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Bachchans FC 12-Every1’s Dreamland- P.134 (Page 143)

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virgoqueen

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virgoqueen

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Posted: 10 July 2007 at 4:53pm | IP Logged

ABHIMAAN - THE LYRICS

Jaya Bhaduri and Amitabh Bachchan in ABHIMAAN 1. Loote Koi Man Ka Nagar
2. Meet Na Mila
3. Piya Bina
4. Tere Mere Milan Ki
5. Teri Bindiya Re
6. Nadiya Kinare
7. Har Khushi Apni

Thanks to PalaceRani and Brindavani for their translations!

LOOTE KOI MAN KA NAGAR

luuTe koii man kaa nagar banke meraa saathii... In becoming my lover, someone stole my heart.
kaun hai voh apno.n me.n kabhii aisaa kahii.n hotaa hai Who could it be? Such things don't even happen with family.
yeh to baRaa dhokhaa hai This is just a great deception.
luuTe koii man kaa nagar banke meraa saathii In becoming my lover, someone sacked my heart.
yahii.n pe kahii.n hai mere man kaa chor Somewhere here is the thief who stole my heart.
nazar paRe to baiyaa.n duu.n maro.R If I ever spot him, I'll break his arm.
yahii.n pe kahii.n hai mere man kaa chor Somewhere here is the thief who stole my heart.
nazar paRe to baiyaa.n duu.n maro.R If I ever spot him, I'll break his arm.
jaane do jaise tum pyaare ho Let it go. Just as you are dear to me,
 vo bhii mujhe pyaaraa hai jiine kaa sahaaraa hai so is he; he is my strength and foundation.
dekho jii tumhaarii yahii baatiyaa.n mujhko hai.n taRpaatii.n Look, it's what you say that torments me.
luuTe koii man kaa nagar banke meraa saathii... In becoming my lover, someone stole my heart.
rog mere jii kaa mere dil kaa chain My torment and my treasure,
saa.nvalaa saa mukhaRaa uspe kaale nain face so fair and eyes so dark...
rog mere jii kaa mere dil kaa chain My torment and my treasure,
saa.nvalaa saa mukhaRaa uspe kaale nain face so fair and eyes so dark...
aise ko roke ab kaun bhalaa Who could stop someone like this?
dil se jo pyaarii hai sajanii hamaarii hai My beloved is dearer to me than my own heart.
kaa karuu.N mai.n bin uske rah bhii nahii.n paatii What could I do without him? I couldn't bear it.
luuTe koii man kaa nagar banke meraa saathii In becoming my lover, someone stole my heart.

 

MEET NA MILA

miit na milaa re man kaa... I haven't found the companion of my heart.
 koii to milan kaa Someone, please...
koii to milan kaa karo re upaay Someone please find a way for us to meet.
miit na milaa re man kaa... I haven't found the love of my life.
chain nahii.n baahar chain nahii.n ghar me.n There's no peace inside or outside the house.
man meraa dharatii par aur kabhii a.nbar me.n My mind wanders from the earth to the skies.
usko DHuu.nDHaa har Dagar me.n har nagar me.n I've searched for her in every town, along every road.
galii galii dekhaa nayan uThaaye I looked down every street with beseeching eyes.
miit na milaa re man kaa... I haven't found the love of my life.
roz mai.n apane hii pyaar ko samajhaauu.N Every day I make excuses to my heart.
 vo nahii.n aayegaa maan nahii.n paauu.N I can't accept that she may never appear.
shaam hii se prem diipak mai.n jalaauu.N Every evening, I light a lamp of hope,
phir vohii diipak duu.N mai.n bujhaaye and then am forced to extinguish it.
miit na milaa re man kaa... I haven't found the love of my life.
der se man meraa aas liye Dole... For a long time, my heart has nurtured this dream...
priit bharii baanii raag meraa bole a theme of love emerges from my song.
koii sajanii ek khiRkii bhii na khole No lovely woman opens her window to me,
laakh taraane kahaa mai.n sunaaye although I have sung hundreds of songs.
miit na milaa re man kaa... I haven't found the love of my life...

 

PIYA BINA

piyaa binaa piyaa binaa piyaa binaa basiyaa Without my lover, the flute...
baaje naa baaje naa baaje naa piyaa binaa does not bring forth music.
piyaa aise ruuTHe ke ho.nTHo.n se mere sa.ngiit ruuTHaa... My lover is so angry that music has fled my lips.
kabhii jab mai.n gaauu.n lage mere man kaa har giit jhuuTHaa When I do sing, it feels as through every tune is false.
aise bichhaRe ho aise bichhaRe mose rasiyaa This is how distant my love is from me.
piyaa binaa piyaa binaa piyaa binaa basiyaa Without my lover, the flute...
baaje naa baaje naa baaje naa piyaa binaa does not bring forth music.
tumhaarii sadaa bin nahii.n ek suunii morii nagariyaa... Without you, everywhere feels lonely...
ke chup hai papiihaa mayur bol bhuule ban me.n saa.Nvariyaa The cuckoo no longer sings; the peacock no longer dances in the forest.
din hai suunaa din hai suunaa suunii ratiyaa The days are empty and the nights are too.
piyaa binaa piyaa binaa piyaa binaa basiyaa Without my lover, the flute...
baaje naa baaje naa baaje naa piyaa binaa does not bring forth music.

