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ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Theatre, Movies & Cinema
Ashdoc's Movie Review - Couple Of Old Movies I Saw On Dvd
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<blockquote data-quote="ashdoc" data-source="post: 215181" data-attributes="member: 15932"><p><strong>Ek baar phir ( 1980 )</strong></p><p><strong></strong></p><p>The Indian star system of Bollywood in the 1970s---full of tyranny of the top film stars . Mahendar Kumar ( played by Suresh Oberoi ) plays just such a film star . He arrives late for shootings keeping his producers and directors waiting even though their precious money is on the line . Sometimes when he does not have the mood he simply skips the shooting wasting the time resources and energy that has been spent creating the movie set . Reason---he is sleeping with some woman . Producers literally have to fall at his feet and beg him to resume shooting . He forces changes in the dialogues of his films to favour himself and sometimes changes entire scenes to suit his star status . No one dare reproach him for his misbehaviour for he is the darling of the masses ; the man for whom people come to watch films .</p><p></p><p>At home Mahendar's wife Kalpana ( played by Deepti Naval ) is subject to a different kind of tyranny . She has to suffer neglect as Mahendar is away for shooting leaving her alone at home . But many times his keeping away from home for shootings is nothing but an excuse for sleeping with other women . Not that he takes much care to hide his affairs . Women lie half naked on his lap in parties in front of Kalpana and make a beeline for sleeping with him because they want roles in films through his recommendations . </p><p></p><p>Kalpana who has married him thinking how lucky she is to marry this great film star remembers with regret the carefree days of her youth where she used to frolick with her friends before marriage . She feels humiliated by Mahendar's open dalliances with other women in front of her eyes while she has to play dutiful wife dancing on his tune . But this is India in the seventies and women have to live lives hidebound by tradition . In real life too wives of film stars like Raj Kapoor and Dharmendra had to live long suffering lives where they were not allowed any freedoms while their husbands opening cavorted with other women .</p><p></p><p>One day on a shoot in London Mahendar as usual neglects Kalpana for shootings and also for other women and the thoroughly bored Kalpana is intrigued by the paintings of an Indian street painter ( played by Pradeep Verma ) called Vimal . Vimal sees her interest and asks her to pose for his painting . But rains pour in and he offers Kalpana a ride in his car . As they strike up a conversation they both realise that their common interest is painting . Kalpana had to give up painting after marriage as part of the sacrifices an Indian film star's wife had to do for her husband's household but she still dreams of painting . Vimal invites Kalpana to the painting class he learns painting at and she agrees . Her husband Mahendar is so distracted by other women that he goes for film shooting in Switzerland with his current girlfriend leaving her behind alone . </p><p></p><p>At the painting class the two are soon attracted to one another and are going out for outings in gardens . One day Kalpana visits Vimal's house and sees a nude painting of herself . She asks him if he dreams of her like that and the inevitable happens---the two bodies are drawn to each other for making love . But back at home Kalpana is riven by guilt . She after all is not a western woman but an Indian woman kept in chains of tradition and extramarital sex is taboo for women like her . She decides to break off with Vimal that very night and phones Mahendar to tell him that she wants to stay with him in Switzerland . But in the dead of the night the phone is picked up by his girlfriend . It is obvious that they are sleeping together . Sick of Mahender's philandering Kalpana decides to continue with Vimal . </p><p></p><p>However Mahendar's career receives a further boost as he gets a film in Hollywood . Overjoyed by this news Kalpana decides to give the marriage another chance and decides to accompany Mahendar to Hollywood . But Mahendar throws cold shower over her plans by refusing to take her with him . Angered by this Kalpana gets ever closer to Vimal and dreams of making love with him when her husband is making love to her . She compares the two and finds Vimal to be caring attentive and gentle to her . While the wives of real life film stars like Dharmendra and Raj Kapoor stayed with their husbands for their money Kalpana is not swayed by such considerations because she is made of sterner stuff . She wants a man who is totally for herself and Vimal is not a philanderer like her husband . </p><p></p><p>But a woman carrying an extramarital affair would have been castigated by the backward Indian society in the seventies and this fact soon weighs on Kalpana . Mahendar as a man was free to carry on his dalliances with many women but Kalpana as a woman was not free to have a single affair . She decides to cut off Vimal....but he has grown too emotionally attached to her . He asks her to meet him just one more time . Actually Mahendar wants Kalpana to come to Bombay because the members of the press are going to interview him there and he wants Kalpana by his side just for photo ops and to present the perfect picture of him as a family man . But Kalpana relents for the sake of Vimal and postpones her flight to Bombay . And she goes to meet Vimal just one last time , to say goodbye . Vimal cries in her lap like a baby and implores her to stay with him for he needs her more than her husband needs her .</p><p></p><p>Torn between the two men Kalpana is at a crossroads of life . All of a sudden things are made easier for her by a phone call from Mahendar . He is freaking mad that Kalpana had not arrived in Bombay on the day he was to be interviewed by the press and could not give fake photo ops as the perfect family man . And for this perfidy Mahendar howls like mad dog on Kalpana on phone . Thoroughly humiliated by the shouting Kalpana finally does what is right . She tells Mahendar in no uncertain terms that she is leaving him and his life for Vimal . </p><p></p><p>As Kalpana packed her belongings and went to sit beside Vimal she still was wondering whether she had done right....or so said Vinod Pande the director of the film . But that has never stopped aficionados of true romance like myself and many others from celebrating her liberation....</p><p></p><p>Background music and songs are most perfect in the film , reflecting the mood of every moment in the movie . Colours and photography are very decent . Acting is good by both Suresh Oberoi and Deepti Naval as star husband and star wife . But Pradeep Verma brings real vulnerability to his role as lover ; he seems so gentle that any woman would find it hard to break his heart . </p><p></p><p>Verdict---Good .</p><p></p><p>Four stars out of five .</p></blockquote><p></p>
