film (Rail Ka Dibba)(1953) & ((Shammi Kapoor's first love))
cattle class wooden train compartment from Brtish era in India
Rail Ka Dibba Director:P. N. Arora Music:Gulam Mohd. Main Cast:Shammi Kapoor, Madhubala... more Genre:Social Banner:All ...
Provided to YouTube by Sa Re Ga Ma La De Mohe Balma Aasmani Churiyan · Shamshad Begum · Mohd Rafi Rail Ka Dibba ...
Song: Duniya Jawan Hai Dil Meherban Hai Cast: Cuckoo, Sajjan Music: Ghulam Mohd. Singer-Gandhari , Mohd.Rafi Lyrics: ...
Sunder met Chanda in dramatic circumstances for she, like hundreds of others in our unhappy land, had sought the easiest way ...
Song : bhagwaan teri duniyaa mein insaan nahin hai.. Film: Rail ka Dibba ,1953, Singer : Asha Bhosle, Lyricist : Shakeel ...
Asha bhosle from rail ka dibba lyrics by Shakeel Badayuni music by Gulam Mohammad.
Sunder met Chanda in dramatic circumstances for she, like hundreds of others in our unhappy land, had sought the easiest way ...
A Shamshad's beautiful song on beautiful Madhubala Lyrics by Shakeel Badayuni Music by Gulam Mohammad.
Sunder met Chanda in dramatic circumstances for she, like hundreds of others in our unhappy land, had sought the easiest way ...
Sunder met Chanda in dramatic circumstances for she, like hundreds of others in our unhappy land, had sought the easiest way ...
Julmibaba had uploaded a song from this movie. I found this duet on the net which I wanted to share. It is a Shammi Kapoor film, ...
bhagwan teri duniya mein singer:asha bhoslay lyrics:shakeel badayuni music:ghulam Muhammad film:rail ka dibba 1953 ...
Sunder met Chanda in dramatic circumstances for she, like hundreds of others in our unhappy land, had sought the easiest way ...
Song : bhagwaan teri duniyaa mein insaan nahin hai.. Film: Rail ka Dibba ,1953, Singer : Asha Bhosle, Lyricist : Shakeel ...
Shammi Kapoor (born Shamsher Raj Kapoor; 21 October 1931[3] – 14 August 2011) was an Indian film actor and director. He was ...
MOVIE: Rail Ka Dibba 1953, SINGER: Shamshad Begum, LYRICS: Shakeel Badayuni, MUSIC: Ghulam Mohammad.
MD~~~~~~~~~~~~~~GHULAM MOHAMMED Lyrics~~~~~~~~~~~~-SHAKEEL.
A Shamshad's beautiful song on beautiful Madhubala Lyrics by Shakeel Badayuni Music by Gulam Mohammad.
Enjoy the song पापी दुनियाँ से दूर आओ चले and do subscribe, share and like for more old hit songs....
Song : Duniya Jawaan Hain Dil Meherbaan Hain.. Film: Rail ka Dibba ,1953, Singers: Mohammed Rafi, Gandhari Lyricist:Shakeel ...
Rail ka dibba (1953) singer m.rafi gandhari music ghulam mohammad lyricst shakeel badayuni cast jayant madhubala csajjan ...
Song: Duniya Jawan Hai Dil Meherban Hai Cast: Cuckoo, Sajjan Music: Ghulam Mohd. Singer-Gandhari , Mohd.Rafi Lyrics: ...
...
.......................................................................................................................
Madhubala - Successful Career
.................................................................................................................
| Rail Ka Dibba | P. N. Arora | Shammi Kapoor, Madhubala, Jayant, Sajjan, Om Prakash, Cuckoo, Ram Avtar, Amar, Pratima Devi | Social Drama | Music: Ghulam MohammedLyrics: Shakeel Badayuni |
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg0KAAwAA&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg1KAEwAQ&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg2KAIwAg&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg3KAMwAw&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg4KAQwBA&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg5KAUwBQ&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg6KAYwBg&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg7KAcwBw&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg8KAgwCA&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg9KAkwCQ&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg-KAowCg&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwg_KAswCw&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwhAKAwwDA&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwhBKA0wDQ&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwhCKA4wDg&iact=mrc&uact=8)
(1953)&ved=0ahUKEwinpMvuxrfbAhUDtI8KHQ3mBp4QMwhDKA8wDw&iact=mrc&uact=8)
cattle class wooden train compartment from Brtish era in India
Rail Ka Dibba 1953. Presenter All India Pictures, P. N. Arora Director P. N. Arora. Select Cast Madhubala, Sajjan, Shammi Kapoor & Yasmeen. CINE 28.
Rail Ka Dibba 1953
Did you like this film?
Initial release: 1953
Audience reviews
NEW
Your Review
Posting publicly.
What do you think about this movie?
BE THE FIRST TO REVIEW
Help other viewers of this page
Web results
Sep 22, 2016
Watch "Rail Ka Dibba" Full Movie Video Jukebox released in year 1953. Directed by Prem Narayan Arora ...Rail Ka Dibba (1953) - IMDb
Rating: 7.8/10 - 17 votes
Rail Ka Dibba Poster ... young man gives shelter to three helpless, forlorn people in his home - an abandoned railway coach. ... Best Films of Shammi Kapoor.
A heart-warming tale of good samaritanism. A poor
but large-hearted young man gives shelter to three helpless, forlorn
people in his home - an abandoned railway coach. However, tensions ...
