Showing posts with label dilip kumar. Show all posts
Showing posts with label dilip kumar. Show all posts

Wednesday, 20 May 2020

Suhana Safar Aur Yeh Mausam Haseen - The song that was kept on Hold

This song remains one of the most popular songs of Madhumati, released in 1958. The Madhumati soundtrack features eleven songs composed by Salil ChowdhryShailendra wrote the lyrics The soundtrack of Madhumati became the best-selling Bollywood soundtrack of 1958. This remains one of the personal favorite songs of Mukesh.
Suhana Safar Aur Ye Mausam Haseen is one of Hindi cinema’s greatest musical scores. An anthem in praise of natural beauty. Mukesh’s inimitable voice emanates the joy with a fantastic echo effect. Salil Chowdhury utilized this quality so adeptly in this composition that listening to it one feels like none but Mukesh could have rendered this song. Charming its way into people’s hearts and rightly securing his position in the league of legends.
It is said that Dilip Kumar, the hero of the film wanted this song to be sung by Talat Mahmood but Talat himself declined to sing saying Mukesh needed that break much more than him, Mukesh was not getting songs during those years and that he was hard up for money.
There is another story behind this song, that Shailendra who was the lyricist for this song couldn’t find a suitable line to follow this particular one “Ye Gori Nadiyon Ka Chalna Uchhal Kar”. So the song was kept on hold for quite some time till one day, he happened to chance upon a little girl who was crossing a lane and singing to herself. This inspired him to write the next line “Ki Jaise Alhad Chale Pee Se Mil Kar”. He immediately went to Salil Da's home and completed the full song. Shailendra has used words like ‘Alhar’, which is seldom used in film songs and it is north Indian rooted word, generally used by village and small-town folks.
Along with the composition of the song and its picturization; the lyrics were unique. Describing the movement of rivers, 
Unlike other films, shot indoors, Roy decided to shoot Madhumati outdoors and at a hill station. It had a six-week schedule in Ranikhet, Nainital. Some scenes were shot in Ghorakhal, near Nainital. In those days there were no monitors, so when the negatives were developed, it was found that most of the footage was foggy. Since a reshoot in far-away Uttarakhand wasn't possible, sets were created near Vaitarna Dam, Igatpuri, near Nashik. Art direction team, led by Sudhendu Roy, created fake pine trees, which were planted to matched the location in Nainital.
Song of Madhumati 1958

Wednesday, 11 December 2019

Dilip Kumar and His Ten best Performances

Dilip Kumar( Born on 11th Dec 1922) is one of the greatest and most iconic Indian film actors. Acclaimed throughout his career span of 54 years. His performances have been regarded as the epitome of emoting in Indian Cinema. He was the first actor to receive a Filmfare Best Actor Award and holds the record for most numbers of Filmfare Awards won for that category. 
Though he has done all kinds of films and a wide variety of roles. In this blog, I have selected his Ten best performances starting from his first film in 1944 to the last film in 1988.
Andaz (1949)

The film stars Dilip KumarNargis and Raj Kapoor in a love triangle. It was the first blockbuster film of Dilip Kumar. It is to date regarded as the mother of all triangles of the Hindi Cinema. Dilip Kumar who played Dilip in this film continued his tragedian onslaughts and reigned supreme as the bitter suitor whose love goes unrequited.
Deedar 1951

 It is a story of unfulfilled love, where the hero's childhood love is separated from him due to class inequalities. It is one of the noted tragedies made in the early Hindi cinema. It became a popular film of the Golden era and further established Dilip Kumar as the "King of Tragedy. Dilip plays a blind singer who is cured by Ashok Kumar, a doctor. The twist in the tale is that they both love the same girl (Nargis). She’s his childhood sweetheart who doesn’t remember him, not even when he sings the song they crooned together as children. He vainly hopes that his restored vision would help restore her memories but sadly that doesn’t happen. Angered, he blinds himself in his grief.
Daag 1952
 The film stars Dilip KumarNimmi and Lalita Pawar in lead roles. Dilip Kumar plays Shankar in this film 
To earn money he makes and sells mud toys. Being the lone breadwinner of the family, he is unable to meet the needs. His debt starts rising higher and higher when he gets addicted to alcohol. He is attracted to Parvati (Nimmi), who also lives a poor lifestyle along with her step-brother In this film he played the role of a drunkard.

