red rose ( 1980 film )
‎red rose (1980) directed by p. bharathiraja • reviews, film + cast • letterboxd
red rose (1980) had a basic plot inspired from “the boston strangler” (1968) .
honeysuckle rose, willie nelson, 1980. (c) warner brothers / courtesy everett collection
red rose (1980) hindi full ...
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red rose – ravi ft. dr zeus (2016): punjabi mp3 songs
she has no indian baggage / background so her way of looking at a film can be quite different from a typically indian angle. this applies not just for red rose but for any film reviewed by her .
so friends, watch red rose at your own peril. it is not for the weak - hearted and the easily - offended .
the only thing mildly good about red rose is 2 rd burman songs which are again not his greatest but just because the film is at some other level, the songs stand out .
red rose had a nice song: kiski sadayen…did you like it? personally i did not like red rose…. i liked the build up and everything, but yes, the naivete of poonam dhillon and hamming of rajesh khanna does get on my nerves and i hated how flatly the movie ended .
of my father’s films, i can’t see anand now. so i’ll say aradhana, and for some strange reason, i love red rose. ”
as a teenager i watched aradhana - kati patang and red rose at roughly the same time. that last film was funny in an incredibly odd way and i would have my own renditions of rk’s mannerisms .
red rose is a prime example of the man hacking his way through a truly awful performance. only, neither the movie nor the music did enough to redeem him, unlike a dozen other instances .
finally is red rose about ossified misogyny? no i am not just talking about anand (rajesh khanna’s) ceaseless sexual harassment of his subordinates and of saleswomen, which somehow the women find dreadfully arousing .
his home decor is dominated by the color red, and as he leaves for work every morning the creepy gardener fixes a red rose to his lapel at the gate. this morning his routine is a little different, since it’s his birthday—and every year on his birthday he visits the legendary central jail .
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mark kermode says: “the red shoes is a dizzying blend of dazzling dance and daring darkness. ”
billie joe armstrong performs with green day at the rose bowl. (genaro molina / los angeles times )
red rose – 1980 super star rajesh khanna taken on the role of a serial killer in the unsettling and original red rose. we learn that rajesh khanna’s character was beaten by his mother as a child and then went through a number of unsavoury relationships with women leaving him disturbed and unhinged. in a much more radical move than the shahrukhs and sunjay dutts of today, khanna broke with his lover boy screen image and portrayed the disturbed woman hater who lured young women to his house, murdered them and buried them in his garden. director baharatirajaa tackled this unsavoury topic in a surprisingly direct manner but his slasher film was seen as anti women and triggered protests by feminists in bombay and delhi .
in 1980, red rose also has among its cast rajesh khanna, iruna arani and very likely that same psychotic black cat. in phir wahi raat this cat had revenge on its fur ball brain and went for the jugular, but the last we saw of the cat, it was being swung around by its tail being readied for space travel. so it is with relief that it shows up again in this film as crazy as ever and still going for the throat and with a taste for blood. red rose is an odd grimy subversive film that breaks many of the then conventions of bollywood – unfaithful wives, unfilial daughters, wanton middle class women willing to have sex for advancement or money, a disdain for religion and a main protagonist who is a serial killer .
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a film review, esp on one’s own blog, is essentially the personal view of the reviewer. a film like red rose, which is different from the usual fluffy indian movie, was always going to give much scope for intense discussion. fine and most welcome – as long as this discussion is done with an open stance and not with a “i am right, you are wrong” stand .
a film than shows what an excellent actor rk was. the film is disturbing and it is meant to be so. not for the faint hearted but what a film. may be it will be appreciated in its right perspective today .
is red rose about the undergarment cotton industry in general? in an age when bras were not “lingerie” but un - glamorous white receptacles with seams as prominent as a kokkaburra balls, red rose glamorizes them in a way that makes one suspect surrogate advertising. and it’s not just bras. it’s also baniyans and rumaals. much of the movie’s action is set in a garments shop called roopsagar clothing store where rajesh khanna randomly ambles in and starts asking for random things from random saleswomen .
i have seen both versions. personally i preferred the original. i felt it had more credibility than red rose. but then maybe another reason i did not like red rose is that i stopped liking rajesh movies after the mid - 70s. i used to avoid his movies after 1975. even when i saw the odd movie made thereafter, i usually winced at the sight of him. i prefer memories of the rajesh of roti and kati patang. but that is just me .
it is a ridiculous write up by memsab; it is the first time i have gone through such a negative view point about red rose and kaka. however, in the end she admits the guts of kaka for taking such a challenging role .