See full summary »
Director:
Prem Narayan AroraStars:
Madhubala, Shammi Kapoor, Sajjan | See full cast & crew »Cast
| Credited cast: | |||
 |
Madhubala | ... | Chanda |
 |
Shammi Kapoor | ... | Sundar |
 |
Sajjan | ... | Mohan |
 |
Om Prakash | ... | Nirogi |
| Rest of cast listed alphabetically: | |||
 |
Amar | ||
| |
Ram Avtar | ||
| |
Cuckoo | ||
| |
Pratima Devi | ||
 |
Helen | ||
 |
Jayant | ||
| |
Manju | ||
| |
Yasmin | ||
Edit
Storyline
A heart-warming tale of good samaritanism. A
poor but large-hearted young man gives shelter to three helpless,
forlorn people in his home - an abandoned railway coach. However,
tensions arise in the group when he marries one of the inmates, a young,
destitute girl, since his friend (one of the other inmates) loves her
too. The group breaks up and the coach is abandoned. Time passes,
fortunes turn and penitence brings the group back together.
Written by
Hrishi Dixit
Plot Summary
|
Add Synopsis
Genres:
DramaParents Guide:
Add content advisory for parents »
Edit
See full technical specs »
Details
Country:
IndiaLanguage:
HindiAlso Known As:
Railway Coach See more »Company Credits
Show more on
IMDbPro »
Technical Specs
Sound Mix:
MonoColor:
Black and WhiteAspect Ratio:
1.37 : 1
Shammi Kapoor was smitten by Madhubala's beauty and kept on
forgetting his lines during the shoot.Madhubala would then make him
comfortable in saying his dialog' 
Shammi Kapoor was very thin during the film shoot.He and Madhubala
bonded well and she told him that he should gain weight
in order to gain weight Shammi Kapoor started drinking beer. Ten years later, when we met on the sets of Girl Friend, I was a star and very self-assured. She looked at me and said, 'You look very confident now, but you need to lose lots of weight, you have become f-a-a-t.' How could anyone resist a woman like that? She was always blunt, in-your-face.'
in order to gain weight Shammi Kapoor started drinking beer. Ten years later, when we met on the sets of Girl Friend, I was a star and very self-assured. She looked at me and said, 'You look very confident now, but you need to lose lots of weight, you have become f-a-a-t.' How could anyone resist a woman like that? She was always blunt, in-your-face.'
Shammi Kapoor had signed P N Arora's Jeevan Jyoti 1953 first. but Rail Ka Dibba started shooting before that.
very first film Shammi Kapor had signed was his friend Aspi Irani's
Hum Tum Aur Woh opposite Madhubala. But that film didn't go beyond the
opening shot.
I must admit, in spite of knowing that
'Are you in your senses? You can't marry her, she is a Muslim. There will be too many problems,' she had warned him tersely.
Is this interesting? | Share this
Madhu was already in love, I could not resist falling madly in love with her. No one can blame me for it. Even today, after meeting so many women and having had relationships with God knows how many, I can swear that I have never seen a more beautiful woman. Add to that her sharp intellect, maturity, poise and sensitivity. She was awesome.' (Shammi was speaking to me[Rediff.com]in early 2011, a few months before his demise.)
Is this interesting? | Share thisWhen Shammi Kapoor fell for Madhubala
He had even proposed marriage to Madhubala. When she had giggled it off, he was said to have gone home and cried in front of his mother, only to be snubbed by her.'Are you in your senses? You can't marry her, she is a Muslim. There will be too many problems,' she had warned him tersely.
Is this interesting? | Share this
When Shammi Kapoor fell for Madhubala - Rediff.com Movies
Feb 3, 2016 - IMAGE: Madhubala and Shammi Kapoor in their last film together, Boy Friend (
When Shammi Kapoor fell for Madhubala
Last updated on: February 03, 2016 18:50 IST
He had even proposed marriage to Madhubala.
'When I met her on the set of Rail Ka Dibba for the first time, I could not take my eyes off her. I was like hit by a thunderbolt,' he had confessed.
In spite of his overt self-confidence and cavalier disposition, he was 'extremely nervous' taking Madhubala in his arms for an intimate scene. 'I was so nervous that I kept forgetting my lines,' he had said. 'And she was fully aware of the effect she had been having on me and was relishing it thoroughly.'
He just couldn't stop the rhapsody: 'She was breathtakingly beautiful... Woh jab paani peeti thi toh aisa lagta tha jaise yahan se (runs his finger down his neck) ek nas mein se paani guzarta hua neeche ja raha hai... (when she drank water, it was as if I could see water flowing down her throat). She was so delicate.'
'Those days Madhu was romantically involved with Dilip Kumar on the one side and Premnath on the other. I kept wondering yeh Shammi Kapoor beech mein kaise aa gaya? (How did Shammi Kapoor land in between?) Since I was just a nobody at that stage, no one had bothered to associate my name with Madhu's.'
'She was very much in love with Dilip Kumar, so was he with her.
I remember during the making of Naqab
at Prabhat Talkies in Poona, he would often drive to the location all
the way from Bombay to see her. If she was shooting, he would stand at a
distance outside the 'field' of the camera and single-mindedly watch
her perform without disturbing her.'
'I must admit, in spite of knowing that Madhu was already in love, I could not resist falling madly in love with her.