Devdas (1955)
Dilip Kumar played a man driven by unrequited love into being a drunkard to perfection. His eyes are hazy throughout the film and his silences are eloquent. He got so much under the skin of the character that it’s said he had to go to London and consult Harley Street psychiatrists to overcome depression.
Naya Daur (1957)

For this film, Kumar won the Filmfare Award for Best Actor for the third time in a row, being his fourth overall. Dilip played the rustic tangewala to perfection, flirting outrageously with his firebrand heroine Vyjayanthimala. 
Madhumati (1958)
The film stars Dilip Kumar and Vyjayantimala in the lead roles. This Bimal Roy classic superbly employs the theme of reincarnation. You enjoy the film despite the clich├ęs because of the atmosphere created by the director and excellent performances by both Dilip and Vyjayanthimala.
Mughal-E-Azam (1960)

Dilip Kumar plays the role of Salim wh0 falls in love with Anarkali. Salim pleads to marry Anarkali, but his father refuses and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands. Dilip Kumar, in keeping with the nature of a prince, was regally restrained and conveyed more through his eyes than others would with their facial expressions.
Gunga Jumna (1961)

 The film stars Dilip Kumar, Vyjayanthimala and Nasir Khan (real-life brother of Dilip Kumar) in the lead rolesDililp Kumar was excellent as the rustic villager forced by circumstances to become a dacoit. Dilip Kumar's performance as Ganga is considered one of the finest acting performances in the history of Indian cinema.
Ram Aur Shyam (1967)
Dilip Kumar played a double role in the film. It was the story of twins separated at birth. Shyam grows up to be street smart man-about-town while Ram is a bumpkin much abused by his brother-in-law. Things are set right when the duo by chance exchange places. 
Shakti (1982)

A father-son story, the role of the father played by Dilip Kumar and the son played by Amitabh Bachchan. The end scene where Amitabh is dying in Dilip’s lap remains a masterpiece. You can feel a father’s anguish, his anger, and the momentary joy that though dying, his son has finally reconciled their differences.

Wednesday, 29 May 2019

When Dilip Kumar Sang his own Song

Not many of us know that Dilip Kumar was a very good singer. Many die-hard fans of the maestro still might not have the information about the one instance wherein he actually rendered a classical song in an unbelievable manner in the late 50s. It was a duet with Lata Mangeshkar that too in semi-classical.
It was Hrishikesh Mukherjee’s first film( Musafir 1957) as a director after working with Bimal Roy as an editor and also the first Hindi film for the comedian Keshto Mukherjee. Besides it had a fabulously talented team working together, with Salil Choudhary as the music director, Ritwik Ghatak as a scriptwriter (along with Hrishi Da), dialogues by Rajendra Singh Bedi and lyrics by Shailendra. Written (story), produced and directed by Hrishi Da the film had Suchitra Sen, Durga Khote, Nirupa Roy, Kishore Kumar, Nazir Hussain, David and more playing the key roles.

Since 50s Mohammad Rafi had become the screen voice of Dilip Kumar but Salil Chaudhary wanted someone else to sing this particular song  “Laagi Naahin Chhootey, Chahey Jiya Jaaye” .One day Salil Chaudhary heard Dilip Kumar humming something in his own mood, Salil Da liked it and decided that this song be recorded in Dilip's own voice. It was a Raga based song and a duet with none other than Lata Mangeshkar, Dilip Kumar was reluctant to give his voice but agreed because of the respect felt for the maestro Salil Da.
It is said that Lata Mangeshkar was initially not agreeable, she wanted some professional singer to sing with her but Salil Da insisted that Dilip Kumar would sing this song.
Dilip Kumar performed the song confidently and the rendition really came out to be a truly touching one with great depth and feel, as if it had been sung by a trained classical exponent with perfection.
It is quite astonishing that Dilip Kumar never sang for himself for subsequent films. His singing voice is so soft and mellifluous – somewhere between Talat Mehmood & K.L. Saigal Saab, In fact, you would feel that Mohammad Rafi is singing. Later in 80s, he sang a few lines in Sagina with Kishore Kumar and In Karma.
Song of Musafir 1957

