yeh nazdeekiyan
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parveen babi in yeh nazdeekiyan. read more urltoken | bikini | pinterest | parveen babi, bollywood and times
mehki mehki chandni si yeh hamari prit hai har ghadi hon saath hum aisi nahin koi rit hai mehki mehki chandni si yeh hamari prit hai har ghadi hon saath hum aisi nahin koi rit hai chaahe jahan bhi main rahoon sang mere mit hai ho kaise bhi hon faasle na kam hongi na kam hongi yeh nazdikiyan yeh nazdikiyan baahon mein baahein saanson mein saansein nazron mein nazrein ho kitni hasin hain nashili nashili yeh nazdikiyan yeh nazdikiyan yeh nazdikiyan yeh nazdikiyan .
love, passions, permissiveness can be an exciting mix, but can also be a dangerous potion beyond a point. 2nd film in vinod pandes highly acclaimed. song: kitni haseen hain nasheeli movie: yeh nazdeekiyan. elegant and beauty; variety skirt for lady at urltoken yeh - nazdeekiyan 1982: ~ yeh - nazdeekiyan - (1982) fullmovie - freehd: ~ yeh - nazdeekiyan - (1982) fullmovieonlinehd: ~ yeh - nazdeekiyan - (1982). plot theme: : this film is a power - packed bollywood action thriller starring the popular duo rajesh khanna vesves parveen babi. it solely revolves around the crime .
yeh nazdeekiyan | parveen b ...
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the message of yeh nazdeekiyan seems to be that the deep bond of love that is formed of a true understanding between two people is of more value than a superficially shiny attraction, however passionate. shabana azmi has said that she thought yeh nazdeekiyan, with its forgiveness and reconciliation, would be a surefire hit, but she later found that the ending of arth resonated more strongly with women in the audience yearning for a reflection of their frustrations. (arth is also a better movie in every aspect of its execution by a long way, so the comparison is not entirely rigorous .) in arth, shabana azmi' s character choose not to return to her husband and her old life, after learning to her surprise that she could provide for herself and live fulfilled and contented without a husband. in yeh nazdeekiyan, shobhana learns these things too, launching a successful music career after she leaves sunil. but she still elects to take him back when he asks her to .
that is not an entirely unfeminist ending; shobhana makes the choice freely, without loss of agency, and there is nothing to suggest her career will not continue once the marriage is repaired. so perhaps yeh nazdeekiyan escapes the reset - button criticism that has been leveled at another self - discovery story, english vinglish, in which sridevi' s character' s self - actualization comes to an end upon her cheerful return to an apparently unaltered version of her previous life. the difference there is that while sridevi' s character learns a lot about herself during the movie, her husband does not; there is no parallel narrative for him. in yeh nazdeekiyan, to its credit, sunil learns lessons of his own. he starts the movie with an acknowledged roving eye, and ends with a greater understanding of the precious and unique relationship he has with shobhana. ironically, the most feminist aspect of yeh nazdeeekiyan may be wrapped up in this point: the defeat of patriarchal oppression requires not only the awakening of women, but the profound changing of men .
shabana plays her role with cool and casual professionalism but to little avail. nazdeekiyan remains a cheap imitation of an' art' film which is as subtle as a sledge - hammer with the emotional depth of a soft drink commercial .
yeh nazdeekiyan is a cliche trapped within a cliche, and the worst part is that it makes no effort to escape its predicament. its theme is the hackneyed love triangle (husband - wife - mistress) treated with a banality so severe that if there was a law against gross insensitivity, producer - director vinod pande would have been prosecuted. this is a pity because the story is simple and has potential for making a finely textured film about the tensions of love and marriage .
but despite shabana ji' s best efforts at a delicate touch, too much of yeh nazdeekiyan is ham - fisted, like those cringey sex scenes, or marc zuber' s allegedly charming flirtations which ring stiff and false in both scripting and performance. and too much of it is rambly and simply not well - crafted enough for all its earnest ideas and its one good performance to hold the day. it means well, but makes the worst misstep a movie can make: it is boring .