No one can blame me for it. Even today, after meeting so many women and having had relationships with God knows how many, I can swear that I have never seen a more beautiful woman. Add to that her sharp intellect, maturity, poise and sensitivity. She was awesome.' (Shammi was speaking to me in early 2011, a few months before his demise.)
Becoming very nostalgic about Madhubala, he wondered 'why women like Madhubala don't happen anymore?' After a pause, 'When I think of her even now, after six decades, my heart misses a beat. My God, what beauty. What presence. Today's girls make me feel they might have just hopped out of incubators.'
After another pause, he had said, 'I think life was a bit too harsh on her. She didn't deserve to go through all that she did.'
'Are you in your senses? You can't marry her, she is a Muslim. There will be too many problems,' she had warned him tersely. Those were conservative days.
After blissfully relishing the attention the tall, stylish, irresistibly handsome young man was lavishing on her, Madhubala had turned pragmatic and made him see reason. 'To be fair to Madhu,' Shammi had admitted, 'even though she kept teasing and tantalising me, she never let me forget that she was madly in love with Yusuf (Dilip Kumar). She could never resist mentioning Yusuf at the slightest opportunity. She seemed to feel motherly towards me.'
Though Shammi had signed on Jeevan Jyoti first, P N Arora's Rail Ka Dibba had gone on the floor ahead of it, as if it was ordained that his career should start with Madhubala.
In fact, the first ever film Shammi had signed was his friend Aspi Irani's Hum Tum Aur Woh opposite Madhubala. But that film didn't go beyond the opening shot. Shammi was a beginner during Rail Ka Dibba. A confident and more experienced Madhubala would go all out to help him in whatever way she could.
Madhubala and Shammi Kapoor had worked together in two more films after Rail Ka Dibba: Lekhraj Bhakri's Naqab (1955) and Naresh Saigal's Boy Friend (1961). By Naqab, Shammi had gained in a lot of confidence.
'On the sets, Madhu and I would have long academic discussions, especially on love and love scenes in our films. We did some very interesting love scenes in Naqab,' Shammi had said.
Their last film together was Boy Friend. By then Shammi was a big star and flying high. 'I remember filming the delicate Rafi Saab number Salaam, Aapki Meethi Nazar Ko Salaam. It was as if I was actually serenading her,' Shammi had recalled.
When he chided her for
distracting him, she said, 'I can't help it, Shammi, I am fascinated by
what you are doing... ;the way you are enacting the song. Where do you
learn all this?' Shammi would just laugh it away.
Recalling one of his earlier meetings with her, Shammi had said, 'After we became friends during Rail Ka Dibba, Madhu would often tell me that I was too thin and needed to put on weight. Soon I took to drinking lots of beer. Ten years later, when we met on the sets of Girl Friend, I was a star and very self-assured. She looked at me and said, 'You look very confident now, but you need to lose lots of weight, you have become f-a-a-t.' How could anyone resist a woman like that? She was always blunt, in-your-face.'
asha parekh and Shammi Kapoor
Shammi thought Madhubala was a highly underrated actress in spite of performing consistently well in her films. His favourite film of hers was Guru Dutt's Mr and Mrs 55 (1955), though for sheer intensity and professional approach he had 'loved' Mughal-e-Azam (1960).
His obsession had also taught Shammi a lesson, as he admitted: 'The spell of helplessness I experienced with Madhu did set me thinking and I resolved never again to be
so helpless in front of a woman. I had become too vulnerable with her.'
'After that, I didn't ask for any of the top heroines o
| Shammi Kapoor, Vyjayanthimala
f the day to be paired with me. I didn't ask for a Nargis, Vyjayanthimala or a Padmini. Not that I had a choice at that stage in my career, but it was always easier to work with newcomers. I worked with Vyjayanthimala and Padmini much later in my career after I had established myself.'
Mumtaz in Brahmachari. and Shammi Kapoor
Meena Kumari and Shammi Kapoor
'I made a film with Meena Kumari too, Mem Sahib (1956), but it was a smaller role, a negative one at that, and I get bumped off around the interval. The hero of the film was Kishore Kumar. By the way, I got raves for my death scene. It disturbed me because at that stage nobody would talk about my 'live' acts.' (Laughs)
'Most of my heroines like Ameeta, Asha Parekh, Ragini, Sharmila Tagore, Rajshree and Kalpana were freshers, who were either making their debut opposite me or doing their second or third film. It was always easy working with them because I knew where I stood with them and could call all the shots, have my way without being questioned. In return, they achieved instant stardom.'
Excerpted from Shammi Kapoor: The Game Changer by Rauf Ahmed with the kind permission of the publishers, Om Books International.
NOTIFY ME WITH SIMILAR STORIES
More like this
IMAGE: Madhubala and Shammi Kapoor in their last film together, Boy Friend (1961).
Rail Ka Dibba had a silver lining for Shammi (Kapoor): The 'exciting experience' of working with the 'gorgeous' Madhubala, 'who was just out of this world,' as Shammi had gushed.'When I met her on the set of Rail Ka Dibba for the first time, I could not take my eyes off her. I was like hit by a thunderbolt,' he had confessed.
In spite of his overt self-confidence and cavalier disposition, he was 'extremely nervous' taking Madhubala in his arms for an intimate scene. 'I was so nervous that I kept forgetting my lines,' he had said. 'And she was fully aware of the effect she had been having on me and was relishing it thoroughly.'
