When single screen cinema halls had their own profile

A little less than 20 years after its release, Meena Kumari’s daughter-in-law The morning shows in Delhi cinemas continued to run for a warm response. Delhi’s Jagat Cinema first screened the film in the late 1970s, then screened several times in the early 1980s. Almost always the film did good business. The film had such an enduring connection with the morning slot of the world that its placards and leaflets stuck in the hall’s gallery began to fade. The hordes of Meena Kumari fans didn’t mind, as they flocked week after week to watch the tragedy queen of Hindi cinema. More than a decade after Meena Kumari passed away, her fans continued to throng the world, often finding themselves singing,” we will wait till your doom”, a hit song from the film was first released in 1967.

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In an industry that highly respected its leading men, the case of Meena Kumari was a rare exception. His films used to run in the world in the walls of Delhi. This was the hall in which Kamal Amrohi’s picture was displayed Pakeezah, a 1972 film that entered the record books of Hindi cinema following the news of Meena Kumari’s death soon after its release. This was also the hall in which the portrait of Meena Kumari was shown. flowers and stones (1966). OP Ralhan movie completed silver jubilee.

Meena Kumari visit

On the occasion of a film’s silver or golden jubilee, it was common for the film’s hero and heroine to go to the cinema hall; In those days, films used to last so long on the screen of the cinema that their fate was not decided on the first weekend. When Meena Kumari came into the world, the news spread like wildfire. Almost everyone wanted to see him, hear him. The actor’s car could not go from Daryaganj to the cinema hall located not far from the historic Jama Masjid. Not one to disappoint her fans, Meena Kumari walked into the hall, shook fans’ hand, signed a few autographs and agreed to be photographed at the cinema reception.

Raj Kapoor Circuit

What was Jagat to Meena Kumari was Grand Old Regal to Raj Kapoor, a man who couldn’t go a leg wrong for two decades until he decided. My name is Joker (1970). Every time a Raj Kapoor film releases in Delhi, the hugely popular actor follows a clear template. The film will open at Moti and West End in Old Delhi and Regal in Connaught Place. Kapoor will reach Regal on the first day of his film’s first show. At Regal, the movie will start early around noon. He would walk into the hall, greet his fans, say a few words and go back to his waiting yellow ambassador to visit Moti Cinema in Chandni Chowk. He often reached Moti with his crew along with KA Abbas, Shankar-Jaikishan, Hasrat Jaipuri and Radhu Karmakar. Here the film started around 12.30 pm, almost all his films played in Moti, of which rain In 1949, loafers In 1951, keep alive in 1956 confluence in 1964 and My name is Joker in 1970.

Dilip Kumar in Golcha

Kapoor was associated with a special hall for his films, so was Dilip Kumar. Apart from Plaza, his films will open in Golcha and Novelty. Of. Asif’s great work print Mughal-e-AzamStarring Dilip Kumar and Madhubala opposite Prithviraj Kapoor, arrived in 1960 riding on the back of an elephant. It was the director’s way of giving a royal feel to the audience about the film. more than 14 years ago. When the color version of the film was released decades later, Golcha was once again chosen as the hall for its first show.

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In repeat runs also, Kumar’s films were screened in some halls, such as Excelsior in the Walled City. be it Madhumati (1958) or leader (1964) or Ram and Shyam (1967), Excelsior played them all, some in the daily four shows, others alone in the morning shows. Dilip Kumar’s films festival was held every year in Excelsior, in which the films were changed daily. Back in the 1980s, creator, torch, World, Power, etc were all shown as part of a celebration of his films. For a low-profile hall, it was a masterstroke that brought at least some discerning audience into the hall otherwise known for its awkward seats and bread fritters And tea vendors sell their goods inside the auditorium during a film screening. In fact, the vendors, with their worldly ways and quick bargaining ability, gave Excelsior a distinctive identity, not to forget the fact that almost the entire year Excelsior played Dilip Kumar’s film in the morning shows. He is not everything. The film, which ran a week on Excelsior’s morning show, will be moved to the West End next week, ensuring that Kumar’s fans don’t miss out on his film.

stamp on wrist

Away from the star ratings of most upmarket halls in Delhi, Sabzi Mandi had Robin Cinema. It looked so small from the main road that if you were speeding, you could miss. It catered to the fans of Shatrughan Sinha and Mithun Chakraborty. It did not issue any tickets. There was no advance booking. A few minutes before the screening, people used to queue at the ticket window. They will pay for the film but no ticket will be issued. Instead a man will put a stamp on their wrist. This gave him the right to enter the film. Most of the people in the audience were migrant workers who left their families at home to make a living on the mean streets of Delhi.

prime minister too

It was not just the actors, even the Prime Minister and the President were attached to the particular cinema hall. Jawaharlal Nehru preferred Regal and Sudarshan, then called Mohini; Indira Gandhi went to Sheela; and Rajendra Prasad to Delight.

Unlike today’s multiplexes where a brahmastra Can play in every multiplex at the same time, in the good old days of single screen cinemas, film distribution and exhibition was a craft venerated by the ages. Every cinema had its own identity, every banner and star was identified with a hall.