Dilbaaro-Raazi(2018)

Written By Aadhisha Shirish

(only instrument playing a tone)

0.00s - 0.01s

Eye level, close up shot

The subject Sehmat is seen staring at an alternate angle towards the camera. The setting is a blur scenic background.

Ba chasey khaanmoj koor

(I am the darling/pampered daughter)

0.01s - 0.04s

Slightly low angle , wide shot with a over the shoulder angle as well.

We see two different shots in which the first shot shows Hidayat greeting and welcoming Syed and the second shot shows Syed, Munira and Mehboob entering and walking towards Hidayat, the background is that a mansion lit with wedding decorations. A prop used is the car in which Syed travels. There are many other relatives in the background and we can see a group of musicians in the background during the transitions of the two shots.

Diy mey rukhsat myaney bhai-jaan’o

(Please bid me farewell, my darling

brother)

0.04s - 0.10s

Eye level, midshot changing to over the shoulder shot, with a transition to medium level shot, the angle remaining wide, there is a slight zoom in the last shot.

Hidayat and Syed greet each other while the last bit shows Sehmat having a sneak peak throught the window. The background includes the decorated house, the car, the musicians and Sehmat's room.

Ba chasey khaanmoj koor

(I am the darling/pampered daughter)

Diy mey rukhsat myaney bhai-jaan’o

(Please bid me farewell, my darling

brother)

Ba chasey khaanmoj koor

(I am the darling/pampered daughter)

0.10s - 0.22s

Wide angle throughout, the shots used range from high angle to high level mid shot with a slight right pan to zoom in, then high level with immediate transition to medium close up, finally ending in a zoom medium shot.

This scene includes a series of alternate shots in which we see Iqbal getting off the car, then Sehmat looking at him from her window, then Iqbal walking towards the relatives and spotting Sehmat at the window, Sehmat getting started on finding out that Iqbal caught her looking at him. The background includes the car, Sehmat's room the props include light stands and sparkiling lights used as decoration.

Notes being played on instruments

dialogues of nikah being read at

around 29s

ending in a zoom medium shot.

0.22s - 0.34s

Starts with a wide angle long shot.Then ranges from Medium closeup to a close up zoom out shot.

This scene ranges from shots having each of the character as a subject. Sehmat is seen walking down the stairs towards the nikah. Then Iqbal is seen sitting at the nikah along with Brigadier Syed. The props being used are flowers and photoframe.

Ungli pakad ke tune chalna sikhaya

tha na.

(you taught me how to walk holding

my finger)

0.34s - 0.39s

A series of wide angle right pan shots are used and these are medium close up shots.

The scene shows Sehmat and Iqbal individually and then Hidayat looking at Sehmat lovingly. The background is a wedding set up. The maulvi, guests are also seen in the background. Props used are flowers

Dehleez oonchi hai yeh paar karade

(Please help me cross this tall

threshold)

{Iqbal and Sehmat say Qubool hai}

0.39s - 0.44s

A series of medium close up, wide angle shots with a little right pan in each.

This scene shows Sehmat, Iqbal, Hidayat, Munira and Teji alternatively thus capturing each characters's emotions and expressions. The background shows guests. Props used are flowers and Pardah. The males and females are also seated separetely as according to the traditions during nikah.

Baba main teri mallika , Tukda hoon

tere dil ka

(Father, I'm your princess. I'm a piece

of your heart)

0.44s - 0.49s

Medium close up shots with wide angle shots have been used.

It is seen that all the guests and Teji congratulate Sehmat on her nikah. A glimpse of Iqbal is also shown. The guests are shown in the background. Props used include mirror and flowers. We see Sehmat looking at herself in the mirror after nikah.

Ik baar phir se dehleez paar kara de

(Please help me cross this threshold

once more)

0.49s - 0.55s

Wide medium close up shot, over the shoulder shot changing to high angle shot.

Scene shows Iqbal and Sehmat looking at each other through a variety of angle shots.

Mudke na dekho dilbaro, dilbaro

(Beloved, don't turn and look back)

0.55s - 1.00s

Wide angle close up shot changing to medium close up shot with a slight upward pan shot.

A major focus is shown on Hidayat holding his daughter Sehmat's hand and letting her go to her new house. It is basically bidding her a goodbye.

Mudke na dekho dilbaro

(Beloved, don’t turn and look back)

1.00s - 1.06s

Wide angle shot, transition from close up to medium shot and back to medium close up shot. These are eye level shots.

Background changes from inside the house to outside the house even including a green leaves background in the mid shot. This scene basically shows Hidayat sending Sehmat to her in-laws. The Props used are flowers, mirrors in the background, photoframes. Shot 1 shows Hidayat and Sehmat walking towards outside. Shot 2 shows Iqbal, Brigadier Syed and Mehboob looking at the bride. Shot 3 shows Sehmat looking at her father Hidayat.