He just couldn't stop the rhapsody: 'She was breathtakingly beautiful... Woh jab paani peeti thi toh aisa lagta tha jaise yahan se (runs his finger down his neck) ek nas mein se paani guzarta hua neeche ja raha hai... (when she drank water, it was as if I could see water flowing down her throat). She was so delicate.'
'Those days Madhu was romantically involved with Dilip Kumar on the one side and Premnath on the other. I kept wondering yeh Shammi Kapoor beech mein kaise aa gaya? (How did Shammi Kapoor land in between?) Since I was just a nobody at that stage, no one had bothered to associate my name with Madhu's.'
'She was very much in love with Dilip Kumar, so was he with her.
I remember during the making of Naqab
at Prabhat Talkies in Poona, he would often drive to the location all
the way from Bombay to see her. If she was shooting, he would stand at a
distance outside the 'field' of the camera and single-mindedly watch
her perform without disturbing her.''I must admit, in spite of knowing that Madhu was already in love, I could not resist falling madly in love with her.
No one can blame me for it. Even today, after meeting so many women and having had relationships with God knows how many, I can swear that I have never seen a more beautiful woman. Add to that her sharp intellect, maturity, poise and sensitivity. She was awesome.' (Shammi was speaking to me in early 2011, a few months before his demise.)
Becoming very nostalgic about Madhubala, he wondered 'why women like Madhubala don't happen anymore?' After a pause, 'When I think of her even now, after six decades, my heart misses a beat. My God, what beauty. What presence. Today's girls make me feel they might have just hopped out of incubators.'
After another pause, he had said, 'I think life was a bit too harsh on her. She didn't deserve to go through all that she did.'
IMAGE: Saira Banu and Shammi Kapoor in Junglee (1961).
He had even proposed marriage
to Madhubala. When she had giggled it off, he was said to have gone home
and cried in front of his mother, only to be snubbed by her.'Are you in your senses? You can't marry her, she is a Muslim. There will be too many problems,' she had warned him tersely. Those were conservative days.
After blissfully relishing the attention the tall, stylish, irresistibly handsome young man was lavishing on her, Madhubala had turned pragmatic and made him see reason. 'To be fair to Madhu,' Shammi had admitted, 'even though she kept teasing and tantalising me, she never let me forget that she was madly in love with Yusuf (Dilip Kumar). She could never resist mentioning Yusuf at the slightest opportunity. She seemed to feel motherly towards me.'
Though Shammi had signed on Jeevan Jyoti first, P N Arora's Rail Ka Dibba had gone on the floor ahead of it, as if it was ordained that his career should start with Madhubala.
In fact, the first ever film Shammi had signed was his friend Aspi Irani's Hum Tum Aur Woh opposite Madhubala. But that film didn't go beyond the opening shot. Shammi was a beginner during Rail Ka Dibba. A confident and more experienced Madhubala would go all out to help him in whatever way she could.
Madhubala and Shammi Kapoor had worked together in two more films after Rail Ka Dibba: Lekhraj Bhakri's Naqab (1955) and Naresh Saigal's Boy Friend (1961). By Naqab, Shammi had gained in a lot of confidence.
'On the sets, Madhu and I would have long academic discussions, especially on love and love scenes in our films. We did some very interesting love scenes in Naqab,' Shammi had said.
Their last film together was Boy Friend. By then Shammi was a big star and flying high. 'I remember filming the delicate Rafi Saab number Salaam, Aapki Meethi Nazar Ko Salaam. It was as if I was actually serenading her,' Shammi had recalled.
Salam Aap Ki Methi Nazar Ko Salam...Boy Friend - YouTube
Salam Aap Ki Methi Nazar Ko Salam...Boy Friend - YouTube
YouTube · Music World
IMAGE: Kalpana Mohan and Shammi Kapoor in Professor (1962).
Madhubala was so fascinated by Shammi's presentation of another song in the film, Dheere Chal Ae Bheegi Hawa
that she would keep one eye open as he serenaded her (though she was
supposed to be asleep in the sequence.
dheere chal dheere chal aye bheegi hawa..madhubala-shammi ...
dheere chal dheere chal aye bheegi hawa..madhubala-shammi ...
https://www.youtube.com/watch?v=8cW0x0qorV4
Recalling one of his earlier meetings with her, Shammi had said, 'After we became friends during Rail Ka Dibba, Madhu would often tell me that I was too thin and needed to put on weight. Soon I took to drinking lots of beer. Ten years later, when we met on the sets of Girl Friend, I was a star and very self-assured. She looked at me and said, 'You look very confident now, but you need to lose lots of weight, you have become f-a-a-t.' How could anyone resist a woman like that? She was always blunt, in-your-face.'
asha parekh and Shammi Kapoor
Shammi thought Madhubala was a highly underrated actress in spite of performing consistently well in her films. His favourite film of hers was Guru Dutt's Mr and Mrs 55 (1955), though for sheer intensity and professional approach he had 'loved' Mughal-e-Azam (1960).
His obsession had also taught Shammi a lesson, as he admitted: 'The spell of helplessness I experienced with Madhu did set me thinking and I resolved never again to be
so helpless in front of a woman. I had become too vulnerable with her.'
'After that, I didn't ask for any of the top heroines o
| Shammi Kapoor, Vyjayanthimala
f the day to be paired with me. I didn't ask for a Nargis, Vyjayanthimala or a Padmini. Not that I had a choice at that stage in my career, but it was always easier to work with newcomers. I worked with Vyjayanthimala and Padmini much later in my career after I had established myself.'