 

TERE MERE MILAN KI

tere mere milan kii ye rainaa This night of our union,
nayaa koii gul khilaayegii a new flower will blossom.
tabhii to cha.nchal hai.n tere nainaa That's why your gaze is so bashful.
dekho naa Just look!
dekho naa tere mere milan kii ye rainaa Look! This night of our union,
nanhaa saa gul khilegaa a.nganaa a little flower will bloom;
suunii bai.nyaa.n sajegii sajanaa our empty arms will be filled, darling.
nanhaa saa gul khilegaa a.nganaa A little flower will bloom;
suunii bai.nyaa.n sajegii sajanaa our empty arms will be filled, darling.
jaise khele cha.ndaa baadal me.n Just as the moon plays in the clouds,
khelegaa vo tere aa.nchal me.n he will play in your skirts.
cha.ndaniyaa.n gunagunaayegii... The moonbeams will sing...
tabhii to cha.nchal hai.n tere nainaa dekho naa that's why your gaze is so bashful.
tujhe thaame ka'ii haatho.n se Catching hold of you in countless embraces,
miluu.ngaa madabharii raato.n me.n I'll meet you in the scented nights.
tujhe thaame ka'ii haatho.n se Catching hold of you in countless embraces,
miluu.ngaa madabharii raato.n me.n I'll meet you in the scented nights.
jagaake ansuunii sii dha.Dakan Awakening unfamiliar feelings in your heart,
balamavaa bhar duu.ngii teraa man I will fill your senses, my love.
na'ii adaa se sataayegii... You'll torment me in a new way...
tabhii to cha.nchal hai.n tere nainaa dekho naa That's why your gaze is so bashful; see?

 

TERI BINDIYA RE

terii bi.ndiyaa re re aay haay... Oh, your bindi...
sajan bi.ndiyaa le legii terii ni.ndiyaa re aay haay beloved, your bindi will steal away my sleep!
terii bi.ndiyaa re Your bindi...
tere maathe lage hai.n yuu.N jaise cha.ndaa taaraa  it clings to your forehead like a star to the moon;
jiyaa me.n chamake kabhii kabhii to jaise koI angaaraa it glitters like a spark smoldering in a lover's heart.
tere maathe lage hai.n yuu.N It clings to your forehead like...
sajan ni.ndiyaa... Beloved, my sleep...
sajan ni.ndiyaa le legii le legii le legii Beloved, it will steal away your sleep,
merii bi.ndiyaa re aay haay my bindi...
teraa jhumakaa re re aay haay... Oh, your earrings!
teraa jhumakaa re Your earrings,
chain lene naa degaa sajan tumka they won't let you be at ease, beloved,
re aay haay meraa jhumakaa re oh, my earrings!
meraa gahanaa balam tu tose sajake Doluu.n You are my jewelry, darling. Decorated by you, I will dance,
bhaTakate hai.n tere hI nainA, mai.n to kuchha naa boluu.n  Your eyes wander, and I can't speak.
meraa gahanaa balam tU You are my jewelry,
to phir ye kyaa bole hai bole hai bole hai So what, then, does it have to say,
teraa ka.nganaa re aay haay your bangle?
meraa ka.nganaa re My bangle?
bole re ab to chhuuTe na teraa a.nganaa re aay haay It says that henceforth, it will never forsake your courtyard.
teraa ka.nganaa re Your bangle...
tuu aa'ii hai sajaniyaa, jab se merii banke Since you became mine, darling, since you came to me,
THumak THumak chale hai jab tuu merii nas nas khanke your strutting has made my blood run hot.
tuu aa'ii hai sajaniyaa You came, beloved...
sajan ab to My love, henceforth...
sajan ab to chhuuTe naa chhuuTe naa chhuuTe naa it will never leave, never leave...
teraa a.ngnaa re aay haay your courtyard.
teraa ka.nganaa re Your bangle...
sajan ab to chhuuTe naa teraa a.nganaa re aay haay Beloved, it will never again leave your courtyard,
teraa a.nganaa re your courtyard.

 

NADIYA KINARE

nadiyaa kinaare hai re aa'ii ka.ngana On the riverbank, my bracelets caused havoc;
aise ulajh gaye anaaRii sajanaa my inexperienced lover became entangled in them.
kahe panghaT upar ga'ii thii chalke akelii Why did I go alone to the well?
maare ha.ns ha.ns taanaa saarii sakhiyaa.n sahelii All my friends laughed and taunted me:
gorii aur jaa'o naa maano kahana "O fair one, keep going, don't listen to anyone!"
ab khaRii khaRii sochuu.n dekhe hai.n saas nanadiyaa.n Now I stand here, wondering if my in-laws are watching.
tab ka karii ho bahanaa What will you do now, sister?
ab to suunii kalaa'ii leke chorii chorii jaana Hide your bare wrists and slip quietly away;
bhaarii paRaa re piya se milna this meeting with your lover has cost you dear!