Mudke na dekho dilbaro, Dilbaro

Mudke na dekho dilbaro

(Beloved, don’t turn and look back)

1.06s - 1.15s

A series of wide angle close up shots changing to medium close up and back to close up..We can also see a slight right pan in 2nd shot with over the shoulder shot. These are eye level shots.

The background is of the place outside Sehmat's house. There are no props used as such in this scene. The first 3 shots shows Sehmat hugging her parents from a side and over the shoulder angle. The 4th shot shows Syed walking a few steps forward, towards Hidayat and the last shot shows Hidayat and Sehmat also walking forward.

Instrumental music plays

1.15s - 1.26s

Wide angle eye level shot change to over the shoulder shot and back to the same. These shots are medium close up type.

Shot 1 shows Syed welcoming Sehmat and Hidayat. Shot 2 shows Munira consoling Teji and taking her towards the car. Shot 3 shows Iqbal opening the car dooe and the next shot shows Sehmat going to sit. The last bu one shot is a close up showing Hidayat holding Shemat's hands leading to the last shot where Sehmat looks at Hidayat sadly bidding goodbye through her eyes.

fasale jo khati jaaye ughti nahi hai

betiyan jo byaahe jaaye mudti nahi he

(The crops that are cut don't grow

again, The daughters that are wed don't come back)

1:26-1-37s

Medium close up with angle shots it is majority eye level except for Hidayat's point of view shot which is high angle slightly. The first & last shot is close up shot.

Close up shot showing Hidayat letting go of Sehmat's hand. Then there is a close up when Hidayat takes the Quran from Teju and gives it to Sehmat. The extended shot shows Hidayat blessing his daughter. The background includes the outsides view of Sehmant's house. Props include the Quran and car.

instrumental music playing

1.37s - 1.41s

Eye level shot, medium close up, wide angle shot.

Shots showing Hidayat blessing his daughter Sehmat before letting her go while the others looking at the father- daughter farewell. The background is Sehmat's House and the prop is the car and the quran.

fasale jo khati jaaye ughti nahi hai

betiyan jo byaahe jaaye mudti nahi he

(The crops that are cut don't grow

again, The daughters that are wed

don't come back)

1.41s - 1.52s

Eye level shots, medium close up shot changes to close up and back to medium close up shot. Wide angle shots. There is a slight zoom out as well.

Teji covers Sehmats's face by lowering her Ghunghat. Meanwhile the others are looking at this. The background includes Sehmat's House and propo includes the car.

Aisi bidaai ho toh, Lambi judaai ho toh

Dehleez dard ki bhi paar kara de

(If this is my farewell,If there's going

to be a long separation, Then please

help me cross this threshold of pain

zoom out as well.

1.52s - 2.02s

Series of medium close up, wide angle, eye level shots

The shots show Sehmat bidding her father a tearful goodbye and Teji and Iqbal along with the others looking at this. It ends with Sehmat sitting in the car.

Baba main teri mallika , Tukda hoon

tere dil ka

(Father, I'm your princess. I'm a piece

of your heart)

2.02s -2.05s

Eye level, wide angle, medium shot

The scene shows Hidayat breaking down while Iqbal sits inside the car. The background if of the exterior near the car. Prop is the car.

Ik baar phir se dehleez paar kara de

(Please help me cross this threshold

once more)

2.05s - 2.07s

A wide angle, eye level, close up side shot.

Shows Sehmat seated inside a car and breaking down as she bids farewell.

Ik baar phir se dehleez paar kara de

(Please help me cross this threshold

once more)

2.07s - 2.12s

Eye level shots, wide angle shots close up ranging to medium shot.over the shoulder to front shot.

First shot shows Hidayat hugging Syed, second shot shows Hidayat's sad face and third shot shows Iqbal and Sehmat seated inside the car, ready for their new journey. Iqbal looks at Sehmat while she is looking down.

instruments playing

2.12s - 2.18s

Shot 1 - long , wide angle front, slightly above eye level shot. Shot 2- wide angle, eye level, front shot, medium shot. Shot 3- long, wide angle eye level, front shot

Shot 1 shows two cars moving out the gate of Sehmat;s house.

Shot 2 shows sehmat and iqbal looking back through the window.

Shot 3 shows Hidayat consoling Teji as the car leaves .The setting includes the gate and house of Sehmat in an aerial view as well. Sehmat and Iqbal are seated in the car while Teji along with Hidayat and her other family members are inside the gate. Props used are the decorators of the house and the two cars

Mere dilbaro barafein galengi phirse

(My beloved, the snow will melt once

again)

2.18s - 2.31s

Wide angle, high level aerial, long shot with a left tracking pan added in the second shot as an add or ranging shot as an add on ranging to medium eye level shot finally ending in medium one, eye level, angle still wide and front shot.