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the red rose, (a scene - by - scene remake of a kamal hassan and sridevi tamil movie) is a russia, wrapped in russia, inside a russia, so convoluted and complex it is, with its nested riddles, mysteries and enigmas .
red rose is a hindi language horror / thriller (a remake of the same director' s own 1978 film sigappu rojakkal) that is heavily informed by italian giallo cinema of the 60s and 70s. the grafting of hyper - dramatic bollywood sensibilities and garish italian style works so well it' s surprising that there aren' t more films and filmmakers…
antonioni’s mid - career masterpiece – his first film in colour – tells the story of giuliana (monica vitti), a young woman suffering a mental and emotional crisis and embarking tentatively on an affair. red desert is a stunning film from the great italian auteur, a deserving winner of the golden lion at the 1965 venice film festival and a high point of post - war european cinema .
red rose is a ‘milestone’ movie in rajesh khanna’s career just like how gunda is to mithunda…also a career deining movie for master mayur, who finally ‘came of ages’ after this movie and stopped doing child roles as this movie made him a ‘man’…. . satyen kappu and om shivpuri are the most underrated ham - actors of our times…. . whattay film! !
aate hain chale jaate hain - high definition - film - yaadgaar (1984). mp4
“…i’ve always wanted to ask you this. which is your favourite film featuring your parents ?
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the dvd quality is really awful, but i actually did like the sets and lots of the other visuals. they suited the characters and story well, such as they were :) would love to hear your view on red rose if you get around to seeing it .
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super hit movie red rose (1980) synopsis: anand lives a wealthy lifestyle in bombay in a palatial house, and runs a business' export india'. while shopping at roopsagar clothing store, he meets one of the sales clerks', sharda, and falls in love with her. shortly thereafter he proposes to her, she accepts, and both marry at the registrar of marriages but she find' s her life turning upside down when she discovers a deadly secret from anand' s past .
the resulting track is a little unnerving, red rose’s conspiratorial, reverb - heavy vocal threatened by a slithering bassline that diffuses dread into the spacious production. it’s also, somehow, inescapably pop, filtering its alien sonics into something hauntingly anthemic. that factor secured
tempo
an illustrious afterlife: after helping midwife ragga in jamaica, it became something like a standard for uk junglists, with mcs and djs adopting red rose’s vocal as a de facto motif of the genre. but tubby’s original, all impending doom and spaced minimalism, still feels like the one. —jazz monroe
by 1985, the immersive dub productions that king tubby had perfected on reggae b - sides smacked of overfamiliarity, and jamaican sound systems pulsed with digital, a more rigid dub offshoot based on preset casio keyboard rhythms. legend has it that tubby, upstaged by king jammy’s work on digital smash
under me sleng teng
, swiftly sidelined his firehouse label, built the all - digital waterhouse studio, and enlisted kingston singjay anthony red rose, all in a bid to outdo his protegé. (red rose claims, somewhat improbably, that
tempo
actually came first. )
this film was quite disturbing to watch. you can' t quite work out what rajesh khanna' s character is in the film however he seems eerie no doubt. this film had heavy sexual undertones throughout. it' s not until the end of the film we find out why khanna has such a hatred for women in the film. this film is an early 1980s suspense thriller and it' s quite successful as the theme and style of film is very original and different to other hindi films of the time. although in some parts illogical and irrelevant the film shows flashbacks of sexual imagery to portray rajesh khannas psychotic intentions. i was surprised to see an artist like khanna (once the romantic superstar of the late 60' s) take this role on. i wouldn' t recommend this film for watching with your parents! nor will i be watching this film again. i found the concept and certain imagery used quite disturbing and perverse at times .