Autoplay
Savere Wali Gaadi Se Chale Jayenge Laat Saheb ...
Apr 23, 2016 - Uploaded by Gaane Sune Ansune
Gaane Sune Ansune.
Mar 19, 2016 - Uploaded by Hashim Khan
Movie, Tumsa Nahin Dekha (1957) Shammi Kapoor, Ameeta, Pran, Raj Mehra & Anjali Devi ...Mumtaz in Brahmachari. and Shammi Kapoor
Meena Kumari and Shammi Kapoor
'I made a film with Meena Kumari too, Mem Sahib (1956), but it was a smaller role, a negative one at that, and I get bumped off around the interval. The hero of the film was Kishore Kumar. By the way, I got raves for my death scene. It disturbed me because at that stage nobody would talk about my 'live' acts.' (Laughs)
'Most of my heroines like Ameeta, Asha Parekh, Ragini, Sharmila Tagore, Rajshree and Kalpana were freshers, who were either making their debut opposite me or doing their second or third film. It was always easy working with them because I knew where I stood with them and could call all the shots, have my way without being questioned. In return, they achieved instant stardom.'
Yeh Chand Sa Roshan Chehra - Kashmir Ki Kali - Shammi Kapoor ...
Jan 16, 2008 - Uploaded by Rajshri
movie Kashmir Ki Kali (1964) Shammi Kapoor & Sharmila Tagore... ... Ki Kali - Shammi ...
from left-Talat Mahmood,...,...,...;...,...,Madhubala and ?her sister chanchal?and ...,
Chandulal Jesangbhai Shah of Ranjit studio
Chandulal Jesangbhai Shah of Ranjit studio
.Madhubala celebrating her birthday.
Today's Googlr doodle is a dedication to one of the most celebrated actress of Indian cinema, Madhubala.
Google Celebrates Madhubala's 86th Birthday With A ... - NDTV.com
https://www.ndtv.com › All India
Feb 14, 2019 - Today's Googlr doodle is a dedication to one of the most celebrated actress of Indian cinema, Madhubala.
Rail Ka Dibba (1953) cast and crew credits, including actors, actresses, directors, writers and more. ... Film Editing by. S.P. Khot · S.B. Mane · Moosa Mansoor ...
Find story, trailers, cast & crew, photo gallery, videos, songs, box office collection & every news Rail Ka Dibba film made headlines for at cinestan.com.
-
Papi Duniya Se Door Chale - Shamshad Begum - RAIL KA DIBBA - Shammi Kapoor, Madhubala2:22
-
Duniya Jawan Hai Dil Meharban Hai - Rafi & Gandhari - RAIL KA DIBBA - Shammi Kapoor, Madhubala2:46
Rail Ka Dibba (1953) Songs Lyrics, Hindi Songs Lyrics, Rail Ka Dibba (1953) Lyrics, Latest Hindi Movie Songs Lyrics.
songs:-
Duniya Jawan Hai Dil Meharban Hai.
 |
| Browse Movie Titles (Alphabetically): 0-9 A B C D E F G H I J K L M N O P Q R S T U V W Y Z | ||
| Yearwise: 2018 2017 2016 2015 2014 2013 2012 2011 2010 2000s 1990s 1980s 1970s 1960s 1950s 1940s 1930s | ||
| Browse by Singer Name (Alphabetically): All A B C D E F G H I J K L M N O P Q R S T U V W X Y Z | ||
|
-
Papi Duniya Se Door Chale - Shamshad Begum - RAIL KA DIBBA - Shammi Kapoor, Madhubala2:22
- Duniya Jawan Hai Dil Meharban Hai - Rafi & Gandhari - RAIL KA DIBBA - Shammi Kapoor, Madhubala
RAIL KA DIBBA Songs
- Papi Duniya Se Door Chale - Shamshad Begum - RAIL KA DIBBA - Shammi Kapoor, Madhubala2:22
- Duniya Jawan Hai Dil Meharban Hai - Rafi & Gandhari - RAIL KA DIBBA - Shammi Kapoor, Madhubala2:46
.......................................................................................................................
Blast from the past: Madhubala’s tragic life in pictures
on February 13, 2016
Marilyn Monroe and Madhubala
Though
the lady died at a very early age and had a very short span in the
industry, she still holds an important position in the history of Indian
Cinema. She was then called at the Bollywood's Marilyn Monroe but
unfortunately, the lady who gave her heart and soul to the Indian Film
Industry never received an award for her contribution. Even for her
performance as Anarkali in 'Mughal-e-Azam,' Madhubala did not receive an
award till date.
Madhubala - Illness
This
beautiful lady had a tragic death. She succumbed to her illness at the
age of 36. She suffered Congenital heart disease, in simpler words, she
had a hole in her heart. She was suffering from this disease since
childhood but it online came to limelight when she puked blood on the
sets of 'Bahut Din Huwe.' Till then, no one knew that gorgeous lady was
so much in pain. Talking about her illness, it is said that Kishore
Kumar distanced himself when he realized that Madhubala is suffering
from such a grave illness. In one of the interviews, Madhubala's sister
revealed that Kishore Kumar bought a house for Madhubalaat Carter Road
in Mumbai at then dumped her there to spend her remaining life in
loneliness.