Shot 1 shows aerial view of the cars moving around the curves in the hill roads with a scenic background.

Shot 2 shows the car with the newly married couple reaching the indo- pak border and there is a slight left tracking pan shot showing the police car and the other

car reaching the border as well.

Shot 3 shows both the cars at halt and doors of the first car opening.

Shot 4 shows Iqbal having come out of the car helping Sehmat come out too, the final shot shows iqbal closing the door while still having Sehmat's hand in his and she hesitantly pulls her hand away. The background throughout the series of shots remains scenic. The props are the cars. There is a glimpse of the Indo- Pak border as well in the scene.

Mere dilbaro fasalein pakengi phirse

(My beloved, the crops will grow once

again)

2.31s - 2.43s

Shot 1 - long , wide angle, eye level shot. shot 2 - medium , eye level, wide angle shot. shot 3 -wide angle, eye level, front long shot. shot 4 - low level, wide angle, long side shot, shot 5-front, eye level, medium long wide angle shot.

Shot 1 shows a scenic background with two cars standing still as the wedding troupe walks towards the border.

Shot 2 shows Hidayat getting the documents verified before crossing the border while the others stand there looking over.

Shot 3 shows the wedding troupe walking towards the border post checking.

Shot 4 shows the border soldiers opening the border to let the troupe through post checking.

Shot 5 shows the troupe walking past the border.

Tere paaon ke tale meri dua chale,

dua meri chale

(My prayers will walk underneath

your feet)

wide angle shot.

2.43s - 2.55s

Shot 1 - low level, wide angle, long, side shot; shot 2 - wide angle,medium close up with an

upward pan; shot 3-low level wide angle, long shot, shot 4-wide angle, close up, front shot

which is eye level.

Shot 1 shows a scenic background with all the characters crossing the border.

Shot 2 shows iqbal making Sehmat sit in the car while the car is getting checked.

Shot 3 shows the cars on the pakistan side moving while the background shows the border, Shot 4 shows Sehmat looking back through the window at her country for one last time and looking ahead preparing herself for this new battle she is going to face.

Baba main teri mallika , Tukda hoon

tere dil ka

(Father, I'm your princess. I'm a piece

of your heart)

Ik baar phir se dehleez paar kara de

(Please help me cross this threshold

once more)

which is eye level.

2.55s - 3.05s

Shot 1 - very long , wide angle,high level, back shot; shot 2 -long, wide angle, eye level front shot ; shot 3 - medium close up, front shot, wide angle and eye level; shot 4 -wide angle eye level, long , side shot; shot 5-low level, wide angle medium long , front shot she is going to face.

Shot 1 shows a scenic background of a paddy field between which the two wedding cars pass through.

Shot 2 is in the night with asetting of trees on both sides and shows the car's flash from far indicating that it is approaching towards the camera.

Shot 3 shows iqbal looking at Sehmat in the car while she doesn’t look at him. Meanwhile they appear tired indicating the long journey they covered, shot 3 shows the two cars passing by a water body as the moonlight sparkles and the headlight flashes.

Shot 4 shows the wedding car enter Iqbal's army quarters gate as the gate opens. An interesting fact is that the shot 4 goes in accordance with the lyrics.

Mudke na dekho dilbaro, Dilbaro

Mudke na dekho dilbaro

(Beloved, don’t turn and look back)

3.05s - 3.16s

Shot 1 & 3 - close up, wide angle eye level, side shot ; shot 2 -low level, wide angle, side

tracking shot; shot 4 - low level back shot , wide angle shot. shot 5 - low level, tilted angle,medium shot which has a tracking tilt to it in the end.

Shot 1,3,shows Sehmat looking out of the window of the car as Iqbal is seated beside her, shot 2 shows the soldiers saluting as the car passes, shot 4 shows the location board and the cars passing through the army quarters, shot 5 shows the side view of the car passing by with Sehmat looking out the window and is tracking to show the car pass through and shows the back of the car going in front of the house.

Mudke na dekho dilbaro, Dilbaro

Mudke na dekho dilbaro

(Beloved, don’t turn and look back)

3.16s - 3.27s

Shot 1 -wide angle, medium, eye level, front shot; shot 2 - wide angle, back, low level shot

shot 3 - medium close up, wide angle, front, eye level shot.

shot 1 shows the relatives and Abdul standing at the doorstep to welcome the bride, shot 2 shows the cars coming to a halt and the guests getting off the car, shot 3 shows Sehmat pulling down her ghunghat and about to get down when Iqbal stops her by placing his hand on her shoulders and then apologises.