was looking around for a synopsis of yeh nazdeekiyan and stumbled across your blog. thanks for writing this. always fascinated by shabana' s acting and it was lovely to see her be the strong, silent woman unlike the crying woman aka arth. sad to see marc zuber cast as the sap but then he was stereotyped, handsome bloke though he was. thanks for the plot summary! though i can' t quite get over the ecstasy on shabana' s face when the sappy wimp came crying into her arms! !
yeh nazdeekiyan is not a very well known movie, which you can judge even from the fact i failed to look up a single decent sized poster for it. everything else that came up were photos of parveen babi running on the beach in a bikini and a bottle of coca cola in her hand, which i can imagine is the only truly memorable moment. it is one of those movies that just happened to get in my way and since i can never say no to shabana azmi i decided to give it a shot .
yeh nazdeekiyan is a film which deals with adultery. sunil verma (marc zuber) is the head of an advertising agency and is married to shobhana (shabana). sunil, as his profession demands, gets to interact with many beautiful models but he always keeps a professional relationship with them. but the entry of kiran (parveen) changes everything. he gets attracted to her and also gets into a physical relationship. his wife comes to know and decides to live separately. sunil is initially happy with kiran but then realises his mistake and eventually returns to his wife shobhana .
i have watched quite a few rotten movies out of love for shabana azmi. i did not enjoy the dour, crotchety avtaar, which tries to send a message about respecting one' s elders, and winds up just shaking its fist at kids today, those selfish, unfeeling jerks. nor do i have much nice to say about the amateurish morning raga, which looks as if someone filmed shabana ji giving a master class to a bunch of undertalented young actors. so yeh nazdeekiyan is far from the worst film i have ever watched for the sake of shabana - pyaar - that dubious distinction goes to the truly execrable son of pink panther, with gaja gamini snagging honorable mention - but it is not much better than avtaar or morning raga .
yeh nazdeekiyan gets legitimate points for boldness - not the superficial boldness of its clutchy, gaspy sex scenes between parveen babi and marc zuber, but the more substantive boldness of a consensual open marriage, an idea that makes many people squirm even today, in east and west alike. and of course shabana azmi is perfect in it, in her familiar avatar of the wronged wife who discovers a self - actualized identity in the shards of a broken marriage. this is the kind of role that aparna sen said she could not give to shabana ji, lest the casting spoil the story - because everyone knows how the arcs of such characters go when played by shabana azmi. but her performance is satisfying to watch all the same, understated, poised yet emotional. it is a comfortable space for both shabana ji and her fans, shabana azmi comfort food .
but sunil' s heart does soon stray toward one of his dalliances, or at least he thinks it does, for a while. the woman is kiran (parveen babi), a sriracha - hot model whom sunil is shooting for one of his commercials. when they meet, kiran' s friends dare her to make a pass at sunil. but he is cold to her advances, and the snub drives kiran to an obsession with winning his attention. in other words, kiran falls for sunil only because he shows no interest in her at all. this is an ugh - worthy way to write a female character and a romance. i have to acknowledge, though, that it is not entirely unrealistic - this sort of thing does happen. and so i cannot accuse yeh nazdeekiyan of lazy scriptwriting on this score, just unappealing scriptwriting .
in some fifty shabana azmi movies i' ve watched, i haven' t come across anything else as? demanding as ishk ishk ishk, gaja gamini, or the execrable son of the pink panther. but a career? that spans over a hundred films has its share of worse­than­average fare. i' ve tucked in to shabana? azmi comfort food even in ordinary movies like the plodding yeh nazdeekiyan, where, opposite? the utterly charmless marc zuber, she plays a type so common in her repertoire: the wronged wife, ? discovering her own agency in the ruins of a broken marriage. i' ve gritted my teeth through the? cloying earnestness of films like in custody and morning raga; the latter is populated with? ? wooden actors so far outclassed that it feels like shabana azmi giving a master class for a bunch? ? of amateurs. and, i' ve enjoyed her youthful turns in fun masala films like amar akbar anthony? and parvarish .
a high - flying ad executive, marc zuber, who with his compatible wife (shabana azmi), and lovable daughter in boarding school, leads a happy upper - middle class life till he sees through his director' s eyeglass the lissome body of model parveen babi, during an outdoor shooting session for a commercial. he is suddenly aroused by an animal heat which leads him to make love to babi on the living room floor, then the beach and on subsequent occasions in some other exotic places .
