| Do Bigha Zameen | Bimal Roy | Balraj Sahni, Nirupa Roy, Rattan Kumar, Murad, Jagdeep, Nana Palsikar, Nazir Hussain, Meena Kumari | Social Drama | First film to win the Filmfare Best Movie Award. First Indian film to win theInternational Prize at the Cannes Film Festival. Music: Salil Choudhury Lyrics: Shailendra |
DustedoffI don’t think there’s a market for sadness any more. Films like Pyaasa, Andaaz (the Nargis-Raj Kapoor-Dilip Kumar starrer), or even Mother India just aren’t made any more.
yes the poverty not as prevailing as in 1950 more people wants Rap😇
yes the poverty not as prevailing as in 1950 more people wants Rap😇
Shambhu and Kanhaiya with Rani and her `Dadi'
Do Bigha Zameen (1953
) | Dustedoff..
Do Bigha Zamin (1953) | Hindi Movie Songs - Bollywood MuVyz
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Complete information on bollywood movie: Do Bigha Zamin Star cast, Movie Rating, Reviews, Plot, Screenshots, Song listing, Trailer, Watch Movie link and .
A
zamindar threatens to seize two acres of land owned by a humble family
as they haven't repaid their debts. The father of the family then works
as a rickshaw puller in Kolkata to earn money.
Initial release: 1953
People also search for
Do Bigha Zamin - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Do_Bigha_Zamin
Do Bigha Zamin (Hindi: दो बीघा ज़मीन) is a 1953 Hindi film, directed by Bengali film director Bimal Roy and starring Balraj Sahni and Nirupa Roy in lead
DO BIGHA ZAMIN - Balraj Sahni, Meena Kumari - YouTube
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DO BIGHA ZAMIN - Balraj Sahni, Meena Kumari .... Do Bigha Zamin (1953) Full Movie | Classic ...Do Bigha Zamin - Balraj Sahni - Nirupa Roy - Hindi Full Movie ...
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Do Bigha Zamin is the story of a farmer Shambu Mahato (Balraj Sahni), who lives with his wife Paro (Nirupa ...
Do Bigha Zamin (1953) - IMDb
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Rating: 8.4/10 - 1,155 votes
Drama ... Title: Do Bigha Zamin (1953). Do Bigha Zamin (1953) on IMDb ... A popular director recruits a new actress to work for his Movie. The popularity of the
In the hope of earning enough money to pay off his
debts and save his land, a poor farmer becomes a rickshaw puller in the
Calcutta and faces many difficulties.
Director:
Bimal RoyStars:
Balraj Sahni, Nirupa Roy, Rattan Kumar | See full cast & crew »Cast
| Cast overview, first billed only: | |||
 |
Balraj Sahni | ... |
Shambu Maheto
|
 |
Nirupa Roy | ... |
Parvati (Paro) Maheto
|
 |
Rattan Kumar | ... |
Kanhaiya Maheto
|
| |
Murad | ... |
Thakur Harnam Singh
|
| |
Rajyalakshmi | ... |
Nayabji
(as Rajlakshmi)
|
| |
Nana Palsikar | ... |
Dhangu Maheto (Shambu's dad)
|
| |
Noorjahan | ||
| |
Nasir Hussain | ... |
Rickshaw puller
(as Nazir Hussain)
|
 |
Rekha Mallick | ... |
(as Rekha)
|
| |
Misra | ||
| |
Chitra | ||
 |
Jagdeep | ... |
Laloo Ustad, shoeshine boy
|
| |
Sarita Devi | ||
| |
Dilip Kumar Jr. | ||
| |
Ramayan Tiwari | ... |
Paro's molester
(as Tiwari)
|
Edit
Storyline
A small Bengali landowner and his young son are in danger when their
two-acre farmland where they live is in danger of being taken over by a
local zamindar (feudal lord) for failure to pay for mounting debits.
They move to Calcutta where the father tries making a living as a
rickshaw puller while his wife joins him but falls ill which threatens
everything they have going to try to save their ancestorial home.
Written by
Anonymous
Plot Summary
|
Add Synopsis
Genres:
DramaParents Guide:
Add content advisory for parents »
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See full technical specs »
Details
Country:
IndiaLanguage:
HindiAlso Known As:
Do Bigha Zameen See more »Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
Mono (RCA Sound System)Color:
Black and WhiteAspect Ratio:
1.37 : 1
Edit
Did You Know?
