dushman ( 1972 film )
dushman is a 1972 hindi film produced by premji and directed by dulal guha. it is based on a novel by veerendra sharma .
dushman (1972) paired with mumtaz, this movie became a superhit at the box office. rajesh khanna played the lead of surjit singh .
for his stellar performance in this film rajesh khanna was nominated for film fare award .
dushman (hindi: दुश्मन english: enemy) is a 1990 hindi film starring mithun chakraborty and mandakini as the lead protagonists. the film is directed by shakti samanta .
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dushman is mahesh bhatt' s upcoming punjabi film written and directed by shagufta rafique. the film stars punjabi actors jashan singh and kartaar cheema in the lead roles. the film is being shot at various locations in punjab, chandigarh, moving to uk eventually .
dushman is a 1972 hindi film produced by premji and directed by dulal guha. it is based on a novel by veerendra sharma. the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor, the only nomination for the film. meena kumari, mumtaz, bindu, rehman, asit sen and johnny walker are part of the cast .
this film was remade in tamil as needhi in the same year (1972) starring sivaji ganesan and jayalalithaa. the film was later remade into the telugu film khaidii babay (1974) starring shobhan babu in the title role, and vanisri as his love interest. it was also remade in kannada as hosa theerpu (1983) with ambareesh .
, she played the all - sacrificing elder sister, but the film failed .
prem kahani (1975) directed and written by raj khosla, the film stars rajesh khanna and mumtaz in the lead roles. the film' s melodious music is given by laxmikant pyarelal. chakravyuha (1978) chakravyuha is a 1978 bollywood film directed by basu chatterjee. the film stars rajesh khanna and neetu singh in lead roles .
3 crore at the box office. the latter was also his first film with director
' # sanju' - an anecdotal account of one of india' s most controversial and popular film - personalities - sanjay
baba
dutt, the film. .
movie name - dushman (1972) star cast - rajesh khanna, mumtaz, meena kumari produced by - premji directed by - dulal guha music by - laxm ikanth pyarelal dushman is a 1972 hindi film produced by premji and directed by dulal guha. it is based on a novel by veerendra sharma. the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor, the only nomination for the film. meena kumari, mumtaz, bindu, rehman, asit sen and johnny walker are part of the cast. the film became a
super - hit
at the box office. enjoy and stay connected with us! ! its entertainment re - defined! subscribe to old is gold for more entertainment & popular classic movies visit our website – urltoken circle us on g + urltoken like us on facebook urltoken follow us on twitter urltoken find us on pinterest urltoken follow us on linkedin urltoken find us on tumblr urltoken also follow us on reddit urltoken vkontakte urltoken stumble upon urltoken
this is a reel story. now let us see what happens in real life. the famous (or infamous) case of salman khan' s 2002 hit and run needs to be reviewed vis - à - vis this film' dushman' .
dushman (translation: enemy) is a 1998 bollywood psychological thriller film starring sanjay dutt, kajol and ashutosh rana in lead roles. the film is directed by tanuja chandra and produced by mukesh bhatt and pooja bhatt. the film was well received by critics as well as at the box office and was the seventh highest grossing hindi film of 1998, winning lead actress kajol, who was seen in the double role of twin sisters along with ashutosh rana quite a few awards, at a number of award ceremonies that year .
he has seen success in very few films like bandhan, dushman, etc where he had an equal role with the heroine instead of being side dish of the female .
in the meantime, salman should do some soul searching and taking a cue from rajesh khanna in the film' dushman', should first compensate the victims to their satisfaction. then only he should expect pardon from the widow of the person he killed because of rash and drunken driving .
dushman is a 1939 hindi social romantic drama film. it was directed by nitin bose for new theatres calcutta production. the film starred k. l. saigal, leela desai, najmul hassan, prithviraj kapoor, nemo and jagdish sethi. the music was composed by pankaj mullick and the lyrics were written by arzu lucknavi. nitin bose besides directing also wrote the story and wielded the camera for the film. the dialogue writer was sudarshan. the story subject about tuberculosis was suggested as a propaganda film by viceroy lord linlithgow and his wife, who were then the chairman and patron of king george’s tuberculosis fund .