Friday, 22 March 2019

History behind the historical -MUGHAL_E_AZAM

K.Asif first launched this film in 1944 with financier Shiraz Ali, casting Sapru, Chandramohan and Nargis in the roles later done by Prithviraj Kapoor, Dilip Kumar and Madhubala. But Shiraz's migration to Pakistan after Partition, the communally-sensitive atmosphere after Independence and finally Chandramohan's death in 1949 made him drop the project.
K Asif wanted to start the project once again in 1951 but no financier was interested in this film. It was Shapoorji Pallonji, the construction magnate, came on board in 1951. K Asif was interested to make this film in colour but the financier refused to finance further. Ultimately he did so in the song Pyar kiya to darna kya and the climax. The film was finally completed at a cost of about Rs 1.5 crore in 1960. 
Asif had planned to make Mughal-e-Azam in three languages - Hindi, Tamil and English. While the Hindi version became a super hit, the Tamil-dubbed version came a cropper at the box-office and he subsequently dropped the idea of dubbing it in English in the voices of British actors.
For the picturization of the song, Pyar kiya to darna kya a grand set of Sheesh Mahal was constructed. The grandeur was incomparable: the mirrors for the dance sequence on the Sheesh Mahal set were coated with a thin, transparent wax layer to prevent reflection from studio lights. The set was 80 feet wide and 150 feet long - and 35 feet high. And cinematographer R.D.Mathur would sometimes take up to eight hours to light a single shot! Sometimes, 14 cameras were used when the norm then was just one or two, and unlike the normal 60 to 125 shooting days, MEA thus needed 500, with more than a million feet of negative being used.

The song Pyar kiya to darna kya costed Rs 10 lakh to shoot, which was equal to the production cost of a big film! This Lata chartbuster's graph was perfected by Naushad and Shakeel in a marathon session from four in the evening to daybreak the following day on the terrace of Naushad's bungalow. Neither ate food during this period.
Music director Naushad composed many more than the 12 songs finally seen in the film, and Lata Mangeshkar sang eight solos and the duet Teri mehfil mein with Shamshad Begum. The hits were led by Mohe panghat pe and Mohabbat ki jhoothi kahani.
For Rafi's song Ae mohabbat zindabad a chorus of 100 singers were used.K Asif wanted 2 songs to be sung by Bade Ghulam Ali khan. Since Ustad Bade Ghulam Ali Khan did not want to sing for films and quoted an exorbitant sum to discourage Naushad and Asif, they agreed to the sum (in multiples of the topmost playback singer's fees) and the maestro had no choice but to render Shubh din aayo and Prem jogan banke as he had no excuse left!

The war sequences used 2000 camels, 4000 horses and 8000 men, most of the latter being real soldiers from the Army. Prithviraj wore real armour, real weapons were crafted and real jewellery used. The best tailors, embroiders, jewellers, shoemakers and other craftsmen from across the country were employed. The chains worn by Madhubala in prison were also real. Even the statue of Lord Krishna was in real gold.
Tailors were brought from Delhi to stitch the costumes, specialists from Surat were hired to do the embroidery, goldsmiths from Hyderabad designed jewellery, craftsmen from Kolhapur worked on the crowns, ironsmiths from Rajasthan made the weaponry and shoemakers from Agra produced the royal footwear.
When completed, Asif is said to have got Rs 17 lakh per territory for the film when the going rate was Rs 3-4 lakh. The premiere invite was written in Urdu on red velvet and "stamped" with the seal of Akbar's royal court.

The premiere of Mughal-e-Azam was held at the then new,1,100-capacity Maratha Mandir cinema in Mumbai, The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets. The tickets, the most expensive for a Bollywood film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items

This premiere was shown as a live event in Navketan's film Kala Bazar where Dev Anand does black marketing of the premiere shows tickets.
 The film ran for 100 weeks, was the biggest grosser of the 1960s and was finally beaten by the 1975 Sholay.
There had been three screen versions of the same story earlier also. Two starred one of Indian cinema’s top female stars, Sulochana, as Anarkali – in 1928 as a silent feature and then in 1935 as a talkie.