Trivia
Along with the First Film Fare Award in 1954 this film also won the the All India Certificate of Merit at the First National Film Awards in the same year. See more »Frequently Asked Questions
This FAQ is empty. Add the first question.User Reviews
A Cult movie !
Made in 1953, with a
socialist theme that was typical of many great bengali directors, this
was a great film with superlative performances and very real feel to the
film. Balraj Sahni, one of the five greatest actors of India ever, was
simply stunning in this movie in terms of his natural acting and
superior understanding of the life of a peasant first and then a novice
rickshaw (two wheel cart pulled by a human, instead of the horse) puller
fresh in the city (He naturally doesn't know that once u take a
passenger to the destination, u have to hold it down so that the
passenger can alight - he nervously waits for his first dime)..Ill have
to come back and write more..sorry
Italian film inspired Bimal Roy's 'Do Bigha Zameen' - Times of India
timesofindia.indiatimes.com/...film...Do-Bigha-Zameen/.../24551079.cm...
Oct 22, 2013 - In 1952, at the first International Film Festival in Mumbai, Bimal Roy saw ... Do Bigha Zameen (1953) was based on Rickshawalla, a story by ...
Do Bigha Zamin : Lyrics and video of Songs from the Movie Do Bigha ...
www.hindigeetmala.net/movie/do_bigha_zamin.htm
Lyrics and video of songs from Movie / Album : Do Bigha Zamin (1953); Music by: Salil Chowdhary; Singer(s): Lata Mangeshkar, Manna Dey, Mohammed Rafi; ...
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Do Bigha Zamin (1953) - Art House Cinema
www.arthousecinema.in/2013/02/do-bigha-zamin-1953/
- 1:39
Balraj Sahni Actually Pulled Rickshaw For 'Do Bigha Zamin' Movie
When Bimal Roy asked Balraj Sahni to play the rickshaw-puller in 'Do Bigha Zamin', Sahni actually pulled the rickshaw on the ...- CC
Veteran Actor Jagdeep Speaks About Bimal Roy And Do Bigha Zamin
Watch Boman Irani share interesting trivia about Do Bigha Zamin, one of Bimal Roy's masterpieces that released in 1953.
DO BIGHA ZAMIN - Balraj Sahni, Meena Kumari - YouTube
https://www.youtube.com/watch?v=3oo41oae-B0
May 6, 2013 - Uploaded by SEPL Vintage
DO BIGHA ZAMIN - Balraj Sahni, Meena Kumari .... Do Bigha Zamin (1953) Full Movie | Classic ...Do Bigha Zamin - Balraj Sahni - Nirupa Roy - Hindi Full Movie ...
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Jul 24, 2014 - Uploaded by Shemaroo
Do Bigha Zamin is the story of a farmer Shambu Mahato (Balraj Sahni), who lives with his wife Paro (Nirupa ...Do Bigha Zamin (1953) Hindi Full Movie | Balraj Sahni Movies | Nirupa ...
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DO BIGHA ZAMEEN I 1953~BALRAJ SAHNI,NIRUPA ROY ... Do Bigha Zamin (Do Bigha Zamin - YouTube
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Do Bigha Zamin is the story of a farmer Shambu Mahato (Balraj Sahni), ... Do Bigha Zamin (1953) Full Movie ...Do Bigha Zamin Hindi Full Movie HD || Balraj Sahni, Nirupa Roy, Nazir ...
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Do Bigha Zamin Hindi Movie Starring Balraj Sahni, Nirupa Roy, Nazir ... Directed by Bimal Roy, Produced by ...The Story Of Do Bigha Zamin | Balraj Sahni - Nirupa Roy | Retro ...
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ShemarooRetroDiaries: Do Bigha Zamin Do Bigha Zamin is a 1953 film starring legendary actors Balraj ...Do Bigha Zamin Hindi Full Movie HD || Balraj Sahni, Nirupa Roy, Nazir ...
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Do Bigha Zamin Hindi Movie Starring Balraj Sahni, Nirupa Roy, Nazir ... Directed by Bimal Roy, Produced by ...Dharti Kahe Pukaar Ke - Do Bigha Zameen - YouTube
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Watch the music video of "Dharti Kahe Pukaar Ke" from the 1953 Hindi Movie Do Bigha Zameen starring ...| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
Veteran Actor Jagdeep Speaks About Bimal Roy And Do Bigha Zamin
Watch Boman Irani share interesting trivia about Do Bigha Zamin, one of Bimal Roy's masterpieces that released in 1953.