, for example, and compare it with the strictly functional camerawork and cutting in the other parts of the film .
hi jai, as expected, your post augmented my view point on the film :). enjoyed reading it .
thanks for sharing such a valuable information gathered at one place. do you have film
baadil starring habib and deeba
jeetendra: in 1972, jeetendra appeared in 10 films. while these included two special appearances in chori chori and garam masala, his most memorable turn was as the kind teacher in parichay, director gulzar’s adaptation of the sound of music .
before he hit super - stardom and was trying to find his feet in the industry, bachchan was credited with nine releases in 1972. while these include special appearances and voice - overs as well, none of them, except s. ramanathan’s romantic - thriller
at the peak of his career in 1989, shroff had nine film releases. interestingly, they were all lead roles. while he received critical acclaim for
watching him dance to “vaada tera vadda” — sung breezily by kishore kumar — with chamelibai (bindu) is sheer magic. many critics who swear by similar numbers filmed on amitabh bachan - rekha in films like “muqqadar - ka - sikandar” will have to rethink after watching “dushman” .
train is the only movie where faltu khanna has seen success as a film that had some focus on the hero. in most others he was side dish to females .
bawarchi (1972) this family entertainer was directed by hrishikesh mukherjee, starring rajesh khanna and jaya badhuri. the movie is about a young man named raghu (rajesh khanna) who offers to work as a cook, and is hired. raghu soon becomes the family' s favourite and twists in the plot ensue .
prem nagar (1974) the 1974 film produced by d. ramanaidu and directed by k. s. prakash rao stars rajesh khanna and hema malini in the lead roles .
the film depicts rajesh khanna a rash driver who frequently drives while drunk. one morning he drives at breakneck speed in thick fog to make up for lost time after consuming alcohol .
, many are cynical about his constant film - churning abilities in an era where most actors prefer to take their time and work on one film in one, and sometimes, two years. but that wasn’t always the case and kumar has certainly not been the busiest actor. here’s a look at 10 actors who’ve belted out more movies in a year than one can keep count of .
i second nightwatchman' s comment on achanak. the pace, structure and plot are very unlike gulzar and the film is compelling to this day. it is loosely based on this case. urltoken
several reasons were cited, including his restricted acting style, wherein he could enact only soft, romantic roles and his inability to sustain the onslaught of the angry young man, which is what the audiences desired in the mid - ’70s. this premise falls flat on watching khanna in director dulal guha’s 1971 film, “dushman”. essaying the role of surjit singh, a reckless, macho truck driver, with a penchant for consuming desi liquor and visiting brothels, the actor can be described in only one word — superb. wearing fatigues for most of the film and donning a moustache, khanna looks every bit the truck driver he portrays. he adapts to the role, discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance .
the film is about two friends who want to marry the same girl unknowingly till one of them discovers he has tuberculosis. he decides to sacrifice his love but ends up in a sanatorium where he is treated .
aradhana (1969) paired with sharmila tagore and directed by shakti samanta, this movie was voted best film of the year by the filmfare awards. it gave us songs like roop tera mastana and mere sapno ki rani .
[ my latest lounge column, about a loony mid - 80s film by the director who later made the more widely watched chaalbaaz ] - - - - - - - - - - - - - - - ...
dushmun is an excellent family film with an unusual story line. a truck driver who kills a person (the sole bread winner of the family) accidentally is sentenced by the judge to serve the members of the family, instead of going to jail. initially reluctant & loathed by the family, he gradually wins their hearts & solves their problems leading to a pleasant climax. the film has got everything going for it - unusual story, deft screenplay, lilting music by lp & excellent direction by dulal guha. the performances by the cast are superb. meena kumari is her usual self while mumtaj is sprightly & johny walker' s comedy is hilarious. but the film belongs to the superstar rajesh khanna who is in his elements right through. there is a perception that amitabh brought the concept of the angry young man to hindi films, but looking at kaka' s performance here, we realise that it is not true. it is a pity that he did not get the filmfare award for best actor. the film was a super hit & rightfully so. this film will find a place in the top 10 films of rajesh khanna. an all time favourite of kaka fans .
hum dono is a 1985 hindi film, starring rajesh khanna and hema malini, and is directed by b. s. glaad. the music is by r d burman, and the songs are sung by kishore kumar and asha bhonsle .
the film, produced by premji, is loosely based on v. shantaram’s iconic “do ankhen barah haath” which deals with an alternative system of punishing convicts, by integrating them in the social structure and giving them a chance to atone for their sins .
enjoyed koshish a lot. very good film. dilip kumar had seen sanjeev kumar in same frame in sangharsh. he admired sanjeev kumar' s acting abilities then also and gave him a gift on his good performance. both were very good actors .
but given all this nuance in the first half, i thought the film was compromised by the abruptness of its final 20 minutes and an unconvincing resolution where the protagonists’ son amit is emotionally bullied into marrying a deaf and dumb girl (the daughter of hari’s boss) .
the film was directed by shakti samanta, and is based on a story nishipadma by bibhutibhushan bandopadhyay and stars rajesh khanna and sharmila tagore. the thought - provoking song chingaari koi bhadke written by anand bakshi and sung by kishore kumar, is one of the highlights of this classic .