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cannibal holocaust, the film that helped create the' found footage' genre. photograph: ronald grant archive
nancy. it was described by the los angeles times in 1991 as ‘cox’s finest film to date. ’”
rajesh khanna played a psychopath in this murder mystery and thriller classic film. due to its unorthodox story - line and since it was made in 1980, it was very ahead of its time for hindi film audiences. the film bombed at the box office but got critical acclaims for the story - line and khanna' s strong attention holding performance. lot of political parties back in 1980 protested that the film be banned but amid protests the film was released but audience did not flock to theatres. rajesh khanna has done films of all genres and people used to go with their families to go to theater to watch his films. but for this film people feared to go out with family and this affected its box office collections. people did not want to see their hero doing wrong things. its a must match for people who are fan of films from thriller or adventure or mystery genre. a must watch for both rajesh khanna fans and his detractors. kamal hassan won many awards for the same role in tamil, but khanna was not even nominated in any award function for best actor, in - spite of khanna having given splendid performance .
one of the main theses of red rose is that women today desire too much independence and bad things will happen to them as a result. as a matter of fact, a character says exactly that, namely that women have too much independence and the rajesh khanna character says that the fault is not theirs but society’s .
genocide, castration, animal slaughter... and that' s before the events of the title. steve rose on the rerelease of the most controversial movie ever made
mark kermode says: “today, the film may seem almost quaint, but it’s as captivating as ever. ”
while the smell which permeates her apartment is enough to convince rose that her building houses mater tenebrarum, the mother of darkness, rose questions the antique dealer, mr kazanian (sacha piteoff), who sold her the book. like any enigmatic dream - figure, the shadowy kazanian tells rose not only that the
bittersweet
smell she complains of is coming from
the cake factory
( !) but also that she will
get used to it .
before dismissing rose from his shop, kazanian cryptically adds ,
the only true mystery is that our lives are governed by dead people .
leaving the shop, rose hesitates before an iron grate in an alleyway and, recalling the words of varelli that the second key is
hidden in the cellar ,
descends the moonlit stairs in high gothic style in search of the mother' s abode .
i liked it more than red rose for reasons already mentioned. and i think it became a huge hit partly because of the relative novelty factor in indian cinema at that time. in the midst of routine romantic stories this was something “hatke (different) ”. and kamal hasan and sridevi were both “hot” in tamil cinema at that time .
what will happen next? will the waiter be able to identify anand? will sharda find out what her husband has been up to? what has he been up to? and why? well, you’ll have to watch red rose to find out (and also to see an amazing twitchy - face scene on the part of the superstar) .
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so it was a little startling when singer billie joe armstrong told the rose bowl crowd saturday that the night' s show would mostly avoid the increasingly divisive politics of the day .
while willie ain’t likely to win academy awards for his acting chops, his classic
on the road again
did nab an oscar nod for best original song after appearing in the singer & apos; s 1980 silver - screen starring vehicle honeysuckle rose. the tender, time - stopping ballad
angel flying too close to the ground
is all anybody needs to make a case for the film & apos; s shoo - in inclusion in this list. as for the millions - grossing, music - chocked film itself, it & apos; s pretty good, too. country music & apos; s closest thing to purple rain (arguably), rose tells the story of nelson - esque (albeit slightly less successful) outlaw - country almost star buck bonham, whose domestic bliss is threatened by the temptations and rigors of the road. the film also gives fellow country luminaries the likes of emmylou harris, johnny gimble and the family band prime screen time along the way .
i didnt like this movie one bit. dint rajesh khanna wear a silly look on his face in the last scene? however, we had seen the movie in a group and were able to laugh at the silly scenes. for weeks my cousin would keep recommending the movie to others as a joke – go see red rose – its a classic !
james franco and travis mathews recreate explicit footage cut, and rumoured to be lost, from one of the most notorious features ever made – cruising (1980), starring al pacino as a cop who goes undercover to hunt out a serial killer preying on new york’s homosexual s & m community. inspired by the mythology of this controversial film, the directors explore the limits of sexual and creative freedom .
the film opens with stylish music by rd burman (which reminded me of all those 1970’s cop show themes), accompanying scenes of digging at night. these are interspersed with rajesh khanna in giant aviator glasses trawling discos, punctuated by screams of “no! ” as white roses decay into red ones .
and yes, this film started off well, but just didn’t sustain the suspense—and by the end became comical, unfortunately .
mark kermode says: “sit back and experience a film that seems even more relevant today than it did in 1974. ”
the uk’s best - known film critic, mark kermode offers up 50 personal viewing recommendations, from great classics to overlooked gems .