Madhubala and Kishore Kumar
Following
her split from Dilip Kumar, Madhubala tied the knot with Kishore Kumar
in the year 1969. It is being said that this marriage was just a
marriage of convenience. The lady married Kishore Kumar just out of
vengeance, to show Dilip Kumar that she can marry anyone she wants. And
when it comes to Kishore Kumar, reports suggest that he married her only
for financial support.
Dilip Kumar and Madhubala
It
is said that Madhubala was deeply in love with veteran actor Dilip
Kumar. Their love was the talk topic of the town then, as the couple
featured in films like Sangdil, Tarana, Amar and Mghal-E-Azam. The two
were reportedly engaged too but unfortunately, their love never
culminated into marriage. Reports suggest that it was because of
Madhubala's father that the two had to split. Apparently, for a film
named 'Naya Daur,' Dilip Kumar and Madhubala had to travel out-station
for the shoot. Madhubala's father was not happy with this and he asked
the lady to quit the film. This led to an ugly fight between the
lovebirds as Madhubala wasn't ready to disobey her father's orders.
Dilip Saab then asked Madhubala to quit her profession and marry him.
The lady wasn't ready to do so and both of them then broke off ties from
each other.
In
the year 1947, at the age 14, Madhubala bagged her first role in the
film named' Neel Kamal.' The movie was directed by Kidar Sharma. The
beautiful lady got a chance to share screen space with Raj Kapoor which
apparently was his debut film. Critics loved her work as a debutant
marking it as the beginning of her successful career in Bollywood
Industry. But, it was only after she featured in movie called 'Mahal'
that she got recognition in the industry. After this, there was no
looking back for Madhubala. She then delivered hit films like Dulari,
Barsaat Ki Raat, Chalti Ka Naam Gadi and more.
Madhubala as Child Artist
As
said earlier, Madhubala's father relocated to Mumbai from Peshawar in
search of a job. He then became a frequent visitor to the Bombay Film
Studios. He was accompanied by his little daughter Madhubala and that's
when she got noticed. At the age of 9, Mudhubala then called Mumtaz
featured as a child artist in the film named 'Basant.' The film was
directed by Amiya Chakraborty and the female lady playing the lead role
was called Mumtaz Shanti. Madhubala played the role of Mumtaz's daughter
in the film and hence she was called baby Mumtaz. Later, she appeared
in several films as a child artist.
Early Life
On
February 14, 1933, Ayesha Begum gave birth to her fifth child and yes,
that's when Madhubala was born. She was named as Mumtaz Jehan Dehlavi
and her father was an employee at the Imperial Tobacco Company in
Peshawar. Unfortunately, he lost his job and that's when he moved to
Mumbai with family in search of some work. Madhubala then became the
bread and butter earner for the family by venturing into films.
You Might Also Like
.............................................................................................................................
Rail ka Dibba (1953) | Dustedoff
Sundar (Shammi Kapoor) is a poor young man who makes his living by being a 1950’s Hindi film version of a human billboard. A shoe company pays for his clothes, including a jacket on which their advertisement is emblazoned.
One day, faffing about near a lake, Sundar sees a girl (Madhubala) jump into the water. He quickly hauls off his shoes (smart thing to do!) and leaps in to fish her out. Unfortunately for him, the girl is not in the least grateful for his rescuing of her—she lets fly at him and tells him she wanted to drown. She even tries to run back into the water.
Sundar slaps the girl and manages to stem her hysteria. In between sniffles, she tells him her story: her name is Chanda, she’s an orphan and she has no-one in the whole wide world. She’s tried getting work as a maid in various households, but it’s invariably led to quarrels between the master and mistress, leading to Chanda being thrown out. Now, even her landlord has evicted her from her home, since she hasn’t paid rent for a long time. With no place to live and no hope left, Chanda has decided that suicide is the best option.
Sundar is horrified at this girl’s defeatist attitude. He gives her a pep talk and then tells her that she can come over to his place and live there. It’s not much, but at least she’ll have a roof over her head. Chanda cheers up, and Sundar takes her to his home, which is—is the Indian Railways listening?—an old, derelict railway carriage standing by itself near the railway tracks. Chanda immediately falls in love with it and begins to think of it as home.
Soon after, she is introduced to Sundar’s friends: Professor Nirogi (Om Prakash), a perpetually tipsy ex-magician and showman:
And Mohan (Sajjan), unemployed but with very definite political views which he spouts to anyone who’s willing to listen. Mohan also lives with Sundar in the rail ka dibba, and admits to Chanda that he came to this place the same way she did—Sundar saved his life and brought him here.
Professor Nirogi, like Chanda, has not been paying rent, so one fine day his landlord (Jayant) throws him out. The ever generous Sundar insists that Nirogi come and stay in the rail ka dibba too, so now they’re a cosy foursome. The rail ka dibba becomes a little haven of happiness and brotherly (also sisterly?) love: they share whatever meagre food they get, and there’s much self-sacrificing and forced smiles. Even when Sundar loses his job and they’re wondering where their next meal will come from, they grin bravely on, or at least stick together, even if they can’t summon up the energy to grin.
At this point, the scene shifts abruptly to the office of a newspaper called Prakash Daily. The general factotum of the newspaper (actor?) is exceptionally busy on this particular day because Prakash Daily has run up unprecedented sales—from being a rag which ends up being sold mainly to the raddiwallah (the rubbish collector), it’s selling like hot cakes. The owner (actor? Ram Avtar, identified by bollyviewer and memsaab) of Prakash Daily, when he arrives in his office, is unable to figure out why his newspaper is suddenly so popular.