[ my latest mint lounge column is on a braj bhasha film about a little boy obsessed with an immortal warrior ] - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ...
namak haraam (1973) thw movie is the second hrishikesh mukherjee film with rajesh khanna after anand. diye jalte hai, phool khilte hai, nadiya se dariya, dariye se sagar and main shayar badnaam are the most memorable melodies, all rendered powerfully by kishore kumar and picturised on rajesh khanna .
despite the fact that mumtaz had all the prerequisites of a made - to - order hindi film heroine - - - she could dance, pout, exude sex appeal and speak hindi fluently - - - she was relegated to supporting roles for a long chunk of her abbreviated - by - marriage career .
subtextual analysis aside, this sequence might seem frivolous, but i think it’s an important scene for the film because it shows us hari and arti in a light moment, sharing the sort of intimacy that they can’t share with anyone else – it’s almost like they are waggling their thumbs at the “normal” people who can speak and hear. it makes it easier to believe that these two can grow into a relationship together and that they will be able to have some fun too – that their married life won’t just be a litany of struggles. it shows a side to the relationship that we don’t get to see much of in the second half of the film, as things become increasingly grim .
when the conjugal meetings of devyani chaubal with faltu khanna stopped devi ran out of fuel and the love laced writings stopped. it is not that she hated faltu khanna because she was one such goddess who would do anything for the one she loved. when her writings stopped six films of faltu khanna flopped and 1972 saw hema malini defeating faltu khanna without receiving any blood written letters. when the love laced writings of devi stopped the illusion began to fade. it was faltu khanna and devi who together created the illusion. both of them enjoyed the illusion (read projection) together. but when the illusion faded faltu khanna was alone in facing the consequences .
( apparently it isn’t politically correct to say “deaf and dumb
these days, though no one told the dvd subtitle - writers this) who meet, get married and negotiate the many challenges of their shared condition. needless to say, this makes for a film with many emotional scenes, underlined by madan mohan’s insistently (and often effectively) melodramatic background score .
this is a common trait amongst indian (read bollywood) film - makers where some of them dare to take on challenging subjects, but succumb at the last minute to box - office performance pressure by providing a more popular ending. i watched the film swades a few days ago and observed a similar ending. the film - maker, for 2. 5 hours, presented an issue - a very realistic one, but then hurriedly wrapped up the film with a * popular * decision that the lead character takes to return to the village in india by bidding farewell to a successful nasa career. the filmmaker would have thought that if he had made the protagonist practical and made him choose his career at nasa, the general audience will not like the ending resulting in poor performance at the box - office. i feel that an even better ending would have been to keep an open ending as there is not easy solution to the issue at hand. on the contrary, and not to compare, in the movie
ordinary people
, the filmmaker chooses a realistic and non - happy and non - melodramatic ending where the family that lost a member does not live happily ever after. this is where the filmmaker chose to dare take a difficult subject, and stuck with it. as long as a realistic story that addresses realistic issues tries to please the general audience the story will never turn into a gem. i love reading your blog. great job !
against his wishes, rajesh khanna had to comply with the court' s ruling. rajesh khanna initially faced the animosity of the victim' s family and villagers. but slowly things changed. the film then continued with usual bollywood turns and twists and finally ended on a happy note with the victim' s family, notably the widow, forgiving rajesh khanna for the crime .
aaj ka m. l. a. ram avtar (1984) aaj ka ram avtar mla is a 1984 film starring starring rajesh khanna in the lead role. ram avtar, played by rajesh khanna, personally grooms minister digvijay singh. when digvijay' s political party is in need of someone to stand in the forthcoming election, digvijay recommends ram avtar as his choice .
in movies where he was equal dish to the heroine he was dependant on the luck of mumtaz with whom he was equal dish in dushman, bandhan and apna desh. even when his hips became wider during roti the luck of mumtaz favoured him. he was main dish in bawarchi and only goraa could break the flop record of bawarchi. he was main dish in mere jeevan saathi and mere jeevan saathi broke the flop record of bawarchi. he was double dish in humshakal and asked moushami whose child she was carrying and humshakal proved what will happen if faltu' s shakal is shown twice. faltu khanna could have luck in two shakals only if vinod khanna supported him like he did in sachcha jhoota where faltu khanna had two shakals. faltu khanna tried to repeat his double shakal flop of humshakal in deewar and demanded that his shakals be shown twice and salim javed, who did not want to see a repetition of humshakal where faltu khanna showed his shakal twice, took the film deewar without faltu khanna' s shakal in it .