the affair blossoms in spite of an abortive attempt by zuber to break the relationship, where babi behaves like a child about to lose her favourite toy. meanwhile, the orgasmic pleasures of the couple are accompanied by the hackneyed symbolisms of thunderstorms and breaking waves .
shifting scene: the devoted wife continues to wait till midnight for her wayward husband to return. soon she surmises that the look of pained constipation on her husband' s face is not a medical problem and makes a vain attempt to revive her marriage by taking a holiday to the same place as their courting days .
inevitably a distraught babi barges in to disrupt things, which eventually leads to zuber' s confession and a dignified departure by his wife. she shuns his offer for financial support and successfully revives her career as a radio singer, while parveen babi merrily moves in to take her place. zuber continues to wear his pained helpless look till babi also figures out that it is not a medical problem and in fact, he is pining for his shabana azmi. magnanimously she moves out and wife and husband - surprise. surprise - renew their idyllic life together .
the supposedly' modern' people being portrayed in the film are dealt with in the platitudes of the commercial hindi cinema. perhaps the only modernism is babi' s unabashed hunger for sex instead of the usual coy tears of women on the indian screen. and the much talked about' hot scenes', however, show more of zuber' s bare back than babi' s shapely body .
the lack of authenticity is further compounded by the fact that the actors do not seem to be clear about which language they should communicate in. at times they are speaking chaste hindi and sometimes switching to high - flown urdu interspersed with bbc - accented english .
marc zuber, the actor from london, has an impressive presence, but his poor hindi diction suppresses the good actor hiding in him which sometimes flashes across when he speaks in english. babi' s acting repertoire in the film ranges from opening her mouth to show happiness and licking her upper lip suggestively to show ecstasy besides dropping her clothes at appropriate intervals .
love, passions, permissiveness can be an exciting mix, but can also be a dangerous potion beyond a point. 2nd film in vinod pande' s highly acclaimed trilogy about extra - marital relationships, alongwith ek baar phir (1979 / 80) and sach (1990). all about angst and ecstasy of forbidden love. featuring parveen babi, the most glamorous and controversial star of the 80s, and shabana azmi at their boldest at the time .
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sunil verma is the head of an advertising agency, and lives with a middle - class life with his wife, shobna. although sunil gets to meet many beautiful women during the course of his... see full summary »
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sunil verma is the head of an advertising agency, and lives with a middle - class life with his wife, shobna. although sunil gets to meet many beautiful women during the course of his employment, he has never really had an affair with anyone, and kept his relationship on a professional level. that is until he meets ravishing kiran. sunil has an affair with kiran, and eventually divorces shobna. it is said that the lives of models and actresses are quite shallow and superficial, but sunil feels that with kiran it is different. but when one is exposed to attractive people, both male and female, will kiran feel the same about him after a few months' relationship ?
kiran juneja was about to sign the film, when vinod pande got the chance to sign parveen babi. vinod signed her over night without informing kiran .
check out the indian movies with the highest ratings from imdb users, as well as the movies that are trending in real time .
sunil verma is the head of an advertising agency, and lives with a middle - class life with his wife, shobna. although sunil gets to meet many beautiful women during the course of his... see more »
sunil verma is the head of an advertising agency, and lives with a middle - class life with his wife, shobna. although sunil gets to meet many beautiful women during the course of his employment, he has never really had an affair with anyone, and kept his relationship on a professional level. that is until he meets ravishing kiran. sunil has an affair with kiran, and eventually divorces shobna. it is said that the lives of models and actresses are quite shallow and superficial, but sunil feels that with kiran it is different. but when one is exposed to attractive people, both male and female, will kiran feel the same about him after a few months' relationship? written by rajoo (gunwanti @ hotmail. com )
vinod pande offered the film to tina munium and she was excited about the role. but vinod wanted her to audition for the role. tina took offense to this and backed out. see more »
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she is the sine qua non of my love for hindi films. le sigh! also her dad kaifi azmi has a great cameo .
still, it has a few nice directorial touches. here, reciprocal jealousy at two different points in the film, conveyed with parallel shots and cleverly - chosen book titles in the display .
in the beginning of the film, shobhana (azmi) and sunil (zuber) share a marriage that seems buoyant with both passion and love. sunil, an advertising director, is something of a philanderer. at first it seems shobhana is being played, but when a friend confronts her about it, shobhana astonishingly explains that sunil' s excursions do not concern her. that' s just a matter of the body, she says. she has sunil' s heart, which is the important thing .
and speaking of unappealing, marc zuber is about as uncharismatic a wet noodle of an actor as one could cast opposite the presence of shabana azmi and the breathless heat of parveen babi. he broods, he mopes, he sets his jaw; it' s not even an unconvincing performance so much as it is an uninteresting one. coupled with the weak foundation of sunil' s relationship with kiran, zuber' s flatness drains the energy from a movie that seems to plod on for weeks .