mark kermode says: “pitched somewhere between arthouse tract and exploitation horror movie, the company of wolves drew mixed responses from some baffled critics, but proved an enduring audience favourite. today, it has become a timeless classic, which is studied by film scholars and adored by film fans alike. if you like your fairy tales to have teeth, this is the film for you. ”
ve gmemsaab i agree with abhijit there is flaw in your review. was it intentionally reviewed. i am also fan of kamal hasan and i have seen this movie in hindi and tamil. but it compared red rose movie was best in hindi. and more thing i want to bring to you that rajesh khanna’s performance was better than kamal hasan and this movie was successfuly movie and well appriciated .
kaka is a legend and red eose proves. he was remarkably good in thefilm. he performed his job very well. the truth is that he is not our first, but only superstar .
it wanted to be a psychological thriller, but in its execution became a slasher film. the explanation of the psychology behind the killer’s motivation is pretty lame and in all other respects, by the end it resembled a friday the 13th or halloween type of film .
all in all an epic film. . a film which needs to be passed on from one generation to other…also this is one movie which is crying for a remake with new interpretations for this generation starring maybe srk as only he can justify the psychotic killer role …
• “cactus and a rose” (1980) moved away from familiar nashville studio surroundings and into the southern country - rock arena that first inspired him. gregg allman and dickey betts were among the musicians and, with chips moman as producer, these ten tracks added up to a programme unique to stewart. it also provided another two chart singles – the title track and the double - sided ‘are we dreamin’ the same dream’ and ‘roarin’’, the latter living up to its title as bonnie bramlett joins in the raucous barrelhouse fun .
set this hybrid construction to selections from verdi' s 1842 opera nabucco and discordant music from keith emerson of emerson, lake, and palmer; illuminate the highly stylised sets in surreal blues and reds and have the characters speak cryptically. the result is the profoundly haunting and disturbing dream - logic of dario argento' s inferno (1980), a film which appears to be self - consciously masquerading as a giallo - style, gothic opera—albeit without singers .
described by martin scorsese as “the movie that plays in my heart”, and a direct influence on kate bush, who was attracted by its portrayal of crazed passion, michael powell and emeric pressburger’s film is a moving masterpiece. moira shearer stars as a ballerina torn between her love for her husband and the strenuous demands of her art. the extraordinary 15 - minute performance of the red shoes ballet at the film’s climax is one of the most famous sequences in british cinema .
then there are films such as ittefaq (1969), khilona (1970), anhonee (1973), red rose (1980), dilwale (1994) and tere naam (2003), in which the mentally ill protagonists are anti - heroes. in ittefaq, the main character is declared insane by a court after he violently assaults his wife. in khilona, the lead character molests his caregiver in a manic fit. in both dilwale and tere naam, the protagonists physically threaten and intimidate the objects of their desire. even when there are cack - handed attempts at providing a sympathetic view of the actual diseases—as in shabd (2005) and karthik calling karthik (2010) —the characters’ behaviour is always injurious and abusive .
, ends up in the hands of rose elliot (irene miracle), a poet living in new york who becomes obsessed with the suspicion that her apartment building is the dwelling place of some mysterious supernatural force .
the debate is on multiple levels. the content, interpretation of the content, the film - making and the acting (esp rk) .
before her death, sara phones mark asking him to come to her apartment. however, he arrives at the scene of a double murder where he finds torn fragments of rose' s letter on the floor. in pursuit of the mystery, mark is soon on his way to new york and arrives at the apartment building where rose lives, only to find that she has disappeared. here inferno slips still further into dream - logic, never to return. rose' s building is labyrinthine—the epitome of the oneiric house: multiple stairways, baroque rooms, cluttered passages, heavy, theatrical curtains, false floors and vents which serve as listening conduits running throughout the structure .
in this most dream - like of all scenes, rose swims unhurriedly downwards towards the floor where her keys lie on the carpet. by the time rose' s hands slowly reach out for her keys, the viewer is as deeply submerged in inferno' s dream - logic as is rose elliot in the flooded ballroom. in inferno, argento seems to be saying that the filmic state, like a rebus, is oneirically complex. to search for the key in argento' s films is to do dreamwork. this realisation comes upon us with a vengeance when, suddenly, a door in the flooded room bursts open in a current that sends out a badly decomposed corpse which, in floating upwards, seems to pursue rose in her desperate attempt to find the hole through which she entered the room. as rose swims frantically in search of the opening, her feet kick in revulsion at the head of the rising corpse. in his study, the philosophy of horror, noël carroll points out that in the aesthetics of gothic horror the key element is disgust, and this sequence is classic abjection material. [ 6 ]
kashyap' s upcoming film won' t be the first on this subject. tamil director bharathiraja' s film sigappu rojakkal (1978), starring kamal haasan and sridevi, was loosely inspired by raman' s grisly crimes. meanwhile, director sriram raghavan (ek hasina thi, johnny gaddar, badlapur) had also made a 45 - minute docu - drama on raghav shortly after graduating from his alma mater, film and television institute of india, pune .