 

HAR KHUSHI APNI

ab to hai tumse har khushii apnii Every happiness of mine I now owe to you.
tum pe marna hai zi.ndagii apnii My life is mine only so I can die loving you.
jab ho gaya tum pe yeh dil diiwaana Now that my heart has gone mad for you,
phir chaahe jo bhii kahe ham ko zamaana no matter what the world calls me
koii banaa'e baate.n chaahe ab jitnii or how much people talk about me,
ab to hai tumse har khushii apnii each of my joys will come only from you.
tum pe marna hai zi.ndagii apnii My life is mine only so I can die loving you.
tere pyaar me.n badnaam duur duur ho gaye Loving you made me notorious far and wide.
tere saath ham bhii sanam mashahuur ho gaye With you, my love, I became famous as well.
dekho kahaa.n le jaa'e bekhudii apnii Let's see where our ecstasy takes us.
ab to hai tumse har khushii apnii Every happiness of mine I now owe to you.
tum pe marna hai zi.ndagii apnii My life is mine only so I can die loving you.



Edited by virgoqueen - 10 July 2007 at 4:55pm

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virgoqueen

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virgoqueen

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Posted: 10 July 2007 at 4:56pm | IP Logged

photo of Antarmahal: Views of the Inner Chamber, Jaya Bhaduri photo of Antarmahal: Views of the Inner Chamber, Jaya Bhaduri photo of Antarmahal: Views of the Inner Chamber, Jaya Bhaduri Jaya Bhaduri > Photos
Press Conference and Discussion: Antarmahal: Views of the Inner Chamber
2005 Locarno Film Festival

photo of Antarmahal: Views of the Inner Chamber, Jaya Bhaduri Jaya Bhaduri > Photos
Images of Jaya Bhaduri

photo of Antarmahal: Views of the Inner Chamber, Jaya Bhaduri

Edited by virgoqueen - 10 July 2007 at 5:00pm

virgoqueen

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Posted: 10 July 2007 at 5:06pm | IP Logged
I'm a strict mother: Jaya Motherhood means everything to me, says Jaya Bachchan in a chat with Subhash K. Jha

Jaya Bachchan: What survives is goodness
Jaya Bachchan: 'What survives is goodness'

For Jaya Bachchan, the love and respect her children give her are more important than any success in the world. According to Jaya, who gave up tinsel town after hits like Koshish and Guddi and returned to the screen only after her children had grown up, 'she is a strict mother'. Excerpts from an interview:

Most people see you as 'Mother No.1' in the film industry.

Motherhood means everything to me. My children are more important to me than even my husband.

You gave up your career at its peak. Was it for marriage or motherhood?

Definitely motherhood. I come from a home where my mother was always around. Just her presence gave me lot of strength. I became the person that I am because of her. Mothers don't have to teach you anything. Instinctively, a child imbibes values and mannerisms from the mother. From the way you eat to the way you treat people, a mother's influence is always there, regardless of whether she exercises the influence or not.

Are you a strict mother?

I'm an extremely strict mother. And it isn't because my children were susceptible to being spoilt. We never allowed that. We were in a joint family. My children and my bother-in-law's children grew up together. They played and ate together and went to the same school. They led a normal life. They knew their parents were celebrities — we didn't hide it from them. But they didn't know what being a celebrity entailed. They were aware that there was public interest in them when they went out. But we made sure they grew up with the celebrity status being a normal state of being. We never had to explain their identity to them. Amitji and I have been honoured but that never dazzled us. As a couple, we've ensured that our children don't compromise or denigrate it.

How careful were you to give your children Abhishek and Shweta a normal childhood?

I may be wrong but I strongly feel a guardian must be at home constantly. It could be a parent or an aunt or uncle. The presence at home needn't be gender-driven.

But in our society it is generally the mother who stays at home.

I agree that is the norm. But when I decided to pause my career to look after my children, I never saw it as a sacrifice. The love, affection and respect the children give me are more important to me than any other kind of success in the world. I don't care what the world thinks as long as my children have faith in me. Doesn't that apply to all parents? I don't think I'm an extraordinary mother. I come from a middleclass family. I've just behaved normally with my children.

To behave normally in the film industry isn't a normal thing to do.

I don't think that is true. You're giving the film industry an unnecessarily abnormal tinge. Families in our film industry are very normal. I'm not saying the industry is perfect. It just seems more imperfect than other areas because of constant media attention. I'm fortunate to have come from a decent family. That's why I could give values to my children.

Your father (Taroon Kumar Bhaduri) was an eminent journalist. Was he around to watch you grow up?

He was out making a living for his large family. But I never felt my father wasn't around. I never felt the need for anything I didn't have. I was happy with my life. I was very proud of my parents. I hope my children remain that way.

Are you a good daughter?

I try to be. I'm very duty-conscious. And I've become even more so now after marriage because Amitji is very conscious of his duties towards his parents. I have learnt to be more duty-conscious through my association with the Bachchan family. I have been married for 34 years. It's a lifetime. I've lived longer with this family than I have with mine. From my own parents I've imbibed goodness and simplicity. God has been kind to me. I hope I've given back to my children the values I've imbibed from both my families.

But I know they've a long way to go. When they were growing up, I always told my children it didn't matter how they did in their exams. It's what they made of themselves as human beings that mattered. I remember when I was a child there were always a lot of red marks on the report card in some subjects, but the conduct column was always very good.

That made my father very happy. He always said a good strong person has a better chance of survival in this world. I hope I've been able to give these values to my children. Name, fame, glamour...it all vanishes. What survives is goodness.

Do you believe family always comes first?

Sometime good friends can be family too. When people originally said 'family first', we lived in a smaller society. Now the family has to be a lot larger. You have to be more generous.

Now that Shweta is in Delhi and Abhishek is constantly on the move, do you miss them?