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happily married advertising executive sunil (marc zuber) has a magical way with women that even his wife (shabana azmi) has come to accept. but when the gorgeous model kiran (parveen babi) enters sunil' s professional life, what begins as flirtation leads to a serious affair. managing two relationships on top of his job is too much for sunil to handle, and he must decide where his feelings and loyalties lay .
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shabana azmi). however passion gets the best / worst out of him the day the pretty, pretty parveen babi appears more naked than dressed, weaving herself around the chair and pretty much making love to the camera as she is trying to get a job in his new tv ad, because that is what he is – the guy supplying our small screens with promotional stuff. perhaps nothing would have come out of the meeting, had it not been for parveen´s persistance in trying to capture his attention – which very unromantically comes out of her being dared by her friends. in any case she gets drenched in the rain and yells at him a bit which ultimately does the trick and they spend a night together .
even though at first he tries to forget and behave as if nothing has happened, he succumb quite quickly when it comes to more meeting and more love - making full of passion – which is pretty much the only thing he is missing in his marriage. his libido switches off his brain for a while and what follows is an agonizing watch of him not even try to mend the relationship with his wife, just aimlessly lying in one bed or another (there were several very much adult scenes) and feeling sorry for himself. soon after his wife leaves him he finds out that sex is probably not everything, and proves to be an idiot once more when he brushes off every attempt of his lover to make their life happy. parveen´s character turns from wicked to highly naive, even stupid, but i guess falling in love does that to you .
shabana is amazing as is her custom, and the only good thing about the movie really, since she doesn´t sit around crying begging or moping, she faces all and comes out victorious. by her victory i do not mean she gets the guy back in the end (though yes, she does), but because she refuses to be reduced to a weeping wife blackmailing her unfaithful husband to come back with her little child or personal grief. she never succumbs to clever (and less clever) tricks to lure him back, as usually is the custom in bollywood films no matter if he cheated once or on every occasion possible. she has dignity. she is more than capable of picking up whatever she has left and start a new life, completely independent, even though heart broken .
moral of the film: you are in trouble if these are the words your husband uses to describe you .
overall the pace of the film was slow and if you do not have a fetish for elderly guy lying without a purpose among sheets - also boring. that much said the movie has a feel of reality, with nothing over - dramatized or overdone .
from which angle do you find shabana azmi
gorgeous
? lol! she may be a good actor, but lookswise she is a plain jane .
from my angle. beauty lies in the eye of a beholder. i admit she is not a classical beauty, but she has that something, which makes her beautiful .
all the reviews on this blog are my personal opinions. if you can´t respect that, kindly see yourself out .
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sunil verma, head of an advertising agency, shobhna, his wife and their daughter, studying in a boarding school, lead a happy, middle - class life. during an outdoor shooting session for a commercial, sunil falls for the charms of a beautiful model, kiran. the extra - marital affair disrupts the family life of sunil and shobna. in an attempt to revive her marriage shobhna takes a holiday when kiran barges in to disrupt things. sunil confesses to her affair and shobhna walks out of the home. she successfully revives her career as a radio singer, while kiran moves in to take her place. but soon sunil begins to miss and long for his estranged wife. now kiran decides to move out bringing the family together once again. [ 2 ]
reviewing it for india today, aroon purie called the film a
cliche trapped within a cliché
with a hackneyed theme. he went on to term the film a
cheap imitation of an' art' film which is as subtle as a sledge - hammer with the emotional depth of a soft drink commercial .