Do Bigha Zamin Made Raj Kapoor Pensive
Watch Boman Irani share interesting trivia about Do Bigha Zamin, one of Bimal Roy's masterpieces that released in 1953.
Why Bimal Roy Shot The Climax Scene Of Do Bigha Zamin?
Watch Boman Irani share interesting trivia about Do Bigha Zamin, one of Bimal Roy's masterpieces that released in 1953.
Do Bhiga Zameen 1953 | Balraj Sahni | Nirupa Roy | Meena Kumari | Old Hindi Songs | Salil Choudhury
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Watch the music video of "Dharti Kahe Pukaar Ke" from the 1953 Hindi Movie Do Bigha Zameen starring Balraj Sahni, Meena ...
Do Bigha Zamin Hindi Full Movie HD || Balraj Sahni, Nirupa Roy, Nazir Hussain || Eagle Hindi Movies
Do Bigha Zamin Hindi Movie Starring Balraj Sahni, Nirupa Roy, Nazir Hussain, Ratan Kumar, Jagdeep, Murad, Nana Palsikar, ...
Do Bigha Zameen (Bimal Roy, 1953)
The
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MAUSAM BEETA JAAYE -MANNA DEY -LATA JI -SHAILENDRA -SALIL CHOWDHARY (DO BIGHA ZAMIN 1953)
A SMALL TRIBUTE TO OUR BELOVED SINGER , MANNA DEY SAHEB , WHO LEFT US TODAY FOR HEAVENLY ABODE.
Do Bigha Zamin - Trailer
Do
Bigha Zamin is the story of a farmer Shambu Mahato, who lives with his
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AJAB TORI DUNIYA- RAFI- FILM- DO BIGHA ZAMEEN(1953) A TRIBUTE TO SALIL CHOWDHURY
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Do Bigha Zamin Won 2 Filmfare Awards, 1 National Award And A Special Award At Cannes Film Festival
Watch Boman Irani share interesting trivia about Do Bigha Zamin, one of Bimal Roy's masterpieces that released in 1953.
How Balraj Sahni Became Shambhu For Do Bigha Zamin
Watch Boman Irani share interesting trivia about Do Bigha Zamin, one of Bimal Roy's masterpieces that released in 1953.
Film: Do Bigha Zameen--Hariyala Sawan Dhol Bajata Aaya--Lata Mangeshkar & Manna Dey (1953)
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Do Bigha Zamin is the story of a farmer Shambu Mahato (Balraj Sahni), who lives with his wife Paro (Nirupa Roy) and son ...
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songs:-
Dharti Kahe Pukaar Ke (HD) - Do Bigha Zamin Songs - Balraj Sahni - Meena Kumari - Manna Dey
Movie : Do Bigha Zamin Music Director: Salil Chowdhary Singer: Lata Mangeshkar and Manna Dey Director: Bimal Roy.
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Movie : Do Bigha Zamin Music Director: Salil Chowdhary Singer: Lata Mangeshkar Director: Bimal Roy. Enjoy this superhit Song ...
Hariyala Sawan Dhol Bajata (HD) - Do Bigha Zamin Songs - Balraj Sahni - Meena Kumari - Manna Dey
Movie : Do Bigha Zamin Music Director: Salil Chowdhary Singer: Lata Mangeshkar and Manna Dey Director: Bimal Roy.
Ajab Teri Duniya Hai Mere (HD) - Do Bigha Zamin Songs - Balraj Sahni - Meena Kumari - Mohd Rafi
Movie
: Do Bigha Zamin Music Director: Salil Chowdhary Singer: Mohd Rafi
Director: Bimal Roy. Enjoy this superhit Song from the ...
.Balraj SahniA political actor
Balraj Sahni has acted in over 125 films spanning his 25-year career
Balraj Sahni would have turned 104 on May 1. What made him such an unusual figure in Indian filmdom?
Measuring a film actor’s contribution ordinarily means enumerating his screen appearances: “In a film career spanning 25 years, Balraj Sahni acted in over 125 films.” But Balraj Sahni was no ordinary actor.
Delivering the 1972 convocation address at the Jawaharlal Nehru University in Delhi, Sahni stated the above fact – but far from sounding proud, he expressed regret at the “the special conditions of film making in our country” that had enabled it.