I miss their physical presence. Having them in the house is so reassuring. But I'm happy being on my own as well. I'm not a disgruntled person. My children used to be in boarding schools, but they were never really away from me. Thank god for cell phones. That instrument irritates me, but it helps to connect me to the ones I love the most.

What do you think of the way mothers are projected in our films?

Very stereotypical till recently and that was sad. Mothers have changed. And why just mothers in our films. Look at our mythology and real-life families where the matriarch had so many avatars and facets. But the portrayal is changing. In fact, there's hardly a mother in today's films except in Karan Johar's cinema. — IANS



Edited by virgoqueen - 10 July 2007 at 5:06pm

virgoqueen

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Jaya come, Jaya go
OUR SPECIAL CORRESPONDENT
Jaya after taking oath.

New Delhi, July 5: Exit Jaya, enter Jaya.

One Jaya was among Amitabh Bachchan's most successful reel-life heroines, the other is more than just a successful heroine.

As Jaya Prada departed from the Upper House and appeared in the Lok Sabha, Jaya Bachchan debuted in the Rajya Sabha.

Amitabh is not the only link between the two. Both were elected as members of the Samajwadi Party.

The Bachchan family was present in full strength — Amitabh, son Abhishek and daughter Shweta — to share the hour of glory of the lady of the house. So was the extended clan — the Nandas, the family into which Shweta has married. Friend and fellow parliamentarian Amar Singh and his wife Pankaja and the other Jaya were there, too.

In a cream silk sari, Jaya took oath in Hindi, greeted the MPs with a namaskar and in a gesture that surprised many — given the acrimonious relations between the Congress and Samajwadis — touched human resource development minister Arjun Singh's feet. Later, she explained Singh was a friend of her father, Taroon Kumar Bhaduri.

As she took her seat next to Amar Singh, Jaya was so enwrapped in her surroundings she did not notice Amitabh trying to catch her eye from the visitors' gallery until Amar Singh drew her attention to it.

After the ceremony, Jaya was all but forgotten as Amitabh grabbed the spotlight. No one from the visitors' or the media gallery waited for the other members to take oath once the Bachchans got up to leave. The exit corridor was packed with journalists jostling for sound bites and autographs.

Sharing celebrity space with the Bachchans were Reliance's Anil Ambani, who was also sworn into the Rajya Sabha today, and his wife Tina. The Bachchans and Ambanis are part of the charmed circle where Mulayam Singh Yadav and Amar Singh play their roles as politicians.

The Ambanis walked past the media, saying nothing — the Mister had, however, been caught in the morning at India Gate jogging. Amitabh and Jaya, used to being in the public eye, stopped.

"Let me first absorb things before reacting," she said.

"I am happy and proud. As an individual, she is free to choose what she wants," said he to the media.

And to the MP in the family: "Well done," as one of those long arms rested on Jaya's shoulders.

As for Abhishek, well, he made it clear who is the man in the house. "No, I never came (to Parliament) when my father was an MP," he said.



Edited by virgoqueen - 10 July 2007 at 5:08pm

virgoqueen

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Jaya Bachchan

Sholay Story - Plot Outline
Sholay in Pictures

Tum Gabbar Singh ko nahin maaroge! Tum yahan Gabbar ko pakarke mere hawaale karne aaye ho. Zinda! Thakur

5 Star Cast

Amitabh Bachchan - Jai (Jaidev)
Dharmendra - Veeru
Amjad Khan - Gabbar Singh
Hema Malini - Basanti
Jaya Bachchan - Radha

Director : Ramesh Sippy
Producer : G.P. Sippy

Sholay was a multistarrer with a Rs. 2 cr budget (1975). It racked up a still record 60 golden jubilees across India, and doubled it's original gross over reruns during the late 1970s, 1980s, and early 1990s.
It has the typical ingredients of the more successful Bollywood movies: action (some sections being loosely based on Westerns such as The Magnificent Seven and Once Upon a Time in the West ), memorable songs, comedy by the main actors and tragedy.

Top stars like Dharmendra, Hema Malini, Sanjeev Kumar, Amitabh Bachchan, Jaya Bhaduri dotted the film, but it was the new actor Amjad Khan who walked away with the honor of immortalizing 'Gabbar Singh' in our minds. Sholay is regarded as the first mega blockbuster. The uprighteous cop (Thakur) played by Sanjeen Kumar arrests a dreaded dacoit played by Amjad Khan and puts him in jail. Furious and mad with revenge, the dacoit escapes from prison and wipes off 'thakur's entire family. The dacoit also chops off the hands of the 'thakur'. It is now the 'thakur's turn to avenge the murder of his family and he does it from outside police system. The 'thakur' hires two notorious criminals, Veeru and Jai (Dharmendra and Amitabh Bachchan), and trains them to confront the dacoit.

Sholay Story Line

The Beginning

A train arrives at a rural station and a lone police officer disembarks, looking for "Thakur Sahib" (thakur, literally "lord, master," is a respectful title for a member of one of the landlord castes who trace their lineage to ancient kshatriyas or warrior-aristocrats; Sahib means "sir"). As the credits roll, we follow his horseback journey through a Badlands-like landscape to the remote settlement of Ramgarh ("Rama's fort"). Here he meets the Thakur, Baldev Singh (Sanjeev Kumar), a retired police officer who is always wrapped in a gray shawl. Singh requests his visitor to locate and bring him two criminals, the scruffy, ever-smiling Veeru (Dharmendra) and the lanky, brooding Jaidev or "Jai" for short (Amitabh Bacchan).