Saturday, 19 January 2019

Footpath 1953 Film Review

This film was released in 1953. The film was a flop but the film earned critical acclaims for Dilip Kumar's Performance. Dilip Kumar in an interview said "My scene of breaking down after my elder brother Bani passes away remains my all type favourite scenes"
The film stars Dilip KumarMeena Kumari, and Anwar Hussain. The music of the film is by Timir Baran and Khayyam. The highlight of the film is One of the finest Ghazals "Sham e Gham Ki Kasam by Talat Mahmood.

Tired of being poor, Noshu(Dilip Kumar), a newspaperman, abandons his scruples and starts to make money as a black marketeer. He gains his fortune but ruins his brother's life causing him to lose his job, his home and his wife whilst simultaneously losing his own self-respect and that of his former neighbours and his girl. Tormented by his conscience, he writes an expose′ of the illegal trade, but cannot prevent his own brother becoming a victim when an epidemic rages unchecked because criminals have stockpiled all the medicine.
Meena Kumari performs very convincingly matching Dilip Kumar’s intensity in every scene. She never appears vulgar during her bathing scene. Romesh Thapar is restrained and Achla Sachdev tries hard to appear heartless. Anwar Hussain does not impress too much. The other actors are just adequate.

A taut screenplay and meaningful dialogues penned by Zia Sarhadi make “Footpath” a truly memorable film. Sarhadi showed a lot of promise and eye for detail. The sequences shot indoors as well as in the black-marketing den shot in natural light sans cinematic jugglery by N. Raiaram is really convincing. 
Songs of Footpath

Saturday, 15 December 2018

50 years of the release of SUNGHARSH

Five decades ago, another superstar took on the part of a thug in director Harnam Singh Rawail’s rather successful venture, Sunghursh (1968). That was Dilip Kumar, he gives a stirring performance, the real delight is when he breaks into a folk dance “Mere Pairon Mein Ghungroo Bandh De Aur Phir Meri Chaal Dekh Le”.   
The movie was released on 01 July 1968. The movie is directed by Harnam Singh Rawail and featured Dilip Kumar, Vyjayanthimala and Balraj Sahni as lead characters. A most surprising find of the movie was Sanjeev Kumar. His performance of negative role shot to fame. He was commended for his role while a newcomer as compared with established actors like Dilip Kumar and Balraj Sahni 

Set in Varanasi, this fast-paced film talks of thugs, the expert killers who were a terror in Northern India in the 19th Century. They used to rob the pilgrims by hook or crook. Adapted from a Mahasweta Devi work, director H.S. Rawail addresses the loot that goes on at pilgrim centres in the name of faith. How the practice of sacrifice is misused for personal gains and how men compromise love for spiritual virtues – issues that are a relevant event today…issues that our films generally talk of only in hushed tones.
It is said H S Rawail the director of the film wanted Sadhna to be the heroine in this film but she was not available because of her illness. Eventually, Rawail signed Vyjayanthimala for the role. Dilip Kumar and Vyjayanthimala who had worked together for Naya Daur (1957) and Ganga Jamuna were then said to have a romantic affair. The actors parted after Vyjayanthimala worked with Raj Kapoor in the 1964 Hindi film Sangam. Thus, most of the scenes between the two actors for Sungharsh were shot separately.Sungharsh was the last film where Kumar and Vyjayanthimala worked together.

The music for all the songs is composed by Naushad and the lyrics are written by Shakeel BadayuniThe film's soundtrack has seven songs sung by Mohammad Rafi and Lata Mangeshkar with one song sung by Asha Bhosle. All are solo songs where Naushad used the music from the regions of Awadh and eastern Uttar Pradesh.
Song of Sungharsh 1968