“In the same period, a contemporary European or American actor would have done thirty or thirty-five. From this you can imagine... A vast number of books which I should have read, I have not been able to read. So many events I should have taken part in have passed me by... the frustration increases when I ask myself how many of these... films had anything significance in them-?...Perhaps a few.”
There are few people in any field, let alone the Indian film world, who can speak with such astonishing honesty about their careers or their industry. And Sahni’s perspicacity went together with grace.
“[A] great many of our films are such that the very mention of them would raise a laugh among you... even though some of you may dream of becoming stars yourselves,” said Sahni in the same address. “It is not easy for me to laugh at Hindi films. I earn my bread from them. They have brought me plenty of fame and wealth. To some extent at least, I owe to Hindi films the high honour which you have given me today.” (That last sentence might betray a subtle sarcasm: PC Joshi, respected Communist Party of India (CPI) leader and Sahni’s old friend, has written of how CPI(M) students at JNU had threatened to protest because “the university was being disgraced by inviting a filmstar to deliver its convocation address”.)
Otherwise, Sahni’s speech was exemplary: asking students to think about the great questions of their time, in a style that was lucid but not dumbed down. Reading it twenty-five years later, in the week of Sahni’s 104th birth anniversary, I am struck not just by the quality of his thought – asking sharp questions about the meaning of freedom, at a national level and an individual one, that no-one seems capable of asking even in 2017 – but by his keenness to reach out to his audience. That desire to communicate may well have been what united the disparate parts of Sahni’s life: wanting to make other people think along with him.
After graduation, he may have considered teaching and journalism as a possible route to this. He and wife Damayanti spent 1937-39 in Santiniketan, with Sahni teaching Hindi at the university and absorbing whatever they could from what was then a uniquely fertile artistic environment.
He also worked briefly in journalism in Lahore; then, in a year spent at Gandhi's ashram in Wardha, he helped edit a journal called Nai Taleem. When he sailed to war-time Britain, it was to work as a Hindi radio announcer at the BBC from 1940 to 1944. In Britain, the young couple arrived at two decisions – one, to join the Communist Party (it was Damayanti who joined first), and two, to return to India and work as actors.
Soon after their arrival in Bombay, they discovered the Indian People's Theatre Association (IPTA). At the first meeting Sahni attended, K.A. Abbas – then an acquaintance -- dropped a bomb by announcing that the next IPTA play, Zubeidaa, would be directed by Sahni.
The association with IPTA was to last for many years. Writing, directing and acting in plays that drew upon Indian folk forms – jatra in Bengal, tamasha in Maharashtra, nautanki in Uttar Pradesh -- but delivering progressive messages turned out to be something Sahni was very good at.
IPTA also produced a film called Dharti ke Lal (1946) – directed by Abbas, with a script based on two Bangla plays by Bijon Bhattacharya about the Bengal famine and a Krishen Chander story. Sahni was an Assistant Director, as well as playing the elder brother who struggles to keep the family land from being sold.
Sahni soon became a popular actor, appearing in more mainstream films. He never developed anything like a star persona. And yet, the roles he played did perhaps have something in common. In Bimal Roy’s Do Bigha Zameen, he played a character very different from but sociologically akin to Dharti ke Lal – afarmer who had lost his land to the moneylender and been forced to work as a rickshaw-puller in the city. The alienation of labour from land and the miseries of forced migration have never been more powerfully embodied in an actor's face.
In unlikely milieus like Dharti ke Lal and Do Bigha Zameen, he had already offered glimpses of the loving, even companionate, long-term marriage. And then there is Yash Chopra's Waqt, where his romancing of on-screen wife Achala Sachdev as his Zohra-Jabeen remains a fixture for singing uncles.
But in several other films (Amiya Chakrabarty's 1955 Seema, Shahid Latif's 1958 Sone ki Chidiya and Hrishikesh Mukherjee's 1960 Anuradha), Sahni played the idealistic man who places a larger social cause above a woman's emotional needs – and his own. His last great role – in MS Sathyu's Garm Hawa – also showed us a man torn between the personal and the political. Perhaps that was where his strength lay: in knowing how deeply those two things are intertwined – and being able to convey the hurt when they insisted on pulling apart.
Measuring a film actor’s contribution ordinarily means enumerating his screen appearances: “In a film career spanning 25 years, Balraj Sahni acted in over 125 films.” But Balraj Sahni was no ordinary actor.
