Restorations have taken this year’s London Film Festival by storm – Paula Delsol’s La Dérive (1964), Michael Powell and Emeric Pressburger’s Gone To Earth (1950) and Ken Russell’s The Devils (1971) offer the opportunity for new audiences to discover gems lost by time. It is a virtuous mission, preserving cinema otherwise at risk of permanent decay or degradation and ensuring these stories are cemented in film history. Writer and director Kamal Amrohi’s timeless Bollywood classic Pakeezah (1972) receives the same treatment.
The story follows Sahibjaan (Meena Kumari) who ends up being a courtesan for her aunt Nawabjaan’s (Veena) brothel after her mother passes away. She is adorned with wealthy gifts from men as she performs dance routines for their pleasure. After one fateful train journey, she ends up fantasising about an encounter with a mystery man Salim (Raaj Kumar) who left only a note for her and begins her longing for a life of freedom.
The magic Kumari emanates is what makes the film as special as it is. Alongside choreographers Lachchu Maharaj and Gauri Shanker, audiences bear witness to four utterly mesmerising dance sequences. The passion, vigor and vulnerability rushes through Kumari’s movements – you are immersed in her coquettishness as well as her misery. The same can be said for her acting, letting her forlorn eyes do the talking. There is no question of her capability leading the story, she is positively hypnotising on the screen.
Amrohi allows so much depth to Sahibjaan in an era where women in Bollywood cinema were rather one dimensional. The yearning Kumari’s character experiences towards Salim simply is a mask for her desire of freedom, escaping life as a courtesan. Autonomy is what she discovers as the narrative goes on that she so desperately craves by whatever means possible. Strikingly ahead of its time.
It is no surprise that the costume design is flawless – so intricate, immaculate and intentional. What may come as a surprise is that Kumari designed the costumes herself, taking inspiration from Mughal dynasty courtesans and regional traditions. From the elegant emerald anarkali to the captivating carmine sari, every look leaves your mouth wider agape. With picture perfect hair and make-up tying the looks together, Kumari has cemented herself in the film fashion hall of fame, rivalling the likes of iconic femme fatale Rita Hayworth in Gilda (1946) and chic Audrey Hepburn in Roman Holiday (1953).
Art director N.B. Kulkarni outdoes himself with the production design. In particular, Nawabjaan’s consort house is stunning. The regal white columns, the glistening water walkway, the lavish gold and red rug Sahibjaan dances on, no expense was spared in creating a gorgeous cinematic world. Even during night scenes, Amrohi and cinematographer Josef Wirsching beautifully dressed the set with tealights and lanterns, making the backdrop look all the more eye-catching than it already was.
The Film Heritage Foundation, spearheaded by restorer Shivendra Singh Dungarpur, had a laborious feat ahead of them when restoring the film. The original camera negative was unusable due to its melted state. More complications arose when chemical decay, mold and deep scratches were prominent on archival footage which was a result of the film being shot over the course of 14 years. Despite the numerous challenges, the final product is superb. It is a testament to the entire team’s immense determination to restore the film, making it a true labour of love for the art form.
Pakeezah is a phenomenal example of the artistry Bollywood cinema has been and is capable of. Amrohi’s legacy lives on through the film, guided by Kumari’s remarkable performance. If there is one Bollywood film you should see to invigorate your interest in the industry, it is this one.
Pakeezah was screened as part of the Love strand at the London Film Festival 2026.