media is a big vulture. when sachin bats well media will feed on his fame and write good about him. when he bats bad the same media will become vultures who feed on his failure and write about his falling scores. faltu khanna also had to face such a media that copy pasted what devi wrote. devi never spoke bad about him. even what she spoke in the bombay superstar interview was just a fact that he is going with dimple to many shrines for praying for the victory of daag. devi was an anukoola shatru of faltu khanna. she did the best pleasant thing for him. faltu khanna liked it and benefitted from it. but what they together created was poison and faltu khanna had to drink the poison alone while vinod khanna began to come up without any hype due to which the industry did not even know about vinod khanna' s disappearance from the film industry. it is the absence of the one whose presence is frequently shown that will be visible. faltu khanna' s absence became visible after the glorious six flops of 1972 - the year when his stardom was ended by hema malini .
kaka had a gorgeous face and a killer smile! !
that was till 1972 - the year in which he gave 6 flops. after that his smile disappeared. see namak haram. where is the
killer smile
that he had in haathi mere saathi on his face? it was missing and in place of that killer smile he had a faded smile. the killer smile was replaced by his buttocks that had grown double the size of lady mountbatten' s buttocks while acting in namak haram. from 1973 it was big buttock period for him with chulbulji having the last laugh of the image she projected of big buttocks which he was struggling to keep but with no success :) )) )) )) ) )
the film depicts rajesh khanna a rash driver who frequently drives while drunk. one morning he drives at breakneck speed in thick fog to make up for lost time after consuming alcohol. he inevitably ends up running over and killing a farmer. but despite the opportunity to hit and run, he decides to stay and face the consequences. he is arrested by the police, charged, and brought before the courts .
after making a futile attempt to escape, surjit is confronted by unbridled scorn and animosity by ram din’s family and other villagers, who label him a dushman. the rest of the story is based on surjit’s drive to realise the dreams of his victim: getting a bumper harvest in the fields, marrying off his sister, and preventing ganga din’s limited assets from falling into the hands of the avaricious landlord (anwar hussain). his integration in the victim’s family is complete when he saves malti’s honour from the landlord’s evil grasp (who had earlier entrapped surjit in a false murder charge). in all these endeavours, surjit is helped by durga prasad, a larger hearted farmer (veteran kannaiyalal in a rare positive outing) .
in the film, the widow of the victim finally pardoned rajesh khanna in two years' time as she thought rajesh khanna had done enough penance with a clear conscience. in real life, the widow of nurullah sharif said on tv yesterday ,
it is the win of money power. justice is never for the poor. i will never forgive salman for taking my husband away from me
. it has been a little more than 13 years since the incident and the widow of the victim is yet to forgive salman .
another major anukoola shatru of faltu khanna was devyani chaubal. she never betrayed him. but what she did for him was to create an illusion for which only faltu khanna would be answerable if the illusion fades and reality shows. she created the illusion that he is an actor with blood written letters coming in. she used to tell this in such repeated frequencies that even today the chant continues although no one has been able to answer how many blood written letters faltu khanna got in total. since the todal number of letters were not specified by devyani chaubal everyone uses the capacity to believe that the total number of blood written letters could be one lakh, two lakh, three lakh and so on. when it was 1972 anju mahendru objected to faltu khanna sleeping with devyani chaubal and demanded that what justice is there in her cancelling her engagement with garry sobers for the sake of faltu khanna when faltu khanna continues double sleeping with anju and devyani chaubal. faltu khanna asked devyani chaubal not to come to asirwad hereafter. what faltu khanna did not know is that it was the continuous conjugal meetings between him and devyani chaubal that were the fuel for the glorious writings of devyani chaubal .
something else i found jarring: when hari’s boss initially makes the proposal, hari (who doesn’t yet know about the girl’s condition) firmly refuses, indicating in sign language that the gap in social status between their families is too large. this is an unedifying moment (to say the least) given that the film is shortly about to condemn discrimination in another sphere. basically, though hari is stricken by his son’s reluctance to accept a speech - impaired girl for a wife, he himself has been attaching undue importance to the class divide – something that is a much less momentous factor in a situation where two people will be spending their lives together .