Delivering the 1972 convocation address at the Jawaharlal Nehru University in Delhi, Sahni stated the above fact – but far from sounding proud, he expressed regret at the “the special conditions of film making in our country” that had enabled it.
“In the same period, a contemporary European or American actor would have done thirty or thirty-five. From this you can imagine... A vast number of books which I should have read, I have not been able to read. So many events I should have taken part in have passed me by... the frustration increases when I ask myself how many of these... films had anything significance in them-?...Perhaps a few.”
There are few people in any field, let alone the Indian film world, who can speak with such astonishing honesty about their careers or their industry. And Sahni’s perspicacity went together with grace.
“[A] great many of our films are such that the very mention of them would raise a laugh among you... even though some of you may dream of becoming stars yourselves,” said Sahni in the same address. “It is not easy for me to laugh at Hindi films. I earn my bread from them. They have brought me plenty of fame and wealth. To some extent at least, I owe to Hindi films the high honour which you have given me today.” (That last sentence might betray a subtle sarcasm: PC Joshi, respected Communist Party of India (CPI) leader and Sahni’s old friend, has written of how CPI(M) students at JNU had threatened to protest because “the university was being disgraced by inviting a filmstar to deliver its convocation address”.)
Otherwise, Sahni’s speech was exemplary: asking students to think about the great questions of their time, in a style that was lucid but not dumbed down. Reading it twenty-five years later, in the week of Sahni’s 104th birth anniversary, I am struck not just by the quality of his thought – asking sharp questions about the meaning of freedom, at a national level and an individual one, that no-one seems capable of asking even in 2017 – but by his keenness to reach out to his audience. That desire to communicate may well have been what united the disparate parts of Sahni’s life: wanting to make other people think along with him.
After graduation, he may have considered teaching and journalism as a possible route to this. He and wife Damayanti spent 1937-39 in Santiniketan, with Sahni teaching Hindi at the university and absorbing whatever they could from what was then a uniquely fertile artistic environment.
He also worked briefly in journalism in Lahore; then, in a year spent at Gandhi's ashram in Wardha, he helped edit a journal called Nai Taleem. When he sailed to war-time Britain, it was to work as a Hindi radio announcer at the BBC from 1940 to 1944. In Britain, the young couple arrived at two decisions – one, to join the Communist Party (it was Damayanti who joined first), and two, to return to India and work as actors.
Soon after their arrival in Bombay, they discovered the Indian People's Theatre Association (IPTA). At the first meeting Sahni attended, K.A. Abbas – then an acquaintance -- dropped a bomb by announcing that the next IPTA play, Zubeidaa, would be directed by Sahni.
The association with IPTA was to last for many years. Writing, directing and acting in plays that drew upon Indian folk forms – jatra in Bengal, tamasha in Maharashtra, nautanki in Uttar Pradesh -- but delivering progressive messages turned out to be something Sahni was very good at.
IPTA also produced a film called Dharti ke Lal (1946) – directed by Abbas, with a script based on two Bangla plays by Bijon Bhattacharya about the Bengal famine and a Krishen Chander story. Sahni was an Assistant Director, as well as playing the elder brother who struggles to keep the family land from being sold.
Sahni soon became a popular actor, appearing in more mainstream films. He never developed anything like a star persona. And yet, the roles he played did perhaps have something in common. In Bimal Roy’s Do Bigha Zameen, he played a character very different from but sociologically akin to Dharti ke Lal – afarmer who had lost his land to the moneylender and been forced to work as a rickshaw-puller in the city. The alienation of labour from land and the miseries of forced migration have never been more powerfully embodied in an actor's face.
In unlikely milieus like Dharti ke Lal and Do Bigha Zameen, he had already offered glimpses of the loving, even companionate, long-term marriage. And then there is Yash Chopra's Waqt, where his romancing of on-screen wife Achala Sachdev as his Zohra-Jabeen remains a fixture for singing uncles.
But in several other films (Amiya Chakrabarty's 1955 Seema, Shahid Latif's 1958 Sone ki Chidiya and Hrishikesh Mukherjee's 1960 Anuradha), Sahni played the idealistic man who places a larger social cause above a woman's emotional needs – and his own. His last great role – in MS Sathyu's Garm Hawa – also showed us a man torn between the personal and the political. Perhaps that was where his strength lay: in knowing how deeply those two things are intertwined – and being able to convey the hurt when they insisted on pulling apart.