The Train Sequence

When the officer asks what task these notorious repeat-offenders can possibly be suited for, Singh recounts his first meeting with them, two years earlier, when he was transporting them to jail via a freight train. Immediately after they boast to him of their courage, the train is attacked by bandits, and they defend it and their wounded captor against a seemingly unending troop of horsemen.

But their moral ambivalence is revealed when they toss a coin to decide whether to bring the bleeding officer to a hospital (landing themselves in jail), or to escape (leaving him to die). In a motif that will be repeated, "chance" impels them to do the Right Thing. The flashback ends with Singh's visitor promising to search for the pair, but adding that, if they are out of jail and at large, it may be difficult to locate them. The outdoor scenes, especially the train sequences were short some 50 km (30 odd miles) from Bangalore.

Friendship - Yeh dosti hum nahin todenge

First musical number: Veeru and Jai steal a motorcycle with sidecar and burst into a rollicking "song of the road," evoking the antics of Raj Kapoor's "vagabond" persona of the 1950s.
They approach a crooked but comical Muslim lumber dealer, Surma Bhopali (Jagdeep), with an unusual offer: he will turn them in to the police, collect the reward of 2000 rupees, and split it with them when they are released from prison. Cut to the prison, and another ludic interlude, including homage to Chaplin's Great Dictator in the crackpot jailer (comic actor Asrani), who boasts of his training under the British. The wily pair easily outsmart him and escape, but when they return to Bhopali to collect their promised thousand rupees, he betrays them to the police. Back in jail, they are located by the Thakur's agent, and Singh awaits them outside the prison gate when they are released, thus ending the comic digression and returning to the frame narrative. Singh asks them to capture the notorious outlaw (daku) Gabbar Singh; in return, he will give them the 50,000 rupees reward offered by the police. He pays them a 5,000 rupee advance, and promises another 5,000 when they reach Ramgarh.

Thakur's Village

They travel to the Thakur's village, where they come across chatterbox Basanti (Hema Malini) and her faithful, Tonga driving horse, Dhano. Instantly, Veeru falls for Basanti and tries to woo her at any cost; while Jai falls for Radha (Jaya Badhuri), the Thakur's widowed daughter-in-law.

The Romance

In Radha, he sees someone who understands pain and sorrow, which he finds captivating. Each of the romantic pairs were involved with each other off screen. Audiences flocked to theatres to witness the beginnings of the Hema-Dharmendra and Jaya-Amitabh romances. Some of the romantic interactions were taken from the cast's actual personal experiences.
During filming, Jaya was five months pregnant with their first child. Jaya Badhuri and Bachchan married before shooting began. Even the bitter and cynical Jai confesses to Veeru of his desire to get married and start a family with Radha.
Their existence in the village is peaceful until they encounter the infamous Dacoit Gabbar Singh after Holi festivities.

Holi

The evil Gabbar Singh asks his men: Holi kab hai, kab hai Holi? Cut to rustic Ramgarh, where the virile Veeru and the loquacious Basanti join the villagers in celebrating Holi. Holi ke din dil mil jaate hain, rangon mein rang mil jaate hai, they sing even as the threat of an attack by Gabbar Singh looms over the hamlet. Sure enough, the joyous song is rudely interrupted by gunshots and the clatter of hooves. A shootout erupts. Terror and bloodshed quickly replace the colours of joy. The use of the metaphor of Holi as a portent of grave danger has never been quite as effective as it is in Sholay.
Helen's special dance number 'Mehbooba Mehbooba' is an all-time rage and is crucial in giving the cabaret dancer the epithet of Indian Cinema's Golden Girl. The character of the jailor, played by Asrani, is loosely based on the clumsy Inspector Jacques Clouseau of the 'Pink Panther' fame.

Gabbar Singh

Thakur's & Gabbar's role were the juiciest ones. Amitabh Bachhan & Sanjeev Kumar wanted to play Gabbar. Instead of casting Sanjeev or Amitabh, Ramesh Sippy thought of giving the coveted role to Danny Denzongpa, a well known Bollywood villain. Due to timing problems, Denzongpa backed out. In his place, Sippy cast newcomer Amjad Khan, who showed up to the audition in army fatigues, a gun belt and blackened teeth. Gabbar was the first Bollywood Villain who wasn't a 'Bling Singh' with multiple gold chains and a rumal tied around his neck. Not only did Amjad Khan create his wardrobe, he gave birth to a character Desi moms used to scare children with. 'So Ja Beta; Varna Gabbar Aajayega'.
Sholay is essentially a film about failure and loss. The failure of law and order leads to the attendant human losses: the loss of heirs, the loss of arms, the loss of comrades and the loss of dreams. Veeru's failure to recognise Jai's intentions amounts to a tragic betrayal in which both the friends participate. Perhaps subliminally Veeru knows that it is not Gabbar alone who engineers Jai's death. His own ignorance and facetious trust lead directly to the fatal encounter between Jai and the dacoits.

