Reel stories of Pakeezah: Join this virtual talk to know more about the film

Join Kathak dancer Siddhi Goel as she dissects the cult status of the film and its Awadhi cultural sensibilities in a virtual talk

For Delhi-based Kathak dancer Siddhi Goel, Pakeezah (1972) is more than just a cult film. Meena Kumari’s iconic song, Thaade rahiyo, was choreographed by Pandit Lachhu Maharaj, the grand-uncle of Pandit Jaikishan Maharaj, who trained Goel. In between classes, her guruji, who is the elder son of Pandit Birju Maharaj, would share stories about the choreography. Those snippets stayed with Goel, for whom the film set high standards of music and dance, while defining the aesthetics of Awadhi kotha. In her upcoming online session, titled Hidden Histories of Bombay Cinema, hosted by the India Foundation for the Arts, Goel will revisit and discuss the impact of the 1972 classic on our aesthetics and culture, in a society that has a polarised view of India.

Siddhi Goel, Kathak artiste and academic

Goel shares that for the producers, the film was  about finding a place in the hearts of viewers. The film achieved this through cultural assimilation and exchange between the artistes. “In the webinar, I’ll be discussing anecdotes. When I met  composer Ghulam Mohammed’s sons in Mumbai, they shared information about the film that helped me connect with its theme and dance even more,” she adds. 

At a time when big Bollywood stars are making four to five films in a year, Pakeezah  took 14 years of dedication. One of the people associated with the making of the film told her that for director Kamal Amrohi, a day would be considered productive even if a single shot was completed. “He [Amrohi] ordered the carpet [in the song] embellished with zari work from Persia for the shoot. The brilliant zari work later made such a huge difference to the outcome of the song,” Goel points out, adding, “We will examine the film to understand the syncretism of Indian cultures.”      

On November 24; 6:30 pm 
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