1958
Indian cinema has a time machine. It is called reincarnation. And is mostly fuelled by love that returns from beyond the grave. Accompanied by haunting melodies. Madhumati was a smashing trendsetter: Sheltering from a storm in an old deserted house, Devendra finds a portrait of Raja Ugranarayan. He somehow knows he has painted it in a previous life. When he was in love with Madhumati, who was killed by Ugranarayan.
Sepia
Despite the critics's thumbs down, the film is Roy's biggest hit. The audience gets three Vyjayantimalas: One is a ghost. The other two are flesh and blood, but live ages apart. Also, there are two Dilip Kumars to romance them across time!
Uncut
Masters of Indian cinema work on the film. The genius of Ritwik Ghatak at work in the story. This is a big surprise because nobody expects a self-proclaimed Marxist to go about summoning ghosts. Hrishikesh Mukherjee edits the film and coaxes a smoother story flow out of the confusing flashbacks across the lives and times of Madhumati!
Vyjayantimala and Dilip Kumar
