A furious Amrohi walked out and went straight back to Khayyam. Laxmikant-Pyarelal asked him to come to their office to discuss the matter and made him cool his heels for a long time. The story goes that Amrohi found one of these tunes too fast for a specific situation he wanted a mellower one. The composer duo started work in right earnest and composed a few tunes. The director then turned to Laxmikant-Pyarelal. But Khayyam was busy with Kabhi Kabhie those days, and had to decline Amrohi’s request. Apparently, he had been smitten by the composer’s work in Shagoon (1964), especially the song Parbaton Ke Pedon Par. Amrohi wanted Khayyam to work on this film. But work on the film had begun eight years earlier. Produced by AK Misra, Razia Sultan hit cinema screens in 1983. Even his critics, who pointed out glaring flaws in his work, admitted that he was driven by a powerful cinematic vision. Mahal, Pakeezah and Razia Sultan were outcomes of this quirk in his personality. And having done that, he would give his all to ensure that they came alive on screen. He was a dreamer who conjured up fantastic stories and scenarios. Many people in the film industry put these long gaps down to Amrohi’s pursuit of perfection. His last movie, Razia Sultan, came 11 years after Pakeezah. The gap between Daera and his next movie, Pakeezah, was long by any yardstick: 19 years. In a career span of 45 years, Amrohi made just four movies. Mahal featured two themes that found favour in many movies over the decades: horror and reincarnation.
It was in 1949 that he turned director with Mahal, of Aayega Aanewala fame. He made his debut by writing the story for Jailor (1938), and continued in that vein through the 1940s.
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