The Ending

The final song appearing in the film "Aan Jab Tak Hai Jaan" is a powerful song that demonstrates Hema Malini's talent as Bollywood's Diva on various levels. This song is a visual treat because it showcases her dancing ability and also demonstrates the character of Basanti as one of Bollywood's most powerful females. In this song sequence, Hema Malini as Basanti, defiantly dances on broken glass and thwarts off the lewd advances of Gabbar Singh and his men to save the love of her life, proving that she is strong enough to defend herself against one of Bollywood's most memorable villains. Her character proves that not all of Bollywood's beautiful leading ladies are incapable of defending themselves and their men.
The original ending (that can be seen today on some DVD versions) shows the ex-cop killing Gabbar Singh. However, the CBFC (Central Board of Film Certification (more popularly known as the Censor board) that has to pass movies fit for public viewing) found the ending gruesome, especially in the context of the prevailing times then, as India was under emergency. The ending had Thakur kill Gabbar with his specially-made spiked shoes. The Board objected that a police officer would commit murder, and ordered the ending to be changed. The ending was changed to show the police arresting Gabbar Singh in the nick of time. Several other smaller changes differentiate Sippy's original 204 minute version from the censored theatrical release.



Edited by virgoqueen - 10 July 2007 at 5:10pm

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Producer: Pawan Kumar
Director: Hrishikesh Mukherjee
Starring: Amitabh Bachchan, Jaya Bhaduri, Asrani, Bindu, Durga Khote
Music: SD Burman
Lyrics: Majrooh Sultanpuri

Genre: Drama
Recommended Audience: General
Released in: 1973
Approximate Running Time: 124 mins
Reviewed by: Shahid Khan
Reviewer's Rating: 8.5 out of 10
< = src="http://www.planetbollywood.com/Film/Abhimaan/currentRating.js"> Cumulative Rating: 8.34 out of 10
Rated by: 238 unique users < =http://www.planetbollywood.com/cgi/ratingPB.cgi method=post>
Enter your Rating: < size=1 name=Rating> < value=1 ed>1 out of 10</> < value=2>2 out of 10</> < value=3>3 out of 10</> < value=4>4 out of 10</> < value=5>5 out of 10</> < value=6>6 out of 10</> < value=7>7 out of 10</> < value=8>8 out of 10</> < value=9>9 out of 10</> < value=10>10 out of 10</></> < = value=Movie name=Category> < = value=Abhimaan name=FilmDir> < = value=Abhimaan name=FilmName> < =submit value=Submit> </> < = src="http://www.planetbollywood.com/Film/Abhimaan/forums.js">
< = src="http://www.planetbollywood.com/Film/Abhimaan/buys.js"> Buy this Music CD now
There is something about marital dramas that has fascinated filmmakers in Hindi cinema down the years. It may have something to do with the fact that a lot of Bollywood love stories end with the lead couple just about to start a married life and living happily ever after. Marital dramas present the temptation of being a little different but still offering the potential to move the audience with the emotional scenes between husband and wife. By and large, these types of films have been very melodramatic particularly in the 1970's and 1980's when stars like Jeetendra starred in an onslaught of such types of films with heroines as varied as Reena Roy, Moushumi Chatterjee, Sridevi and Jaya Pradha. The genre quietened down in the 1990's due to the huge success of pre-marital love stories like "Dilwale Dulhania Le Jayenge". The post-"DDLJ" period saw a different type of marital drama emerge wherein filmmakers attempted to merge the heady romanticism of Aditya Chopra's classic into the stories of marital problems such as Sanjay Leela Bhansali's "Hum Dil De Chuke Sanam". Even recent films in the marital drama genre like Aziz Mirza's "Chalte Chalte" exert a DDLJ influence. I consider Hrishikesh Mukherjee's "Abhimaan" to be one of the finest films made in the genre. Subir Kumar (Amitabh Bachchan) is a very famous singer and he has lots of adoring female fans who sit by the radio and just drown in the soul of his voice whenever one of his songs is played. Out of all his admirers, the only one he pays attention to is Chitra (Bindu) whom he flirts with often at the annoyance of his manager/agent Chandru (Asrani). One day, Subir receives a letter from his aunt (Durga Khote) who raised him when he was little. He runs to her home for a reunion meeting. There he encounters and falls in love with Uma Devi (Jaya Bhaduri) who is his aunt's grand-daughter. Uma is also a very talented singer and after their marriage, Subir vows that he will only sing with Uma from now on (her voice is praised by her husband's friends when she sings at a party). That promise is quickly broken when a film producer approaches Subir to request Uma to sing for the lead heroine in a film. Subir happily accepts and Uma reluctantly obliges to sing on her own. Offers pour in and Uma's star begins to shine brighter than her own husband's. Subir is then consumed by jealousy as his own stardom begins to fade. Marital upsets can be quite dull to watch because the things that disturb the couple are often quite trivial or petty. If it's not that then filmmakers try to liven it up by bringing in something very over the top (like an 'accidental' one night stand as in Dharmesh Darshan's "Haan Maine Bhi Pyar Kiya"). "Abhimaan" works because of the small details that Mukherjee creatively adds to the picture. At the beginning, Subir's vain personality is shown in his conversational scenes with Chitra (you can tell he adores the way she looks up to him) and in the manner he swaggers on the stage at his concert. His forceful and straightforward personality also means that he cuts short to the chase and gets Uma to admit that she likes him without pretending that he has no idea. This act of being sure that Uma likes him a lot strikes as being quite bigheaded. These character traits mean that it is very believable when he later becomes jealous of his wife's success. You just know that his ego will not be able to take it. The crumbling of the marriage is shown in subtle ways. Subir is signing a fan's book but while doing so his wife enters the room. The fan then snatches her book from Subir who hasn't completed what he was writing and runs away to Uma. His hurt is visible because he is so used to adoration from female fans that he does not even expect their adoration to wane one day. He is annoyed by their over-the-top declarations of love and compliments but once they stop pestering him, it bothers him. Clearly, one does not know how much something is valued until it is taken away from him. Interestingly, at the start of the movie, most of Subir's fans who are shown enjoying his music are females. Mukherjee cleverly shows in a subtle way how Subir is more used to girls fawning over him rather than actually rivaling him in any way. This is what upsets him about his wife. In the honeymoon period of their marriage, Subir often looks at his wife affectionately in the morning when she wakes him up. But the morning after the autograph incident, that attitude changes. When Uma wakes her husband up in her usual jovial morning mood, she is met with a cold response from him. For a woman whose life revolves around the love of her life companion, that cold gesture has a devastating effect. Thus a chain of events is set in motion where the marriage deteriorates even further. Amitabh Bachchan's portrayal is such that one can feel the pain of his character. Potentially, the character of a jealous and moody husband could have been very unlikable. But he acts so well in the scenes where he realises that his wife is becoming more popular than him that you feel that you can understand his predicament. Jaya Bhaduri is just simply excellent. She moves from being a shy new bride to a victim of shock with ease. Bachchan and Bhaduri have such a nice onscreen chemistry. They look cute in the song, "Loote Koi Mann Ka Nagar", where they exchange flirtatious glances while singing in the film studio. Bindu and Asrani offer good support in their roles as friends of the married couple. Durga Khote is a little melodramatic but otherwise offers sturdy support as the wise elder. With a team of S.D. Burman and Majrooh Sultanpuri, you can expect nothing except lovely music. My personal favorite songs are the Lata Mangeshkar duets with Manhar Udhas in the lovely "Loote Koi Mann Ka Nagar", with Mohammad Rafi in the enchanting "Teri Ye Bindiya Re" and with Kishore Kumar in the emotional "Tere Mere Milan Ki Yeh Raina". Mukherjee has always been a character's director. He knows how to make a character fascinating or likeable for the audience (one of the many reasons why he is often on the wish list of many ambitious actors). His direction and handling of the story ensures that viewers cannot help but care about what happens to Subir and Uma's marriage. The director establishes Subir's popularity among fans in a likeable and heartwarming sequence of brief scenes at the beginning where different girls react individually to his song playing on the radio in the middle of their everyday life. One is stroking the star's picture on the cover of Filmfare magazine, another is applying lipstick while in another house, little girls dance excitedly. I also like the nice way he ends the initial Subir-meeting-and-falling-in-love-with-Uma scenes by showing us a point of view shot of Uma looking down at her feet. The feet indicate the steps that she is taking on her new journey with her new life partner. Where the story falters is the ending. The melodrama seems out of synch with the mood in the rest of the film. The musical ending with everybody watching the characters onstage seems slightly forced. But Mukherjee probably wanted it that way because music is one of the key themes of the film. So he ensured that "Abhimaan" begins with a song and ends with a song. Rajinder Singh Bedi's dialogues remain in your minds because they etch out the characters clearly. When an adoring fan screeches that her name is "Radha… R-r-r-adha!", Subir's sarcastic reply is "Waah! Bara classical naam hai (Wow! What a classical name)". From this, we know that the character approaches his fans with a detached sense of cynicism and sarcasm.