A telephone call, however, seems to solve the mystery: the newspaper had carried an article about vox populi—and the young man featured in it had some interesting political views that readers seemed to have warmed to. Okay, now I’m beginning to see light.
But the scene now shifts back to the quartet in the rail ka dibba. Chanda tells Sundar she’ll try to find work, but he shuts her up. No, he and his pals won’t live off her earnings. Never.
One day, though, Mohan and Nirogi see Chanda dancing as she goes about her work, and Nirogi offers to take Chanda to a theatre where she may be paid to dance. Mohan, Nirogi and Chanda go to the theatre, and she’s hired to do a show.
[Aside: I see no reason for the theatre scene, other than a song-and-dance for Madhubala. She does get on the stage, but it’s a one-time appearance, and though they get paid, the theatre manager steals the money back. End result? Nothing, except that Sundar half-drowns Nirogi when he comes to know that Nirogi put Chanda onstage.]
While Sundar, Nirogi and Chanda are still trying to find ways to make ends meet, Mohan arrives with fabulous news: the newspaper Prakash Daily has hired him, at the fantastic sum of Rs 300 per month. And Mohan, bursting with happiness, has bought gifts for his friends with the advance he’s received: a sari for Chanda, a mandolin for Sundar, a crystal ball for Nirogi. To celebrate, they pile into a taxi and go off to the beach, for a walk, a swim, and some general rejoicing.
In the course of the evening, Nirogi drifts off—to join an itinerant magician who’s doing a show on the beach—and Mohan gets pulled into a political rally of sorts. Sundar and Chanda end up by themselves, and when it starts raining, they look for shelter. Unlike other filmy couples with little or no hold on their libidos, this pair is exceptionally ‘good’: they take refuge in a temple full of priests, and get married.
For some odd reason, neither Sundar nor Chanda think it important to tell their friends of the wedding. (Um. A thought, here: how do they maintain the charade in the somewhat close confines of the rail ka dibba?) Anyway, one can’t really blame Mohan when one day he finds Chanda on her own and tells her that now that he’s earning well and is going to be given a big house to stay in, he’d like to get married to Chanda.
Chanda is horrified, and tells Mohan why she can’t marry him, with the result that he flies into a rage. Sundar comes bouncing in at this moment too, and there’s general mayhem. The men rush at each other’s throats, and Chanda rushes around shrieking (I hadn’t known Madhubala could be this raucous). Finally, Sundar knocks Mohan out and drags his inert body onto the railway tracks. Chanda is getting hysterical by now, so Sundar, still in a fury, explains: this is where he’d first found Mohan—and stopped him from committing suicide—so, now that Mohan’s proved himself to be a slimeball, it’s best to push him back to square one.
Chanda tries to plead with Sundar: if Mohan dies, pulped under a train, Sundar will be a murderer. He’ll go to jail. Does he want to see Chanda left to her own devices all over again?
We never really know what happens at this stage, because the film inexplicably (Friends: Do you have an explanation?) jumps to another scene. Nirogi’s telling Sundar and Chanda that the police will be coming around any minute now, so they’d better make their escape. And so the miyan-biwi go away from the rail ka dibba, away into the world… and the film goes on, in its meandering way.
What I liked about this film:
Madhubala. She’s so very beautiful. I wish I could have said the same for Shammi Kapoor (who, along with Madhubala, was one of the reasons I saw this film). Sadly, what with that moustache, he reminds me too much of Raj Kapoor… I need to see Dil Deke Dekho or another of his later films to erase the somewhat uncomfortable memory of Rail ka Dibba.
One song: Duniya jawaan hai, dil meherbaan. It’s a great song, and Cuckoo’s at her best.
==============================================
.
.............................................................................................................................
Rail ka Dibba (1953) | Dustedoff
Feb 10, 2010 - And though it's not a really bad film, Rail ka Dibba left me feeling pretty certain that I won't be watching it again. Anybody who wants it is ...
Sundar (Shammi Kapoor) is a poor young man who makes his living by being a 1950’s Hindi film version of a human billboard. A shoe company pays for his clothes, including a jacket on which their advertisement is emblazoned.
One day, faffing about near a lake, Sundar sees a girl (Madhubala) jump into the water. He quickly hauls off his shoes (smart thing to do!) and leaps in to fish her out. Unfortunately for him, the girl is not in the least grateful for his rescuing of her—she lets fly at him and tells him she wanted to drown. She even tries to run back into the water.
Sundar slaps the girl and manages to stem her hysteria. In between sniffles, she tells him her story: her name is Chanda, she’s an orphan and she has no-one in the whole wide world. She’s tried getting work as a maid in various households, but it’s invariably led to quarrels between the master and mistress, leading to Chanda being thrown out. Now, even her landlord has evicted her from her home, since she hasn’t paid rent for a long time. With no place to live and no hope left, Chanda has decided that suicide is the best option.
Sundar is horrified at this girl’s defeatist attitude. He gives her a pep talk and then tells her that she can come over to his place and live there. It’s not much, but at least she’ll have a roof over her head. Chanda cheers up, and Sundar takes her to his home, which is—is the Indian Railways listening?—an old, derelict railway carriage standing by itself near the railway tracks. Chanda immediately falls in love with it and begins to think of it as home.