and yet, there is an unusually whimsical, carefree moment early in the film. hari (sanjeev kumar) and arti (jaya bhaduri) are getting to know each other, going for walks together and so on. after watching a man talk into a public phone, they enter the booth and make prank calls – dialling numbers randomly, pretending to speak and listen. a succession of befuddled people answer the line at the other end, and finally there is a charming cameo: dilip kumar (presumably playing himself) walking down a stairway in a large house, looking around with mild annoyance at having to pick up the phone himself. he listens to hari making
kp and oddan: you' ve made similar points and to an extent i see what you mean, but let me try and address this more fully: i feel that you are analyzing the movie through present day glasses. kp: well, okay, but so what? surely you don' t expect me to climb into a time machine, go back 40 years and then write about this film! : d but more seriously, i don' t get this watertight distinction between how things were done then and how they are done today. fact 1: there were some people, even in that social strata, 40 years ago, who would have defied their parents and asserted themselves (and there were parents who would eventually have given in). fact 2: there are some people, even today, and in the most seemingly progressive communities, who are completely under their parents' thumbs in these matters. (you do know about
honour killings
, right ?) this past - vs - present divide isn' t a clear one by any means. also, i might be wrong about this, but in both your comments i sense an undertone of quiet respect for an idealised time when kids would toe the line and unquestioningly listen to their parents. but personally speaking i don' t have much respect for that attitude, and naturally this colours my perspective on the ending. even assuming that it was the
done thing
in the past, i don' t think that justifies the emotional manipulation. more importantly, from a cinematic perspective, i thought the ending of koshish was poorly done - it was much too abrupt and sketchy, and the film' s suggestion that amit is eventually happy with the decision isn' t at all convincing. the last shot feels like a very hurried attempt to reach a happy ending. if the film had found a way to convincingly portray amit' s change of heart (perhaps by giving him a scene or two with the girl), it would have worked much better .
all i wanted to point out is that while you and i may disagree vehemently with the choices the character makes in a movie it does not necessarily follow that it was bad character development, script or direction or filmmaking. oddan: completely agree - i should have been clearer about this in the post. like i said in my last comment, the main issue isn' t the worldview being portrayed but the disjointedness of the film' s climax and ending. on the other hand, the worldview does in a way contribute to the slapdash ending. i am just quibbling over the suggestion that you did not like the movie because you did not like the way a character behaved. understood. though i haven' t said anywhere that i didn' t like the movie !
wasn' t koshish based on a japanese film? i remember reading that somewhere. i recall many vignettes from the movie, though i was just a kid when i saw it. somehow i recall aarti as refusing hari because she wasn' t sure he could look after her, then he shows himself to be assertive and capable and she changes her mind. you said she saw his vulnerability, so i must be confusing the scenes in my mind. i remember feeling really sad when their child dies due to asrani' s burglary. and i remember asrani - after seeing him playing only bufoony roles, it was quite unusual to see him playing this negative, exploitative role. yeah, the ending jarred even as a kid. i recall feeling annoyed at the emotional blackmail by hari - he chose a soulmate with whom he could communicate, but denied his son that privilege from some kind of misguided philanthropic drive .
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an internship is no longer about fetching coffee and making copies. one student shares the benefits of a summer job at a global corporation
soorma—a biopic on the life of hockey player sandeep singh is slated for release this week. here’s a look at ten other sports biopics bollywood has to offer in the coming months
most of last week, the untimely demise of rajesh khanna led television channels to feature panel discussions on the superstar’s life and times, particularly his fall from the position he occupied from 1969 to ’72 .
even in action sequences, khanna looks credible. surely, the actor’s downfall was more due to other reasons cited — unprofessionalism and arrogance among them — rather than his capacity to adapt to action - oriented roles. it is a testimony to the tragedy of khanna that at an age (30) when most male actors in hindi films barely get a toehold in the industry, khanna was to go into an irrevocable slide. perhaps it was his failure to handle superstardom and the consequent adulation which led to this sorry state of affairs .
another reason that comes forth is his lack of business acumen (most actors had become business savvy pros by then) and his utter failure to look after his dapper looks. the camera, which never lies, caught the perceptible and sudden change in his looks — receding hairline, paunch, puffy face — truthfully .