[ 2 ]
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submitted by wbri web desk on tue, 12 / 29 / 2009 - 16: 26 .
director vinod pande is known to boldly address controversy in his movies, and sins (2005, english) is no exception. sins is a tale of forbidden passion that gets hotter and hotter till it engulfs the lives of a catholic priest father williams (played by shiny ahuja) and a sensuous subordinate rosemary (played by seema rahmani). matters go out of hand when the increasingly frantic sexual relationship eventually gets the best of the priest and consumes him, threatening to engulf the woman' s life. graham (played by nitesh pande) is the good guy in the film - he has a large heart indeed, being married to rosemary, and the husband - wife pair need to figure out an way out of the all - consuming passion of the priest .
in spite of the steamy sex scenes increasing in intensity in sins (buy dvd), the viewer gets the impression that the carnal relationships portrayed on the silver screen somehow meshes nicely into the storyline, and contributes in a big way to the film actually becoming an emotional thriller and not just a meaty sleaze - fest .
given that the roles depicting desire are difficult to play, especially for relative newcomers in the star cast, shiny ahuja and seema rahmani deliver commendable performances. shiny ahuja' s alternating fits of lust and fury are carefully done, and seema rahmani portrays the entire gamut of emotions from sexual arousal through terror remarkably well .
a thoroughly disturbing movie, sins will go around in the viewers mind for quite a while after watching it, it touches some of the carnal circuits in the human brain that almost causes it to get stuck in the subconscious .
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suniw verma, head of an advertising agency, shobhna, his wife and deir daughter, studying in a boarding schoow, wead a happy, middwe - cwass wife. during an outdoor shooting session for a commerciaw, suniw fawws for de charms of a beautifuw modew, kiran, uh - hah - hah - hah. the extra - maritaw affair disrupts de famiwy wife of suniw and shobna. in an attempt to revive her marriage shobhna takes a howiday when kiran barges in to disrupt dings. suniw confesses to her affair and shobhna wawks out of de home. she successfuwwy revives her career as a radio singer, whiwe kiran moves in to take her pwace. but soon suniw begins to miss and wong for his estranged wife. now kiran decides to move out bringing de famiwy togeder once again, uh - hah - hah - hah. [ 2 ]
reviewing it for india today, aroon purie cawwed de fiwm a
cwiche trapped widin a cwiché
wif a hackneyed deme. he went on to term de fiwm a
cheap imitation of an' art' fiwm which is as subtwe as a swedge - hammer wif de emotionaw depf of a soft drink commerciaw .
[ 2 ]
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in some fifty shabana azmi movies i' ve watched, i haven' t come across anything else as? demanding as ishk ishk ishk, gaja gamini, or the execrable son of the pink panther? .? .. ?
sanjay gupta' s recent film jazbaa was getting lukewarm reviews during its run last month, so? ? when i texted a friend that i was going out to see it, i expressed some reservations .
two words ,
?? she wrote back ,
irrfan khan .
shabana azmi was my gateway into indian film, the sine qua non of my decade ­ - long obsession .
with her poise and beauty, her accomplishments and principals and no­? nonsense approach to all? aspects of her public life, she became my first love and has remained an all? -? time favorite. ? and so i have watched a lot of movies for no reason other than that shabana azmi was in them. ? indeed, i' ve travel? l? ed more than 200 miles to catch a shabana azmi film that wasn' t playing near? my city - ­ twice. the first trip was for reema kagti' s clever and lovable honeymoon travels pvt. ? ltd. ; the second was loins of punjab presents, a marvelously quirky movie by the late manish? acharya. each of these was well worth the trip; they are terrific films in many ways, not just treats? ? for the obsessive shabana azmi completist .
other films that i have watched primarily for her have not been quite so rewarding. jazbaa? deserves the tepid reception it got; it is a weak and carelessly scripted thriller, with dialogues that? are often embarrassingly ham­fisted. still, there is pleasure, for a fan like me, in the sheer gravity? that shabana azmi reliably brings to the screen in any role of a woman scarred and scorned. and? it is far from the worst i have endured for the sake of my first filmi love .
that honour goes to son of the pink panther, a grotesque misfire by the often brilliant blake? edwards. in this embarrassing miscarriage of edwards' s pink panther franchise, shabana plays ?