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and, far be it from me that i should burst your bubble of righteousness that has to lecture the indian male at large about gender issues, but sorry i am not male. in fact, when i read your above, i thought i’d clean drifted into an alternate universe! enough said? i for one am heartily sick of red rose. memsaab, i rue the day, i do, when we sat down to watch this together: - )
irst you take the liver out, then you open the rib cage and take the innards out. then you fill it with hot stones and aromatic herbs …
ruggero deodato is explaining how to eat a human being. not that he' s done it, or has he met anyone who has – but when it comes to cannibalism, the 72 - year - old director is still something of an authority. in 1980, deodato released what is still regarded in many quarters as the most controversial film ever made :
the film red rose contains nothing except to an extraordinary characterization of a completely negative mentally disturbed character. to characterize this character, rajesh khanna has been able to show his infinite range of acting calibre owing to the particular reason that he characterized this totally negative tone character without any help of make - up or light effect and any kind of artificial technique, except to his classic facial expression. and this makes him an unparalleled classic actor of indian cinema, who cannot be compared with any body. being the first super star of the nation with historic world famous romantic image, it is an unique example for the indian film world that up - to what extent any actor can reach with sheer dedication to be able to break shackle of his own image. the last scene of this film where the character played by mr. khanna became abnormal mentally and was behind the bar, was an landmark example of facial expression for any actor .
not true, the boston strangler was based on a true life serial killer. both movies had serial killers as protagonist but that is where the similarity ends. red rosé i’d in the same genre but not a copy at all !
who was 47 years old when he debuted in a starring role in this movie. this picture followed nelson' s feature film debut in a supporting role in
“honestly it is the most tongue in cheek and irreverent take off on conventional films and baddies and a towering performance. filmfare should give an award to kaka in retrospect for redrose. it is a performance that no other hero ever in bollywood will have the guts to repeat. a true classic of a great actor enjoying himself. most people think that aavishkaar was kaka’s offbeat role. no no, red rose wins hands down…. of course, followed by naukri! !! ! ”
promise me you' ll survive ,
stammers the near - dead jack as they float in the freezing north atlantic. rose clutches his hand :
i' ll never let go, jack, i' ll never let go .
ha, ha. i was clever and never watched that film. rajesh khanna’s twitchy face is truly horrifying, though. wonder how you did escape having nightmares .
i truly believe that any film maker has the choice, even in the most light - hearted film, not to go beyond certain limits, and perhaps choose to help to undermine outdated attitudes, rather than reinforcing prejudices and status quo 99% of the time. maybe over time they would help to wear certain things down .
argento' s colour schemes and imagery are bizarre. in inferno, colour—morphing blues and reds—is a language. objects are surreal. a pipe without any ostensible purpose hangs suspended from the ceiling while a long, red wire protrudes from one end. other pipes rise from floor to ceiling juxtaposed with doric - style columns which, placed haphazardly, give the impression that one is backstage in an abandoned theatre. the camera follows a stream of water as it flows into a red and blue rivulet from a broken drainage pipe into a hole in the concrete floor of the cellar, which turns out to be the ceiling of a flooded room. when her keys fall into the hole, rose casually removes her shoes, climbs into the overly blue water, and swims in search of them, but not before she is momentarily framed by the crazily - angled pipes, columns and posts that surround the hole. in one of the film' s most eerie scenes (filmed by lorenzo battaglia), rose swims languidly underwater in what we dimly perceive in the gloom is a flooded ballroom in which still hangs a poster bearing the name and image of
mater tenebrarum .
the official british palme d’or entry at the 1974 cannes film festival, symptoms is a sophisticated modern gothic horror film exploring the themes of sexual repression and psychosis. josé ramón larraz’s dark and stylish film tells of a young woman (lorna heilbron) who is invited by her girlfriend (angela pleasence) to stay at her remote english country mansion. events take a disturbing turn when a menacing groundskeeper (peter vaughan) interrupts their time together, and a woman’s body is found in the mansion’s lake .