Revisit "Abhimaan" and see how marital dramas should be made.



Edited by virgoqueen - 10 July 2007 at 5:13pm

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Amar, Akbar, Anthony: Wait, wait, WAIT!

Saturday, June 17th, 2006

 

Amar, Akbar, Anthony, Manmohan Desai's 1977 movie takes the separated-at-birth, double role device prevalent in many Hindi movies over the years and puts a twist on it. 

The set-up is this:  driver Kishenlal (played by Pran), just home from having taken the fall for his boss, Robert, and gone to jail, finds his three small sons starving and his wife, Bharti, ill with TB.  Enfuriated that Robert has not kept his word to support the family financially, the father sets off to confront him.

While he's gone, the long-suffering Bharati (Nirupa Roy, who else?), pens a suicide note, leaves it with the boys, and runs off to do herself in, so as not to be a burden to the family.  Over at Robert's palatial home, he and Kishenlal have a showdown and a shootout, and Kishenlal escapes in a car that, unbeknownst to him, contains gold bricks (albeit some very light ones).  Upon finding his baby sons and the note, he piles the kids into the car, and zooms off, Robert's men in pursuit, to look for the missus.  He stops briefly to deposit them at the foot of a statue of Gandhi, telling them to stay put.  The baddies find and chase him.  He crashes, police and crooks think he's dead, but, he's actually escaped with a box of those ultra-lite gold briquettes.  Meanwhile, in another part of the forest, Bharati runs to her designated suicide spot, but before she can reach wherever it is, a tree branch falls on her, and PLAF! she's suddenly rendered blind.

(You with me so far?)