Song of Sungharsh 1968

Song of Sungharsh 1968

Song of Sungharsh 1968

Tuesday, 11 December 2018

It was Devika Rani who gave Kohinoor to Bollywood

Devika Rani who is also known as The First Lady of Bollywood gave us a Kohinoor in the form of Dalip Kumar. It happened when Dilip Kumar aka Yusuf Khan first arrived from Poona in Bombay looking for a job, he met Dr Masani at Churchgate station. The psychologist knew Khan from a lecture he had delivered at Wilson College where the young man had been a student.
Dr Masani introduced Yusuf Khan to Devika Rani who was the owner of Bombay Talkies. Devika Rani asked him if he knew Urdu; Khan did, as he was born and brought up in Peshawar in the North West Frontier Province. Devika Rani then offered him an opportunity to become an actor with the studio for a princely monthly salary of Rs1,250. It was Devika Rani who christened Dilip Kumar. The first film of Dilip Saheb was Jwar Bhata released in 1944 was directed by Amiya Chakrabarti.
Still from Jwar Bhata 1944
Besides grooming him for a career in front of the camera, Devika Rani also helped shape Dilip Kumar's acting and performances, encouraging him to watch Hollywood and foreign films and look for inspiration within himself to improve with each film that he did.
Unfortunately, Jwar Bhata did not fare well at the box office. Yet his talent did not go unnoticed and following India’s independence and partition, Dilip Kumar would go onto make his mark in Hindi cinema. 
Still from Jugnu 1947
However, it was the actor’s fourth film, Jugnu (1947), starring Noor Jehan and Shashikala in important roles, that became his first major hit, and got him noticed. The actor received many movies after this film.  
Dilip Kumar in Andaz.1949

One of the films which elevated him to superstardom was Mehboob Khan’s Andaz (1949) with Raj Kapoor.A story revolving around a love triangle, interspersed with drama and tragedy The film saw him paired opposite Nargis. The film became an instant hit at the box office and enabled Dilip Kumar to establish himself as one of the reigning figures of the Indian film industry.
He had a number of big films in the 1950s. Among his most notable films were Hulchul (1951), Deedar (1951), Daag (1952) and Devdas (1955). Dilip Kumar became the first actor to win the Filmfare Best Actor Award for Daag. He went on to win the award seven times.  His performance as the heartbroken Devdas in Devdas, among other roles, sealed his image as the Tragedy King of Indian cinema. However, he tried to shed this image by taking up lighter roles in films such as Aan (1952), Azaad (1955), Naya Daur (1957), Madhumati (1958), Mughal e Azam (1960) and Kohinoor (1960).
In 1961, Kumar produced and starred in Ganga Jamuna opposite his frequent leading lady Vyjayanthimala and his brother Nasir Khan, this was the only film he produced.His next film Leader (1964) was a below average grosser at the box office.He was the co-director alongside Abdul Rashid Kardar of his next release Dil Diya Dard Liya in 1966 but was uncredited as director. In 1967, Kumar played a dual role of twins separated at birth in the hit film Ram Aur Shyam. In 1968, he starred alongside Manoj Kumar and Waheeda Rehman in Aadmi. That same year he starred in Sangharsh with Sanjeev Kumar.
His career slumped in the 1970s with films like Dastaan (1972) failing at the box office. He starred alongside his real-life wife Saira Banu in Gopi (1970) which was a success. But again in 1974 his film Sagina and Bairag in 1976 failed as a hero.
In 1976, Dilip Kumar took a five-year break from film performances and returned with a character role in the film Kranti (1981) and continued his career playing leading roles in films such as Shakti (1982), Karma (1986) and Saudagar (1991). His last film was Qila (1998).He has won ten Filmfare Awards and is the first recipient of the Filmfare Best Actor Award (1954). He was given Dada Saheb falke award in 1994. The Government of India honoured Kumar with the Padma Bhushan in 1991, the Dadasaheb Phalke Award in 1994 and the Padma Vibhushan in 2015. The Government of Pakistan conferred Kumar with Nishan-e-Imtiaz, the highest civilian award in Pakistan, in 1998.
My Fav Dilip Kumar's Songs
Song of Mela 1948

Song of Andaz, 1949

Song of Arzoo 1950

Song of Deedar 1951

Song of Sangdil 1952

Song of Footpath 1953

Song of Azaad 1955

Song of Naya Daur, 1957

Song of Madhumati, 1958

Song of Kohinoor, 1960

Song of Ganga Jamuna, 1961

Song of Leader, 1964

Wednesday, 12 September 2018

60 Years of Madhumati

Madhumati was released on 12 September 1958. It earned ₹40 million in India and became the highest-grossing Indian film of the year and one of the most commercially successful and influential Indian films of all time. It was one of the earliest films to deal with reincarnation. Directed and produced by Bimal Roy, and written by Ritwik Ghatak and Rajinder Singh Bedi. The film stars Dilip Kumar and Vyjayantimala in the lead roles, with Pran and Johnny Walker in supporting roles.  
 It won nine Filmfare Awards; including Best FilmBest DirectorBest Music DirectorBest Female Playback SingerBest DialogueBest Art Direction and Best Cinematographer—the most awards for a single film at that time. It also won the National Film Award for Best Feature Film in Hindi.