[QUOTE="ashdoc, post: 215181, member: 15932"] [B]Ek baar phir ( 1980 ) [/B] The Indian star system of Bollywood in the 1970s---full of tyranny of the top film stars . Mahendar Kumar ( played by Suresh Oberoi ) plays just such a film star . He arrives late for shootings keeping his producers and directors waiting even though their precious money is on the line . Sometimes when he does not have the mood he simply skips the shooting wasting the time resources and energy that has been spent creating the movie set . Reason---he is sleeping with some woman . Producers literally have to fall at his feet and beg him to resume shooting . He forces changes in the dialogues of his films to favour himself and sometimes changes entire scenes to suit his star status . No one dare reproach him for his misbehaviour for he is the darling of the masses ; the man for whom people come to watch films . At home Mahendar's wife Kalpana ( played by Deepti Naval ) is subject to a different kind of tyranny . She has to suffer neglect as Mahendar is away for shooting leaving her alone at home . But many times his keeping away from home for shootings is nothing but an excuse for sleeping with other women . Not that he takes much care to hide his affairs . Women lie half naked on his lap in parties in front of Kalpana and make a beeline for sleeping with him because they want roles in films through his recommendations . Kalpana who has married him thinking how lucky she is to marry this great film star remembers with regret the carefree days of her youth where she used to frolick with her friends before marriage . She feels humiliated by Mahendar's open dalliances with other women in front of her eyes while she has to play dutiful wife dancing on his tune . But this is India in the seventies and women have to live lives hidebound by tradition . In real life too wives of film stars like Raj Kapoor and Dharmendra had to live long suffering lives where they were not allowed any freedoms while their husbands opening cavorted with other women . One day on a shoot in London Mahendar as usual neglects Kalpana for shootings and also for other women and the thoroughly bored Kalpana is intrigued by the paintings of an Indian street painter ( played by Pradeep Verma ) called Vimal . Vimal sees her interest and asks her to pose for his painting . But rains pour in and he offers Kalpana a ride in his car . As they strike up a conversation they both realise that their common interest is painting . Kalpana had to give up painting after marriage as part of the sacrifices an Indian film star's wife had to do for her husband's household but she still dreams of painting . Vimal invites Kalpana to the painting class he learns painting at and she agrees . Her husband Mahendar is so distracted by other women that he goes for film shooting in Switzerland with his current girlfriend leaving her behind alone . At the painting class the two are soon attracted to one another and are going out for outings in gardens . One day Kalpana visits Vimal's house and sees a nude painting of herself . She asks him if he dreams of her like that and the inevitable happens---the two bodies are drawn to each other for making love . But back at home Kalpana is riven by guilt . She after all is not a western woman but an Indian woman kept in chains of tradition and extramarital sex is taboo for women like her . She decides to break off with Vimal that very night and phones Mahendar to tell him that she wants to stay with him in Switzerland . But in the dead of the night the phone is picked up by his girlfriend . It is obvious that they are sleeping together . Sick of Mahender's philandering Kalpana decides to continue with Vimal . However Mahendar's career receives a further boost as he gets a film in Hollywood . Overjoyed by this news Kalpana decides to give the marriage another chance and decides to accompany Mahendar to Hollywood . But Mahendar throws cold shower over her plans by refusing to take her with him . Angered by this Kalpana gets ever closer to Vimal and dreams of making love with him when her husband is making love to her . She compares the two and finds Vimal to be caring attentive and gentle to her . While the wives of real life film stars like Dharmendra and Raj Kapoor stayed with their husbands for their money Kalpana is not swayed by such considerations because she is made of sterner stuff . She wants a man who is totally for herself and Vimal is not a philanderer like her husband . But a woman carrying an extramarital affair would have been castigated by the backward Indian society in the seventies and this fact soon weighs on Kalpana . Mahendar as a man was free to carry on his dalliances with many women but Kalpana as a woman was not free to have a single affair . She decides to cut off Vimal....but he has grown too emotionally attached to her . He asks her to meet him just one more time . Actually Mahendar wants Kalpana to come to Bombay because the members of the press are going to interview him there and he wants Kalpana by his side just for photo ops and to present the perfect picture of him as a family man . But Kalpana relents for the sake of Vimal and postpones her flight to Bombay . And she goes to meet Vimal just one last time , to say goodbye . Vimal cries in her lap like a baby and implores her to stay with him for he needs her more than her husband needs her . Torn between the two men Kalpana is at a crossroads of life . All of a sudden things are made easier for her by a phone call from Mahendar . He is freaking mad that Kalpana had not arrived in Bombay on the day he was to be interviewed by the press and could not give fake photo ops as the perfect family man . And for this perfidy Mahendar howls like mad dog on Kalpana on phone . Thoroughly humiliated by the shouting Kalpana finally does what is right . She tells Mahendar in no uncertain terms that she is leaving him and his life for Vimal . As Kalpana packed her belongings and went to sit beside Vimal she still was wondering whether she had done right....or so said Vinod Pande the director of the film . But that has never stopped aficionados of true romance like myself and many others from celebrating her liberation.... Background music and songs are most perfect in the film , reflecting the mood of every moment in the movie . Colours and photography are very decent . Acting is good by both Suresh Oberoi and Deepti Naval as star husband and star wife . But Pradeep Verma brings real vulnerability to his role as lover ; he seems so gentle that any woman would find it hard to break his heart . Verdict---Good . Four stars out of five . [/QUOTE]
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Ashdoc's Movie Review - Couple Of Old Movies I Saw On Dvd
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