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deodato, who was assistant director on sergio corbucci' s django, was inspired to make the film after watching violent news reports in italy with his young son .
it was the time of the red brigades. every night on tv there were very strong images of people being killed or maimed. not only killings but also some fabrications. they were increasing the sensationalism of the news just to shock people .
in the meantime, i leave you with a kindlier assessment of the film from a nov. 2007 review in the economic times. * retires hurt *: - (
i don’t mind debate, but please do give people the benefit of the doubt here. it’s okay for us all to not see eye to eye on a film !
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i’m sorry you find it ridiculous abhijit, but i doubt somehow that i am the first to find this an unsuccessful film and performance! but to each his / her own .
it astounds me that a total of 22 people with dubious taste have given this film 9. 4 stars on an average. assuming that these are not simply the film' s crew, i suppose that must have been the total viewership from its creation in 1980 to date. it certainly does not deserve more. rajesh khanna by this time must have been seeing the end of his tunnel. amitabh bacchhan had already taken over the reins of stardom from khanna and co. , so the offers pipeline must have been thin. and it shows. this is old india' s attempt at a spooky thriller, but it' s simply spooky, for all the wrong reasons. utterly forgettable fare (if anyone does ever come to read this) and better left to its own mire .
after her horrifying experience, rose attempts to contact her brother mark (leigh mccloskey), a student of music studying in rome. we first come upon mark in a large lecture hall where he and his fellow student and friend, sara (eleonora giorgi), are listening to selections from verdi on headphones. while attempting to read rose' s letter, mark seems drowsy. he rubs his eyes and when he looks up, it is as if he is having a lucid dream when he becomes entranced by a strange woman who gazes back at him .
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mark kermode says: “with its evocative electronic music and its startling off - kilter vistas, there is a hint of science fiction about red desert, where vitti becomes the woman who fell to earth… yes, this is a world of pollution and poison, both physical and emotional. but it is also a world of fable and fantasy, of imagination and hallucination – worldly and otherworldly. or to put it another way, it is a film by antonioni. ”
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this filthy earth is the story of sisters kath and francine, whose lives are disrupted by two men – a brutal villager greedy for the girls’ land and a gentle stranger who offers the possibility of escape. this filthy earth is the second feature from andrew kötting, whose debut film, gallivant, won him channel 4’s best new director award at the edinburgh international film festival in 1996 .
a very romantic song sung by kishore and asha. rajesh khanna is best in his
negative role
in this film. enjoy the song. must watch the film! !! !! !! !! !! !! !! ! terrifying! !! !! full video song! !! !! !! !! !! contains content from
rajshri
v manohar, abhijit and co. will cry “murder” (intentional bad joke) but i think memsaab has been, as she usually is, more charitable to this bad film than it deserves .
mark kermode says: “the film offers early evidence of the director’s longstanding association between sex and murder, ecstasy and death, introducing fetishistic tropes that would become defining moves in vertigo and psycho. ”
hne recordings was created as the hard rock and heavy metal arm of label ‘cherry red records’ with the mission to bring you the best classic reissues and new music from the world of rock and metal. our bands include the mighty pig iron and classic metal super group the mcauley schenker group .
a few days later, sheela disappears as well after being called to a public park to meet a man dressed in white with a red rose in his lapel. at the same time anand escalates his weird “courtship” of sharda, and discovers how very innocent and pure she is. despite his blandishments she won’t sleep with him before marriage, and she likes to pray! she falls in love with him (although i really just don’t understand why—he is seriously weird) and we are treated to several requisite “we have the technology” montages to illustrate their blossoming (pun half - heartedly intended) romance .
reconnecting german cinema with its weimer forebears via murnau’s iconic nosferatu, herzog’s vampire film references its 1922 predecessor but has a distinctive temperament. nosferatu, played by the stunning klaus kinski, is modelled on the monster of the earlier film, yet his obsession with isabelle adjani’s character of lucy harker reveals a certain pathos, even as his army of rats brings plague and delirium to a prosperous small town .
artist clio barnard’s moving film about the late bradford playwright andrea dunbar (rita, sue and bob too) is no ordinary documentary. mixing interviews with dunbar’s family and friends (seen lip - synched by actors), scenes from her plays performed on the estate where she lived, and tv footage of her in the 1980s, the film makes intriguing, inventive play with fact, fiction and reminiscence .