Bimal Roy who made Devdas in 1955 with the same star lead was looking for a hit. His 1955 film Devdas was commercially unsuccessful, jeopardising his company Bimal Roy Productions; he needed a commercial success to survive. The film opened at the Roxy theatre near Opera House  Bombay.“It was a fabulous evening, glamorous and glittering, just like the film premieres on screen.” Like all great movies, this one too inspired a genre of its own, the re-incarnation genre. 

The soundtrack of Madhumati became the best-selling Bollywood soundtrack of 1958. Salil Chowdhury won his first Filmfare Award for Best Music Director. Suhana safar aur yeh mausam haseen is one of the most popular songs by recording artist Mukesh and is regularly played at dandiya functions. The Madhumati soundtrack features eleven songs composed by Salil ChowdhuryShailendra wrote the lyrics and Mukesh, Lata Mangeshkar, Manna Dey, Mohammed Rafi, Mubarak Begum, Asha Bhosle, Sabita Chowdhury, Ghulam Mohammed and Dwijen Mukhopadhyay provided the vocals.
It is one of the greatest Hindi movies ever made. It’s top notch in terms of cinematography, directing, music, acting and dancing. I rank it among Top 10 Hindi films.Bimal Roy's classics like Sujata, Bandini, Do Bigha Zameen or Devdas, still bears the mark of a master craftsman. And it’s good entertainment value.
The plot focuses on Anand, a modern man who falls in love with a tribal woman named Madhumati. They are unable to have a relationship during their lifetimes and are reincarnated.
The plot focuses on Anand, a modern man who falls in love with a tribal woman named Madhumati. They are unable to have a relationship during their lifetimes and are reincarnated.
The film begins on a dark and stormy night (a recurring motif in the film: all the most dramatic events occur on stormy nights). Two friends – an engineer, Devendra (Dilip Kumar) and a doctor (Tarun Bose) are travelling by car along a mountain road when a fallen tree forces a halt. The driver advises the two men to take shelter in the nearby mansion while he goes off to find help. Devendra and his friend go off to the mansion, which turns out to be a spooky place, dusty and seemingly deserted.
The film was shot at a hill station. It had a six-week schedule at a location in Ranikhet, Nainital. Some scenes were filmed in Ghorakhal near Nainital. When the negatives were developed, most of the footage was found to be fogged. Since a reshoot in far-away Uttarakhand was not possible, sets were created near Vaitarna DamIgatpuri. The art direction team, led by Sudhendu Roy, created fake pine trees, which were planted to match the location in Nainital.A large part of the film was filmed in Aarey Milk Colony, a small forested area in Mumbai. A scene in which Dilip Kumar looks for Vyjayanthimala in the woods was filmed in Igatpuri. The foggy effect was recreated using gas bombs.
Commercially it was the biggest hit of Bimal Roys's career. It wiped out his losses of Devdas released in 1955. The fact that it scored over movies like Kala Pani, Sadhana, Phir Subah Hogi, all released the same year, speaks for its power to captivate the audience and hold its attention for long. More than anything, Madhumati, forever, will be remembered for its music.

Think of gems like ‘Suhana Safar Aur Ye Mausam Hasin’, ‘Dil Tadap Tadap Ke Keh Raha Hai’, ‘Aaja Re Mai To Kabse Khadi Is Paar’, ‘Chadh Gayo Paapi Bichua’, ‘Zulmi Sang Aankh Ladi’, ‘Toote Hue Khwabon Ne’ and ‘Ghadi Ghadi Mera Dil Dhadke’, and you know instantly what melody stood for.
Madhumati' is primarily an entertainer but one doesn't think of it as a masala film, and there's a lot to like about it. Wonderful visuals and songs, very good performances, a nicely developed romance, and it's strong on atmospherics as well. It fully delivers on its promise and is quite a charming film.
Song of Madhumati 1958

Song of Madhumati 1958

Song of Madhumati 1958

Song of Madhumati 1958

Song of Madhumati 1958

Song of Madhumati 1958