As part of our retro review series, we re-watch ‘Bez Sala Bad’ (1962), a horror-suspense classic that became the highest-grossing film of its year. This gothic-inspired gem, combination of terrible secret with ghostly tunes, remains a panoramic clock.

• film: Bees Sala Bad (1962)
• Mold: Wahida Rahman, Biswajit, Manmohan Krishna, Madan Puri, Sajjan
• Director: Biran Nag
• Music/song: Hemant Kumar, Shakeel Baduni
• Boxes-office status: Super Hit
• Where to see: YouTube (4K version available)
• Why to see: Its moody for Gothic horror, Quarki Camera Work, and Hemant Kumar’s Sata Soundtrack
• moral of the story: The mistakes of the past put a long shadow, but vengeance is a hollow chase

Burned in a dim Mansion Chandangarh, Kumar (Biswajit) extinguishes the last lamp. A mournful well fogi performs pierce at night, then unconscious jingle GhungroosAs Kumar stepped through a severe door for investigation, a clock attacks at 9:30, and a glass is shattered with a crashed accident.

“Female spirit has returned to make another claim Jagirdar“The mansion warns the loan servant of the mansion, a Libra-over man who speaks in the riddles. In a stroke of cinematic talent, the camera penis on the shaded face of Kumar before paning for a swinging chandelier. As soon as you braces for its collapse, the scene is shift in a marshy for the collapse.

This moment is one of many clever red herds that make the ‘bees fucking’ even after six decades and makes the secret of murder. Despite its simple plot, the film’s moody lighting, inventive camera angles, terrible sound design, and esoteric characters create a gothic work that is impossible to see away.

All these elements converge the film to prepare an unforgettable view in the half way. As the clock attacks at 9:30 – a chilling figure – the chandelier speaks, a shadow glides in the past MansionAnd Lata Mangeshkar’s ghostly voice changes through the swamp. ‘O, O, O, O Kahin Deep Jale Kahin Dil‘His notes, a flute slow rhythm and snake charmer. PungiA woman catches her child and runs inside the house; The villagers said while walking around a fire in fear. Wearing a suit and hat, Kumar chased the terrible raga through the marsh. A pair of ankle from the camera marsh, white leather shoes, JuttisA man with crutches and a false eye patches. “What is your destiny? Come and find out,” Lata’s voice grows through chaos. It is an excellent fusion of melody, mystery and artistry, in which the frame is burnt like a timeless painting. Watch it a monsoon at midnight, and the scene will let you go to a rewind spri.

Plot:

The film begins with the rape and suicide of a village girl, whose tamasic spirit, villagers, believes, targets every man. Zamindar Family to avenge their tragedy. Kumar’s only living scon ZamindarsAfter 20 years, Chandangarh returns from abroad – so title – to investigate the killings of three ancestors.

Unmarried by warnings, Kumar pursues every clue and terrible sound through a trusted marsh where murders took place. Meanwhile, he falls in love with the village (Wahida Rehman) Hakim Daughter.

The mystery deepens with a deep doctor, which appears in a short hours in a short hours, a man disability, and another murder. Is a supernatural killer on a large scale? Or is it one of many characters with hidden objectives? Will Kumar survive the curse, or is it his destiny? The resolution comes out in the entertaining climax.

https://www.youtube.com/watch?v=7ilo4bvkg38

Drackula, a node for Holmes

Director Biren Nag, a former art director, frames the story as a piece of Gothic art, designing an excellent work with Hemant Kumar’s ghostly tunes. The influence of Western horror cinema is clear. Shots of a small car made from a horse through foggy nights echo the dramatic view of shady light and ‘Dracula’ (1931). Recurring Marsh Motif and Animal Sounds -Horses whispering, cutting cats’ grass, and bells on the calves -inspiration from the rustic horror of a sharalal homes classic classic ‘The Hound of the Baskerwals’. The ‘bees fucking’ pay tribute to the horror zeetist of the black and white era.

Tight editing could increase the film further. With the removal of a crisp romantic subplot and ASIT Sen’s Bambling Detective, with the sound of his hassle, the drama must have been intensified. The climax, although entertaining, seems a bit approximate. Nevertheless, these are minor flaws.

Music of the film – Lata Mangeshkar’s ghostly ‘Kahin Deep Jale Kahin Dil’, and Chanchal ‘Sapna Suhane Ladkpan Ke’, and Hemant Kumar’s timeless tracks like ‘Zara Nasran to Kah Do Ji Ji’ and ‘Baker Karke Haman Yu Na Jayani’ – is more than any suffocation. ‘Kahin Deep’ appears twice in the film- a bonus that makes the film’s track the greatest in Indian cinema.

Finally, the ‘bees fucking fences’ have an exciting mixture of mesmerizing scenes, esoteric characters, false alarms, red herds, and jumping frightening, which cements its position as a Gothic classic that also entertains 60. Fuckin fence,