Like Pakeezah, Kamal Amrohi’s Razia Sultan had all the right ingredients–superstar Hema Malini as leading lady, Bhanu Athaiya as costume designer, and Khayyam as music director. But none of it could translate into magic on screen.
Shyam Benegal’s adaptation of Dharamvir Bharati’s novel 'Suraj Ka Satvan Ghoda' has a layered narrative structure. Its non-linear storytelling blurs the line between fiction and reality.
Jeevan Mrityu was a revenge thriller produced by Tarachand Barjatya, a break from the ‘clean’ family entertainers that the production house was then known for.
'Muqaddar Ka Sikandar' cemented the partnership between Bachchan and Prakash Mehra who directed the movie. The two had worked together in Zanjeer, which was Bachchans’ breakout film.
In 'Swaha', filmmaker Abhilash Sharma tackles discrimination, desperation and exploitation. It is set to be screened at IFFK's 'Indian Cinema Now' section this year.
Rekha’s entry catapults the movie into a league of its own. She unapologetically questions why society is quick to shame women for their choices while excusing men.
‘Rajnigandha’ articulated the conflicting thoughts of its woman protagonist, at a time when inner female turmoil wasn’t considered a crowd-puller or even an interesting film plot.
The attempt is to keep talking about culture, arts, sociology, politics and an imagined Bengali identity. All of this, however, rests on an extremely rickety economic base.
It is argued that India-Israel ties are moving from buyer–seller dynamic to one focused on joint development & manufacturing partnership, a shift 'more durable' than traditional arms sales.
If Pathaan gave both conservatives and liberals room to hide, Dhurandhar extends no such courtesy. Aditya Dhar ripped open that tent of hypocrisy and turned the knife.
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