So, we have one father - Kishenlal - in hiding, one mother - Bharati - blind and home to an empty house, and the three babies, what happens to them?  One wanders to the road in search of food and is hit by a car and injured, and rescued by the police.  He is raised as Amar.    Another lands up at the door of a church and is taken in by a priest.  He is raised as Anthony.  The smallest is found alone and crying by the Gandhi statue, and taken home by a Muslim tailor.  This is Akbar.

Fast forward to the present.  Akbar (Rishi Kapoor) is a qawwali singer and friend of Anthony (Amitabh Bachchan), who's a bit of a chancer, running a small bar and giving 50% of his earnings to the poor.  Amar (Vinod Khanna) has become a police officer.  By a series of circumstances, before the opening credits have yet to roll, Bharati is in the hospital in need of a tranfusion for her rare blood type, and lo and behold, the 3 guys just happen to be there and match, but of course, no one realizes that they're all related.

As with Deewar and Zanjeer, Amitabh Bachchan's wardrobe is fantastically trendy in this film.  In one scene, he appears in a red leather jacket, and bell-bottom jeans with a patch, the ubiquitous '70s decoration, two fingers making a peace sign in the red, white and blue stars and stripes of the American flag, topped off with a floppy newsboy cap.  He dons a different color cap in another scene, and also rotates his jewelry between an oversize ankh (how Valley of the Dolls!) on a silver chain around his neck, or a cross large enough to belong to a bishop. 

Not to be outdone, Rishi Kapoor, the Qawwali King, shows up in one scene for his concert wearing purple trousers, a mesh wife beater (or cut banyan, depending on from whence you hail) topped off by a see-thru green shirt, lavender scarf and oversize sunglasses.

 

For the sold-out qawwali concert (where we hear the song Pardah Hai Pardah), upon bumping into the blind and ticketless Bharati who's come to hear Akbar and give him a flower, Anthony behaves like the perfect son and tells her that he has a special pass to get them in, and once in the hall "You sit on my seat and I'll sit at your feet."  Hai rabba.  With celluloid sons like this, Indian kids in real life have got a lot to live up to.

The three brothers find three equally cute girlfriends.  Akbar's is Salma, a fetching Muslim doctor (played by Neetu Singh) whose father disapproves of his daughter's choice of suitor, though he's eventually won over, not by the hijras who serenade him, but after Akbar saves him and Salma from a fire.  Amar falls for Laxmi, a woman suspect (played by Shabana Azmi) who he's been sent undercover to tail, as she's been implicated in some hitchhikings-cum-robberies.  When we first catch a glimpse of her, she's poised by the roadside, looking very comely in oversize yellow flares and a matching green, yellow and black blouse.  It turns out Laxmi has been committing the crimes, but only because she was forced to.

The relationship that gets the most screen time is that of Anthony and Jenny (played by Parveen Babi), and the reason for that is because, just to add more twists to the plot, Jenny is actually the daughter of Robert, but she was kidnapped as a baby by Kishenlal, for revenge of the loss of his sons, and raised by him.  Anthony sees her for the first time at St. Mary's church in Bandra, where she has come to attend Mass, beautifully groomed in a pale yellow, tiered dress and black lace mantilla (this was back when women used to still cover their heads inside a church).  She has returned from overseas for a visit and Kishenlal has assigned her a leering, beefy goofball of a bodyguard named Zebesko, who soon decides he'd like to guard Jenny's body full-time as her husband.  Perhaps because of the atrocious poncho he wears in one scene, or because of his eerie resemblance to Son of Sam killer David Berkowitz, Jenny is repelled and rebuffs him.

One of the best scenes and songs in Amar, Akbar, Anthony takes place at the Easter Dance Jenny attends with Zebesko in tow, where a giant egg is rolled onto the dance floor and Amitabh Bachchan pops out, wearing a squishy stovepipe hat and tuxedo, and procedes to sing the almost totally nonsensical, but catchy, mambo: My Name is Anthony Gonsalves.  In between the lyrics (sung by Kishore Kumar) he spouts phrases like "Wait, wait, WAIT!  You see the whole country of the system is juxtapositioned by the hemoglobin in the atmosphere because you are a sophisticated rhetorician intoxicated by the exuberence of your own verbosity!"  For days after watching this movie, I couldn't get that song out of my head.

There are many other memorable scenes, including the drunk scene AB does, talking to his mirror twin after a brawl, dabbing medicine on the other guy's wounds, and another where he shows up at the church in a three-piece white suit and pink tie ready to get married only to find the priest who raised him murdered, and he angrily addresses a statue of Jesus (much like Vijay in Deewar at the temple as he was dying) saying "Tell me the name of who did this or I'll become so bad" (of course, just then a locket - containing the clue - drops from the dead priest's hand).

Invariably, the various strands of the story criss-cross each other, with a miraculous religious eyesight healing (hey, I guess this precedent is why the makers of Fanaa figured they could get away with it) ending up with the Big Climactic Scene with all three brothers (in costume, and singing), all three girlfriends, one villian, one wronged father, and a score of bad guys, out at Robert's house, which looks like Hernando's Hideaway, or a hotel I stayed at once in Puerto Vallarta. 

See it or skip it? 

You must see it!  In addition to the sweet notion of the film, that inspite of religious beliefs we are all brothers and should all get along, the movie just has a terrific, happy-go-lucky feel to it, and between the songs, the crazy storyline, the fab costumes and the attractive triumvirate of heros and their accompanying heroines, what's not to like?

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