the queen
, the scheming wife of the emir of lugash, the franchise' s favourite fictional middle? eastern nation. the film is barely coherent, but near as i can tell the queen engineers a plot to? kidnap the emir' s daughter, demanding a pile of cash in ransom and the emir' s abdication. in his? place she hopes to elevate her lover, the sinister, mustachioed leader of the lugash military. ? what shabana azmi does in this sad pageant is look fabulous and vastly outclass every other actor? she interacts with. but even she cannot make the film watchable, with dialogues like these :
it' s hard to imagine that another film in shabana azmi' s impressive filmography could give this? atrocity a run for its money, but gaja gamini surely does. this work, supposedly an ode to his? muse by the artist m f husain, is a bizarrely amateurish paean to the objectification of women. ?
madhuri' s character, the titular gaja gamini, incarnates through the ages as a series of mysterious, ? diaphanous women, each of whom resides high on a conceptual pedestal. apparently, husain' s? great vision of the timeless power of woman is the limitless ability to sit around while men are? inspired by them to shape the world with art, science, and culture .
the segment with shabana azmi is actually the least cringe? -? inducing of the lot. but here, too, a? few minutes of shabana azmi doing the best she can with abominable material is not enough to? save gaja gamini (though madhuri, who so often elevates otherwise terrible movies into the realm? of watchability, also gives it her best). gaja gamini is a lot to endure for love of one actor, with its? ? embarrassing melange of stupid dialogues, vapid concepts, and stiffly acted? nonsense .
as shabana azmi' s biggest fan, it' s not just her award­? winning, mature performances that interest? ? me; i am equally drawn to the rawness of her youth, and the choices she made before her celebrity? was cemented and before her commitment to social activism crystallised. thinking of those early? days, it is understandable that a freshly? -? minted ftii graduate would not turn down an opportunity? to share the screen with a massive celebrity like dev anand. but the resulting film, anand' s vanity? project ishk ishk ishk — shabana azmi' s first mainstream role? — i? s a true test of my love .
the 1974 film was a box office disaster, with very good reason. anand was about 50 at the time of? shooting, and his creaky movements, terrible toupees, and pancaked skin overshadow any traces of? the charming hero he had been a decade or two before. naturally, though, he attempts a young and? energetic character, and romances not just a 23? -? year? -? old azmi, but a 22? -? year? ­old zeenat aman, ?? too. this is a lot to stomach. anand is not the first, and far from the last, aging hero to shoehorn? ? himself into age inappropriate circumstances, but it seems especially egregious here, in a film? whose most watchable moments are unintentionally comical ones .
shabana azmi' s brief role as? vapid, pouty, and fickle girl does not do nearly as much to redeem the film as some hilarious? footage of kabir bedi prancing around with an accordion does. ? ?
but with stout heart i will make my way through the rest of shabana azmi' s diverse and? interesting filmography, because for every one of these, there is an arth, an ankur, a godmother, a? superbly crafted piece of storytelling in which she owns the screen. whether she is having fun? playing farcical roles as in matru ki bijlee ki mandola, or harnessing fierce melodrama as in? jazbaa, i will keep watching, because even after enduring son of the pink panther, you never? forget your first love .
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marriage and home are one and the same, and both require an investment of effort to flourish against the buffeting of the world .
the message: once mother india has made the difficult decisions and painful sacrifices, those of her children who remain will be squarely on the road to prosperity.
yeh nazdeekiyan is a 1982 bollywood movie . the film exploring extra-marital relationship was directed by vinod pande . the film got an ' a ' ( for adults only ) certificate by the central board of film certification in india . the film starred marc zuber , shabana azmi and parveen babi besides mala jaggi , bharati achrekar , neena gupta , sudhir pandey and vinod pande himself . 
yeh nazdeekiyan is a 1982 bollywood movie. the film exploring extra-marital relationship was directed by vinod pande. the film got an' a' (for adults only) certificate by the central board of film certification in india. the film starred marc zuber, shabana azmi and parveen babi besides mala jaggi, bharati achrekar, neena gupta, sudhir pandey and vinod pande himself.
yeh nazdeekiyan is a 1982 bollywood movie. the film exploring extra-marital relationship was directed by vinod pande. the film got an' a' (for adults only) certificate by the central board of film certification in india. the film starred marc zuber, shabana azmi and parveen babi besides mala jaggi, bharati achrekar, neena gupta, sudhir pandey and vinod pande himself.