mark kermode: “for all the film’s shortcomings, sadsy brings a dash of argento - esque style to the increasing splatter, ensuring that the hands of the ripper continue to grip audiences even today. ”
my review may be flawed, but it isn’t nearly as flawed as the film! : - d sorry—i do appreciate a lot of rajesh’s work, but we’ll have to agree to disagree on this movie .
mark kermode says: “this is a film that i want you to watch with your ears, an early 20th - century silent, with a superb 21st - century score by the incomparable neil brand. ”
mark kermode says: “it has a far more cynical attitude towards its colonial adventures than some critics give it credit for. watch the film for yourself and ask yourself, ‘can you see the valley? ’”
whatever the intention, green day' s set list reaffirmed why the band pretty much stands alone in america. this is a band with roots in the radical berkeley underground — the site of some of the most volatile alt - right and antifa clashes in america — but also one with the ability to fill the rose bowl .
nelson plays a horse - riding, pistol - twirling, double - braid - rocking outlaw in this overlooked western from 1982. gary busey, still fresh from his academy award - nominated turn in the buddy holly story, is his bumbling sidekick, and writer william d. wittliff — who also worked with nelson on honeysuckle rose and red headed stranger — handles the script. barbarosa didn & apos; t exactly shoot & apos; em up at the box office, but the movie currently boasts a 100 percent score on rotten tomatoes — proof that it & apos; s aged rather well, much like ol & apos; willie himself .
is red rose about religion? rajesh khanna repeatedly mocks the virginal poonam dhillons idols and temples, which shows that he may be even worse than a serial killer. he may be an atheist. (i am guessing this is the kamal hassan influence). the profusion of apples in different sequences, for example rajesh khanna gives prisoners apples as gifts and apples lie next to his bed, hint at original sin, and the skeleton that is found in his room of horrors, might (and i didn’t look that quickly) be missing a rib, further strengthening the metaphor of adam and eve (eve being produced from a rib of adam) .
the plot follows a dutch horticulturist from the day he leaves his farm to be admitted to hospital for a cancer treatment to the inevitable sad ending. the film displays intensely how the... see full summary »
mark kermode says: “when the film first came before the bbfc in 1976 it was banned outright, with one examiner noting that, ‘this sort of depiction of sexual pathology goes way beyond what we can certificate for showing in a public cinema…’ yet that same examining conceded that ‘the film is very well made, with good acting performances from two of france’s leading stars…’ but concluded ‘…opulent excrescence, for all its glitter, remains excrescence. ’”
gary 1. mazelle 2. shady streets 3. the next thing you know 4. everything a good little girl needs 5. the same thing 6. the blues don’t care who’s got ‘em 7. i’ve just seen the rock of ages 8. walkaway 9. lost highway 10. one more cactus and a rose 11. okeechobee purple 12. cactus and a rose 13. staring each other down 14. lover’s knot 15. ghost train 16. roarin’ 17. harlan county highway 18. are we dreamin’ the same dream 19. how could we come to this after that 20. (we made it as lovers) we just couldn’t make it as friends
the original “sigappu rojakkal” made in 1978 (possibly inspired by a hollywood film) was a psychological thriller and super - duper hit in tamil. considering that until then most movies in india in this genre had been laughably pathetic, this tamil film stood out and received rave reviews from critics. (i just want to mention here that one should not compare with hollywood. india was miles behind at that time in this genre for sure) .
while inferno has often been criticized for terrible acting, dialogue and an incoherent plot, this compelling film—which argento calls his
purest and most sincere
—seems less concerned with traditional narrative trajectories than it does with the art of horror film - making. recalling the russian formalists' emphasis on form over content ,
device
over message and strangeness over familiarity, inferno involves the viewer in its
mind - boggling artificiality
[ 1 ] to dramatise the aesthetic and experiential links between film - making and viewing which christian metz, in psychoanalysis and cinema, likens to dreaming—a motif that inferno takes up with a vengeance by turning that dream into nightmare. [ 2 ]
brought to you “by collectors for collectors”, rpm records was founded by brand owner and label manager mark stratford in 1991. rpm specialises in 1960’s - 1980’s uk and us reissues and bespoke compilations. many iconic releases have been created from ‘the teenage opera’ to joe meek’s ‘ i hear a new world’ to the aerovons to mod defining ‘looking…’ box sets. offshoot series include rpm international for 60’s / 70’s recordings from outside the uk and us / frenzy – focusing on new zealand and australia / shout – a heritage of classic soul and r’n’b .