thus, surjit singh, on a misty morning, when visibility is low, accidentally crushes a farmer, ram din, under the wheels of his truck. although he has the opportunity to escape, he gives himself up for trial in the court of a judge (rehman, an epitome of competence, restraint and grace) who wants to pioneer a new system of dispensing punishment. after acquiring permission for his experiment from the higher judiciary, the learned judge decrees that surjit singh will serve his sentence by ensuring the survival of deceased ram din’s family, which includes his widow, malti (meena kumari in one of her last films is adequately placed to play the role of the beleaguered widow, with her perfect timing for tragedy, and some melodrama), sister kamla (naaz, passable, with her limited talent), two sons, a crippled father, ganga din (veteran actor nana palsikar is able to evoke sympathy) and ganga din’s blind wife (leela mishra, yet to become an accomplished character actor, which she did in later years) .
in the midst of all this, love blooms between him and phoolmati (mumtaz), a gypsy who shows a bioscope in the village to earn a living. the two share a screen chemistry that is one of the abiding milestones in the 100 years of cinema. mumtaz, with her sensuous pout and body hugging dresses, is remarkable in the role. she is indeed worth watching in songs that include “dekho dekho dekho bioscope dekho” (lata mangeshkar) and “maine dekha tune dekha’ (duet by lata mangeshkar and kishore kumar) .
the music, composed by laxmikant - pyarelal to lyrics by anand bakshi, adds to its lure, as does the crisp editing. other character actors, including abhi bhattacharya (soft - hearted inspector), sajjan (landlord’s stooge), asit sen (head constable harishankar chaurasiya) are competent .
akshay kumar with ‘singh is bliing’, his fourth release of 2015, has had a busy year. a look at 10 other actors who’ve belted out more movies in a year than one can keep count of
right at the beginning of his career in 1971, the actor had 13 releases. these included several guest appearances but gulzar’s highly acclaimed
in 1977, dharmendra was seen in 12 movies, including some big hits .
mithun chakraborty: for the year 1986, chakraborty has a record - breaking 15 movie releases to his credit. while few would remember titles like karamdaata and avinash, there’s no taking away from the feat itself .
three years after he debuted, govinda appeared in 15 films in 1989. these included hits like
fairly established as he was, devgn appeared in seven movies in 1999. while his own home production
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itna to yaad hai mujhe. . rafi - lata - anand bakshi - l p - mehboob ki mehandi1971. . a tribute
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surjit singh earns his living driving a truck, most of the time while consuming alcohol. one night he stops at courtesan chamelibai' s, drinks, goes to bed with her, and gets up behind... see full summary »
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mangal singh (rajesh khanna) has been a career criminal, whose criminal career began to steal food and to keep from starving, and thence got him in deeper and deeper in the criminal world... . see full summary »
somnath (somu) lives in a shanty house in a delhi slum with his widowed mom, and unmarried sister, sarla. he is friendly with calcutta - based wealthy vikram (vicky) maharaj. when vicky' s dad... see full summary »
rajesh khanna plays mumtaz' s jealous husband who begins to doubt her fidelity when his best friend sanjeev kumar enters their lives. she is unable to convince rajesh khanna that she loves... see full summary »
taking place almost entirely over the course of one stormy night, a woman is terrified when an accused murderer escapes from a mental hospital and seeks refuge in her home .
when mistaken to be a sage by some villagers, an ex - tour guide reflects on his past and lost love to search for spiritual wisdom to guide the villagers .
a simple man from a village falls in love with his new neighbor. he enlists the help of his musical - theater friends to woo the lovely girl - next - door away from her music teacher .
a truck driver learns from his foster mother about the murder of his parents at the hands of a bandit and sets out to avenge them .
the story of a prostitute, with a pure heart (pakeezah), and grand dreams ...
sunder khanna is an orphan and lives a poor lifestyle in india. he is friendly with wealthy gopal verma, the only child of judge verma; and a wealthy girl named radha, who is the daughter... see full summary »
naseeb, a story of destiny and fate, begins with a lottery ticket. a drunk who cannot pay his tab trades his' winning' ticket to the waiter, namdev (pran), instead. namdev decides to share... see full summary »
surjit singh earns his living driving a truck, most of the time while consuming alcohol. one night he stops at courtesan chamelibai' s, drinks, goes to bed with her, and gets up behind schedule, so he rushes out, drives his truck and accidentally kills a farmer named ram din. he is arrested by the police, charged, and brought before the courts. the judge finds him guilty and sentences him the maximum time under the indian penal code for 100 years - with a difference, he is not to spend time in jail but must labor to look after the surviving family members of ram din, which include his widow, malti; his sister, kamla; two young sons; a crippled father ganga din and his blind wife. a horrified surjit attempts to convince the judge to change his ruling, but in vain and he is transported to his new penitentiary where he meets with hostile villagers who would rather kill him than let him toil on their sacred land. but with police protection, he is permitted to go to ganga din' s house, where ...
