pi le
kuch kha le kuch pi le
marne se pahle ji le marne se pahle ji le
kab roz-roz ujde dariya me nai rawani aati hai
uth jaag
kab roz-roz ujade dariya me nai rawani aati hai
uth jaag uth jaag javani aati hai
uth jaag javani aati hai
uth jaag uth jaag javani aati hai
uth jaag javani aati hai uth jaag
uth jaag javani aati hai uth jaag
uth jaag javani aati hai
uth jaag javani aati hai uth jaag
uth-uth darwaza khol zara
uth-uth darwaza khol zara
kuch dekh zara kuch bol zara
kuch dekh zara kuch bol zara
kuch hans le kuch ga le
kuch apna rang jama le
kuch hans le kuch ga le
kuch apna rang jama le
khud qismat se khushqismat hai
khud qiamat se khushqismat hai
khud tere ghar me phulo ki rangin kahani aati hai
uth jaag
khud tere ghar me phulo ki rangin kahani aati hai
uth jaag uth jaag javani aati hai
uth jaag javani aati hai uth jaag
pine ka mausam aaya hai
pine ka mausam aaya hai
jine ka mausam aaya hai
jine ka mausam aaya hai
kuch kha le kuch pi le
kuch kha le kuch pi le
marne se pahle ji le marne se pahle ji le
kab roz-roz ujde dariya me nai rawani aati hai
uth jaag
kab roz-roz ujade dariya me nai rawani aati hai
uth jaag uth jaag javani aati hai
uth jaag javani aati hai
uth jaag uth jaag javani aati hai
uth jaag javani aati hai uth jaag
CC
Lyrics of Khilo Khilo Matawaari Kaliyo - खिलो-खिलो मतवारी कलियो
khilo-khilo
khilo-khilo matawari kaliyo
khilane ki rut aa_i aaj
khilo-khilo matawaari kaliyo
khilane ki rut aa_i aaj
qudarat ne kaliyo ke kaano
me ye baat suna_i aaj
khilo-khilo
khilo-khilo matawali kaliyo
khilane ki rut aa_i aaj
is rut ki har baat suhani
har din git har raat kahani
is banke hariyaale dil me
jab hariyali chhaa_i aaj
khilo-khilo
khilo-khilo matawali kaliyo
khilane ki rut aa_i aaj
dagar-dagar galiyan ban mahake
kuk-kuk rasiya man bahake
pag me phir kar janam rahi hai
joban ki agada_i aaj
khilo-khilo
khilo-khilo matawali kaliyo
khilane ki rut aa_i aaj
Performer: Sheela
khilo-khilo matawari kaliyo
khilane ki rut aa_i aaj
khilo-khilo matawaari kaliyo
khilane ki rut aa_i aaj
qudarat ne kaliyo ke kaano
me ye baat suna_i aaj
khilo-khilo
khilo-khilo matawali kaliyo
khilane ki rut aa_i aaj
is rut ki har baat suhani
har din git har raat kahani
is banke hariyaale dil me
jab hariyali chhaa_i aaj
khilo-khilo
khilo-khilo matawali kaliyo
khilane ki rut aa_i aaj
dagar-dagar galiyan ban mahake
kuk-kuk rasiya man bahake
pag me phir kar janam rahi hai
joban ki agada_i aaj
khilo-khilo
khilo-khilo matawali kaliyo
khilane ki rut aa_i aaj
Singer: Sheela
Sawan Ke Din Aaye Re (HD) - Sikandar Songs - Prithviraj Kapoor - Sheela
Movie : Sikandar Music Director: Mir Saheb Rafiq Ghaznavi Singer: Sheela Director: Sohrab Modi. Enjoy this Hit song from the ...
Movie : Sikandar Music Director: Mir Saheb Rafiq Ghaznavi Singer: Sheela Director: Sohrab Modi. Enjoy this Hit song from the ...
Lyrics of Sawan Ke Din Aaye Re - हो सावन के दिन आये रे सावन के दिन आये रे
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
kab tak odhu purani chunariya
kab tak odhu purani chunariya
sudar rup lajaye re sudar rup lajaye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re ho sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
nayi chunariya rup nikhare nayi chunariya rup nikhare
laal chunaria rang ubhare laal chunaria rang ubhare
dekho to man lalchaye re dekho to man lalchaye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
aa gayi ban me rut matwari aa gayi ban me rut matwari
cha gayi man me prem-khumari
cha gayi man me prem-khumari
joban shor machaye re joban shor machaye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
sab jag mauj manaye re sab jag mauj manaye re
mohe lagi najariya mohe lagi najariya
gujar gayi joban ki batiya gujar gayi joban ki batiya
beet gayi rang-roop ki ratiya beet gayi rang-roop ki ratiya
kaun gayi rut laye re kaun gayi rut laye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
kab tak odhu purani chunariya
kab tak odhu purani chunariya
sudar rup lajaye re sudar rup lajaye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re ho sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
nayi chunariya rup nikhare nayi chunariya rup nikhare
laal chunaria rang ubhare laal chunaria rang ubhare
dekho to man lalchaye re dekho to man lalchaye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
aa gayi ban me rut matwari aa gayi ban me rut matwari
cha gayi man me prem-khumari
cha gayi man me prem-khumari
joban shor machaye re joban shor machaye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
sab jag mauj manaye re sab jag mauj manaye re
mohe lagi najariya mohe lagi najariya
gujar gayi joban ki batiya gujar gayi joban ki batiya
beet gayi rang-roop ki ratiya beet gayi rang-roop ki ratiya
kaun gayi rut laye re kaun gayi rut laye re
mangwade chunariya mangwade chunariya
sawan ke din aaye re sawan ke din aaye re
mangwade chunariya mangwade chunariya
ghar ghar sayje sajaye re ghar ghar sayje sajaye re
mangwade chunariya mangwade chunariya
Movie : Sikandar Music Director: Mir Saheb Rafiq Ghaznavi Singer: Sheela Director: Sohrab Modi. Enjoy this Hit song from the ...
Lyrics of Phulawaaran Laage Chor Malaniyaa Soy Rahi - फुलवारन लागे चोर, मलनियाँ सोय रही
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
in choran se
in choran se chaukas rahiyo
chha rahe charo or
chha rahe charo or
malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
duje chor andhiyara khoje
duje chor andhiyara khoje
chhaya dekh sahara khoje
chhaya dekh sahara khoje
phulawaran ke chor nirale
phulawaran ke chor nirale
inko jaise rain andhiyari
inko jaise rain andhiyari
jaise ujli bhor
malaniya jaise ujli bhor
malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
duje chor churave chandi
duje chor churave chandi
sona heera manak moti
sona heera manak moti
phulawaran ke chor qayamat
sone chandi ki ka batiya
sone chandi ki ka batiya
tan man let marod
tan man let marod
malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
in choran se
in choran se chaukas rahiyo
chha rahe charo or
chha rahe charo or
malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
duje chor andhiyara khoje
duje chor andhiyara khoje
chhaya dekh sahara khoje
chhaya dekh sahara khoje
phulawaran ke chor nirale
phulawaran ke chor nirale
inko jaise rain andhiyari
inko jaise rain andhiyari
jaise ujli bhor
malaniya jaise ujli bhor
malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi
duje chor churave chandi
duje chor churave chandi
sona heera manak moti
sona heera manak moti
phulawaran ke chor qayamat
sone chandi ki ka batiya
sone chandi ki ka batiya
tan man let marod
tan man let marod
malaniya soye rahi
ha ha malaniya soye rahi
phulwaran laage chor, malaniya soye rahi
ha ha malaniya soye rahi