The romance between Kamal Amrohi and Meena Kumari wasn’t just tabloid fodder; it fueled one of Hindi cinema’s greatest tragedies. Amrohi, the reclusive genius from Amroha born in 1918, crafted a mere four films, yet each reshaped Bollywood. Starting as a writer for Sohrab Modi, penning dialogues for ‘Pukar’ and ‘Shahjahan’, he caught K.L. Saigal’s eye early on.
Fame exploded with ‘Mahal’ (1949). Madhubala’s haunted haveli tale, laced with Ashok Kumar’s intensity and Lata’s haunting ‘Aayega Aanewala’, set box-office records and birthed the ghost song genre.
Wed to Meena Kumari since 1952, ‘Daéra’ (1953) captured their early bliss—a tale of unspoken longing. But ‘Pakeezah’ became their magnum opus and undoing. Shooting began in 1958; by release in 1972, their marriage had crumbled. Amrohi’s multi-hyphenate mastery shone: he scripted, dialogued, lyricized, and directed. Meena’s Sahibjaan, a courtesan yearning for purity, delivered her career-best, immortalized in ‘Thade Rahiyo’ and ‘Inhi Logon Ne Le Leena Dupatta Mera’. The film’s opulent sets and tragic arc make it a benchmark for artistry.
Post-‘Pakeezah’, ‘Razia Sultan’ (1983) with Hema Malini aimed high as a historical epic but faltered at the box office. Amrohi’s perfectionism left ‘Majnu’ incomplete.
Three wives marked his life: Bilqis, Mahmoodi (parents to his children), and Meena, whose 1972 death preceded his by 21 years. Buried together in Rahmatabad, their story echoes ‘Pakeezah’s’ pathos.
With Kamal Pictures and Studios, Amrohi built an empire of elegance. His shayaraana style—grand, emotional, uncompromised—lives in every frame. On his 1993 passing, an era ended, but his films ensure immortality.