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is that so preeti? when did u f * ck up india kooodhini. . er. . preeti ?
did u lick rajiv bhatia' s lund today kooodhini. . er. . preeti ?
< quoted text > did u lick rajiv bhatia' s lund today kooodhini. . er. . preeti ?
< quoted text > chi chi chi... whethr u r maurition or from mauritius ur mouth always uses gundhi gundhi batein... shame on australia and the dampora khandaan to have kooodhinis like u who post from their kooodhi... chi chi
< quoted text > is that so preeti? when did u f * ck up india kooodhini. . er. . preeti ?
salman is a global superstar - not just a superstar in bombay like kaka was. kaka is nothing in front of salman salman has a far superior box office recoard and far more fans then kaka could ever hope for. in addition he can kick the crap out of kaka anytime he is a man not a child molester like kaka he has been at the top end of the industry for 20 years not 2 - 3 like kaka. he looks better at 50 then kaka did at 30 .
< quoted text > chi chi chi... .. u are f * cking bipin' s indian sisters lol! ! .
vipin ji won' t mind kaala, anpadh, aussie abusing indians, because vipinji is not indian. jahan tak sawal is kaale chichore ka hai... .. isko khud nahi malum ye kahan paida hua tha, kyun paida hua thah, fiji ke ek pathar pe paida hone wala... .. india jaise purane culture ko galiyan de raha hai... . isse india ka to kuch nahi bigdega, ye khud mazak ban jayega. ye jahan gaya hai... . australia mein... . pichle 12 mahine mein chaar martaba to inke prime minister badle hain... ye haal to australia ka hai... . fiji supplies all the labor force to australia for doing menial jobs. atleast indo bhai had her (preeti) employed as office boy in our corporation. indo bhai is great. ye (kaala aussie) indo bhai ke pairon ke dhul ke barabar bhi nahi hai... . iski baat ko serious mat lo ...
the beauty and greatness of bbc is that it not only covers, politicians, business tycoons, kings but also goes after to inquire about arrogant chipmunks like kaka, bbc also covers babboons, reptiles, and mega failures too .
in 1973 bbc london came chasing kaka for an interview
preeti, u are wrong again. bbc never chased big buttocks. only jack pizzey came chasing him. bbc never stoops down to chase a failing actor which is what bombay superstar documentary shows. jack pizzey used big buttocks documentary as an excuse to have a holiday in india visiting heritate sites so that he would get reimbursement for his india trip only if he got the documentary else his trip expenses would be treated as loan and he wld have to pay up. bombay superstar is the only documentary where big buttocks falling period is shown as it is. u know one thing preeti? even big buttocks die hard fan roshiniji who watches amar prem again and again and worships the chulbul gossip monger' s picture by putting it on her profile hasn' t noticed this: it is only in bombay superstar that the chulbulvaali does not repeat her story of blood written letters and' oopar aaka neeche kaka' instead she says that big buttocks is going from shrine to shrine with his beevi (anju mahendru would not have accompanied him anywhere) dimple to pray for the success of daag. it ws for the first time that the chulbulvaali was talking about big buttocks insecurity. without the chulbulvaali to write glorious stuff about him big buttocks was a fish out of water and stopped surviving in the industry after roshiniji' s favorite chulbul stopped supporting big buttocks .
rajesh khanna was a global superstar! !
dont post from ur kooodhi preeti. big buttocks was a bombay superstar. raj kapoor was the global superstar whose name was famous even in russia. none of big buttocks films could beat the fame of awara which is world famous .
wow incredible india my arse! !! !
preeti, ur incredible arse is in australia the land where every sadakchap co * k sucker can get a citizenship because australia does not have an identity or culture of its own. looks like there is no superstar for australia that is why the lund suckers of australia like u have to sing praise for indians like big buttocks and refer to ignorants like salim khan who does not even know from where the word
superstar
came from... keep showing ur incredible arse over here which mee has been drilling well making u take sabbaticals every now and then! !! !
in sanskrit there is a word anukoola shatru. the word has many interpretations. although the word shatru means enemy the fact is that faltu khanna had many friends who could do to him even what a sworn enemy could not do .
one group of such friends who could lovingly ruin him was the chamcha association of faltu khanna that functioned in asirward without a board with roopesh kumar the honorary president of the association. the job of the members of chamcha association of faltu khanna was to sing praises of faltu khanna as the one with the
killer smile
and that above the clouds there is almighty and below the clouds it is faltu khanna .