mark kermode says: “arguably the most celebrated work of surrealist cinema, a satirical gem which, when i first saw it at the museum of the moving image as an unsuspecting young film fan, caused me to faint. ”
ashley walters rose to fame as one of so solid crew but impresses here in his first lead acting role, anchoring saul dibb’s stark and compelling urban drama. when ricky (walters) is released from prison he soon finds himself drawn back into old ways, while trying protect his brother curtis (luke fraser) from the advances of a local gang .
is red rose about brassieres? in one of the film’s opening sequences, a servant - boy goes into rajesh khanna’s bedroom. the first thing he sees is a black pussy (cat) and a discarded brassiere, lying on rajesh khanna’s bed. rajesh khanna (anand) is there too with covers drawn over his bare - torso enough to reveal an abundance of lush black chest vegetation. the viewer immediately wonders whose bra it is, given that there is no woman on the bed. is the bra then the pussy - cat’s which might imply that rajesh khanna had a night of passionate loving with minerva macgonagall, whose animagus all harry potter fans will recall is a pussy cat? before your mind can solve the origin of the bra, the camera focuses on it again, as well as the servant boy’s aroused eyes, leaving you in no doubt as to that bra being a rather significant element of the sequence .
red rose was may 1980 release, on his part rajesh khanna sir, uncle wanted / try altogether different from the past, as to my best of rememberence, shades / or was altogther negative shade, and succeded in it, but in those days (thirty three years) ago people had a prefix image of a star which accumalated to success or faliure of movie, mind you the picture by itself was at bad at all, but people were not ready to accept rajesh khanna in out n out negative role in entire career of himslf this was only one negative outing, so it faltered, hereby i must mention that june 1980was thodi se bewaafi, aug1980 was suspense thriller directed by danny sir”phir wohi raat” and oct1980 was bandish, all did good business at box office, isaw them at age of fifteen and can see even today at age of fourty seven, respeceted rajesh uncle never failed only the subject he choose sometimes let him down, ihope his soul must be in peace, though he went through lot of pain during his last few months, this age in noway was to go, but destiny always win irrespective whoso ever he may be, we will always remember yourself. ravinder minhas jalandhar city, panjab. minhas35 @ yahoo. com .
big break records (bbr) is a label that specialises in classic black dance music from the sixties, seventies and eighties. we plan to take listeners on a journey that starts with psychedelic soul and jazz though funk and philly soul, on to disco and then to street soul, pop dance and electro. hot shot records is a brand new imprint from the bbr team that is set to breathe life back into a variety of smart pop, dance gems and hidden treasures from the 1980’s. the label kicks off with expanded edition reissue of joboxers’ debut album.
red rose is a 1980 hindi psychological thriller film starring rajesh khanna and poonam dhillon . it was remake of tamil movie sigappu rojakkal meaning red roses which had kamal haasan and sridevi in the lead made by the same director bharathi raja and the same cinematographer p. s. nivas . the original tamil movie was reported to be loosely inspired by raman raghav 's grisly crimes and was dubbed in telugu as erra gulabilu and was also remade in japanese as red roses and in russian as krasnyye rozy . 
red rose is a 1980 hindi psychological thriller film starring rajesh khanna and poonam dhillon. it was remake of tamil movie sigappu rojakkal meaning red roses which had kamal haasan and sridevi in the lead made by the same director bharathi raja and the same cinematographer p. s. nivas. the original tamil movie was reported to be loosely inspired by raman raghav's grisly crimes and was dubbed in telugu as erra gulabilu and was also remade in japanese as red roses and in russian as krasnyye rozy.
red rose is a 1980 hindi psychological thriller film starring rajesh khanna and poonam dhillon. it was remake of tamil movie sigappu rojakkal meaning red roses which had kamal haasan and sridevi in the lead made by the same director bharathi raja and the same cinematographer p. s. nivas. the original tamil movie was reported to be loosely inspired by raman raghav's grisly crimes and was dubbed in telugu as erra gulabilu and was also remade in japanese as red roses and in russian as krasnyye rozy.