Soon after, she is introduced to Sundar’s friends: Professor Nirogi (Om Prakash), a perpetually tipsy ex-magician and showman:
And Mohan (Sajjan), unemployed but with very definite political views which he spouts to anyone who’s willing to listen. Mohan also lives with Sundar in the rail ka dibba, and admits to Chanda that he came to this place the same way she did—Sundar saved his life and brought him here.
Professor Nirogi, like Chanda, has not been paying rent, so one fine day his landlord (Jayant) throws him out. The ever generous Sundar insists that Nirogi come and stay in the rail ka dibba too, so now they’re a cosy foursome. The rail ka dibba becomes a little haven of happiness and brotherly (also sisterly?) love: they share whatever meagre food they get, and there’s much self-sacrificing and forced smiles. Even when Sundar loses his job and they’re wondering where their next meal will come from, they grin bravely on, or at least stick together, even if they can’t summon up the energy to grin.
At this point, the scene shifts abruptly to the office of a newspaper called Prakash Daily. The general factotum of the newspaper (actor?) is exceptionally busy on this particular day because Prakash Daily has run up unprecedented sales—from being a rag which ends up being sold mainly to the raddiwallah (the rubbish collector), it’s selling like hot cakes. The owner (actor? Ram Avtar, identified by bollyviewer and memsaab) of Prakash Daily, when he arrives in his office, is unable to figure out why his newspaper is suddenly so popular.
A telephone call, however, seems to solve the mystery: the newspaper had carried an article about vox populi—and the young man featured in it had some interesting political views that readers seemed to have warmed to. Okay, now I’m beginning to see light.
But the scene now shifts back to the quartet in the rail ka dibba. Chanda tells Sundar she’ll try to find work, but he shuts her up. No, he and his pals won’t live off her earnings. Never.
One day, though, Mohan and Nirogi see Chanda dancing as she goes about her work, and Nirogi offers to take Chanda to a theatre where she may be paid to dance. Mohan, Nirogi and Chanda go to the theatre, and she’s hired to do a show.
[Aside: I see no reason for the theatre scene, other than a song-and-dance for Madhubala. She does get on the stage, but it’s a one-time appearance, and though they get paid, the theatre manager steals the money back. End result? Nothing, except that Sundar half-drowns Nirogi when he comes to know that Nirogi put Chanda onstage.]
While Sundar, Nirogi and Chanda are still trying to find ways to make ends meet, Mohan arrives with fabulous news: the newspaper Prakash Daily has hired him, at the fantastic sum of Rs 300 per month. And Mohan, bursting with happiness, has bought gifts for his friends with the advance he’s received: a sari for Chanda, a mandolin for Sundar, a crystal ball for Nirogi. To celebrate, they pile into a taxi and go off to the beach, for a walk, a swim, and some general rejoicing.
In the course of the evening, Nirogi drifts off—to join an itinerant magician who’s doing a show on the beach—and Mohan gets pulled into a political rally of sorts. Sundar and Chanda end up by themselves, and when it starts raining, they look for shelter. Unlike other filmy couples with little or no hold on their libidos, this pair is exceptionally ‘good’: they take refuge in a temple full of priests, and get married.
For some odd reason, neither Sundar nor Chanda think it important to tell their friends of the wedding. (Um. A thought, here: how do they maintain the charade in the somewhat close confines of the rail ka dibba?) Anyway, one can’t really blame Mohan when one day he finds Chanda on her own and tells her that now that he’s earning well and is going to be given a big house to stay in, he’d like to get married to Chanda.
Chanda is horrified, and tells Mohan why she can’t marry him, with the result that he flies into a rage. Sundar comes bouncing in at this moment too, and there’s general mayhem. The men rush at each other’s throats, and Chanda rushes around shrieking (I hadn’t known Madhubala could be this raucous). Finally, Sundar knocks Mohan out and drags his inert body onto the railway tracks. Chanda is getting hysterical by now, so Sundar, still in a fury, explains: this is where he’d first found Mohan—and stopped him from committing suicide—so, now that Mohan’s proved himself to be a slimeball, it’s best to push him back to square one.
Chanda tries to plead with Sundar: if Mohan dies, pulped under a train, Sundar will be a murderer. He’ll go to jail. Does he want to see Chanda left to her own devices all over again?
We never really know what happens at this stage, because the film inexplicably (Friends: Do you have an explanation?) jumps to another scene. Nirogi’s telling Sundar and Chanda that the police will be coming around any minute now, so they’d better make their escape. And so the miyan-biwi go away from the rail ka dibba, away into the world… and the film goes on, in its meandering way.
What I liked about this film:
Madhubala. She’s so very beautiful. I wish I could have said the same for Shammi Kapoor (who, along with Madhubala, was one of the reasons I saw this film). Sadly, what with that moustache, he reminds me too much of Raj Kapoor… I need to see Dil Deke Dekho or another of his later films to erase the somewhat uncomfortable memory of Rail ka Dibba.
One song: Duniya jawaan hai, dil meherbaan. It’s a great song, and Cuckoo’s at her best.
==============================================
.
-
RAILWAY PLATFORM - DEKH TERE BHAGWAN KI HAALAT KYA HO GAYEE2:28
-
RAILWAY PLATFORM - CHAND MADHHAM AASMAN CHUP HAI2:48
-
Shammi Kapoor Unplugged: Trailer - Starting April 5, 2010 On Your PC & Mobile0:20
-
An Email From Pakistan - Shammi Kapoor Unplugged2:18