< quoted text > he became a side dish hema later on in his career in the movies seetapur ki geeta, durgaa and vijay. kaka thought his career was messed up by hema' s seeta aur geeta and why not star in hema' s seetapur ki geeta (a movie that sounds similar), this might get him a hit in 1987, but unfortunately it was too late for him. .
faltu khanna was also side dish in aradhana, amar prem and safar which were sharmila movies .
he was also side dish in kati patang and aan milo sajna which was an asha parekh movie .
in sharmila' s aradhana, safar as well as amar prem faltu' s role was only that of entertainment of singing songs while his character had a very small role in the movie .
same way in asha parekh' s kati patang and aan milo sajna his role was to entertain with songs that could not be picturized with asha parekh giving the lip sync to it .
faltu khanna was side dish to female oriented stories and basked in the fame of women oriented characters right from aurat where he was side dish to padmini and got reverse publicity due to acting with pran in aurat and continued doing side dish to females in doliwhere he was side dish to babita .
he was used as side dish because it was history that if a producer takes bribe and makes him main dish then it will flop like raaz, akhri khat and baharo ke sapne where he was main dish .
in goraa he was special dish and we know very well what happened to goraa .
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dushman is a 1972 hindi film produced by premji and directed by dulal guha . it is based on a novel by veerendra sharma . the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor , the only nomination for the film . meena kumari , mumtaz , bindu , rehman , asit sen and johnny walker are part of the cast . khanna had 11 releases in the year 1972 and of them except for maalik ( 1972 film ) , rest of the 10 were successful . this film was among the highest grossing films of the year 1972 . the film became a " super-hit " at the box office . the 2012 review of the film by hindu newspaper stated " essaying the role of surjit singh , a reckless , macho truck driver , with a penchant for consuming desi liquor and visiting brothels , the actor can be described in only one word — superb . wearing fatigues for most of the film and donning a moustache , khanna looks every bit the truck driver he portrays . he adapts to the role , discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance . " this film was remade in tamil as needhi in the same year ( 1972 ) starring sivaji ganesan and jayalalithaa . the film was later remade into the telugu film khaidii babay ( 1974 ) starring shobhan babu in the title role , and vanisri as his love interest . it was also remade in kannada as hosa theerpu ( 1983 ) with ambareesh . 
dushman is a 1972 hindi film produced by premji and directed by dulal guha. it is based on a novel by veerendra sharma. the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor, the only nomination for the film. meena kumari, mumtaz, bindu, rehman, asit sen and johnny walker are part of the cast. khanna had 11 releases in the year 1972 and of them except for maalik (1972 film), rest of the 10 were successful. this film was among the highest grossing films of the year 1972. the film became a " super-hit " at the box office. the 2012 review of the film by hindu newspaper stated " essaying the role of surjit singh, a reckless, macho truck driver, with a penchant for consuming desi liquor and visiting brothels, the actor can be described in only one word — superb. wearing fatigues for most of the film and donning a moustache, khanna looks every bit the truck driver he portrays. he adapts to the role, discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance. " this film was remade in tamil as needhi in the same year (1972) starring sivaji ganesan and jayalalithaa. the film was later remade into the telugu film khaidii babay (1974) starring shobhan babu in the title role, and vanisri as his love interest. it was also remade in kannada as hosa theerpu (1983) with ambareesh.
dushman is a 1972 hindi film produced by premji and directed by dulal guha. it is based on a novel by veerendra sharma. the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor, the only nomination for the film. meena kumari, mumtaz, bindu, rehman, asit sen and johnny walker are part of the cast. khanna had 11 releases in the year 1972 and of them except for maalik (1972 film), rest of the 10 were successful. this film was among the highest grossing films of the year 1972. the film became a " super-hit " at the box office. the 2012 review of the film by hindu newspaper stated " essaying the role of surjit singh, a reckless, macho truck driver, with a penchant for consuming desi liquor and visiting brothels, the actor can be described in only one word — superb. wearing fatigues for most of the film and donning a moustache, khanna looks every bit the truck driver he portrays. he adapts to the role, discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance. " this film was remade in tamil as needhi in the same year (1972) starring sivaji ganesan and jayalalithaa. the film was later remade into the telugu film khaidii babay (1974) starring shobhan babu in the title role, and vanisri as his love interest. it was also remade in kannada as hosa theerpu (1983) with ambareesh.