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Raj Kapoor’s Ram
Teri Ganga Maili conveys the filmmakers’ concern over the
pollution of the Ganga through the predicament of its heroine, Ganga
(Mandakani), a highland waif who has a one-night wedding to a
tourist Naren (Rajiv Kapoor). She gives birth to a son and leaves
Gangotri for Calcutta in search of her missing husband, carrying
with her the torment of exploited womanhood. She finds Naren
settling down to a new betrothal. She does not demand her rightful
due and dances at her lover’s wedding ceremony, covering her face
and agony with a long veil. Her ordeal ends when she is united with
her husband by his uncle. Instead of the RK trademark of class that
had been venerated for decades, what the audiences see in the film
is a screenplay that appeals to their voyeuristic instincts. All
things superfluous are highlighted resulting in the eclipsing theme
of the river’s pollution. Songs like Ek Radha Ek Meera, Yara O
Yara, Maine Tujhe Chun Liya, and the title song soar above the
movie’s appalling banality and are a tribute to Ravindra Jain’s
talent.
Mirch Masala was peppered with colourful performances
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Aparna Sen’s Paroma
is a powerful film on a daring theme — personal, including
sexual, emancipation of Paroma (Rakhee), a woman in her forties, who
is a wife, mother and an ideal daughter-in-law. She meets Rahul (Mukul
Sharma), a photographer, and mutual attraction brings them closer.
An affair brews between them without any guilt.Some of her
photographs taken by Rahul and already appreciated by her family,
appear in a magazine. She is criticised and castigated by her
family, including her husband. Shocked and shattered, she suffers a
mental breakdown. She attempts suicide. Her daughter who finds no
guilt in her relationship with Rahul, comes to her rescue and Paroma
comes through her ordeals.
The film is notable
for its theme rather than its cinematic qualities. Rakhee lights up
the screen with a performance that is hard to fault.
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Utpalendu
Chakraborty’s Debshishu is a fable against superstition. In
a fair, a freak child — a child with three heads — is exhibited
as a miracle-performing child-god. A poor farmer Raghubir (Sadhu
Meher), ruined by the fury of floods in his village thinks that such
a child can alleviate his poverty and sufferings. Later on he learns
that this mishappen child was born to his wife Seeta (Smita Patil)
who had clandestinely sold the infant. He tries to obtain royalty on
the profits obtained from the exhibition of the supernatural powers
of his child, but in vain. He beats his wife black and blue in the
hope that she will give birth to another freak child. Smita Patil,
Sadhu Meher, Rohini Hattangadi and Om Puri give mesmerising
performances.
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Ramesh Sharma’s New
Delhi Times is a political thriller that exposes the nexus
between crime and politics. Vikas Pandey (Shashi Kapoor), an honest
and conscientious editor of a paper New Delhi Times, throws
down the gauntlet to an unscrupulous politician, Ajay Singh (Om
Puri), who has links with a lobby of illicit liquor manufacturers.
As Vikas probes the
deaths of illicit hooch victims, many skeletons tumble out of
the cupboard. The trail of murders, sequestrations in mental asylums,
and instigation of communal riots in the state — all lead to the
crafty and corrupt chief minister.
The conscientious
journalist in particular and the citizens in general realise at the
end that they have been manipulated by the powers that be. Shashi
Kapoor impresses in a refreshingly difficult and challenging role as
an executive editor.
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J.P. Dutta’s
multi-starrer Ghulami depicts the charged communal situation
in Rajasthan. Ranjit Singh (Dharmendra) takes up the cudgels against
the corrupt, cunning and crafty zamindar (Shivpuri) and his
three nephews. Ranjit is joined by a policeman (Kulbhushan Kharbanda)
and an army officer from the Jat regiment — Mithun Chakraborty.
The objective of the
Jats is to seize and destroy the account ledgers of the rapacious
money-lending Thakurs so as to free themselves from the curse of
bonded labour. They succeed in their mission. When Ranjit Singh dies
his wife Moran (Reena Roy) and infant son vow to carry on their
struggle to its logical end. Rajasthan’s arid sand-dunes and
vultures hovering over the desert landscape impart an exotic ambience
to the film.
- K. Bhagyaraaja’s Aakhri Raasta
features Amitabh Bachchan in a double role. In one role he plays
David, a devoted union leader and ardent follower of Chaturvedi (Sadashiv
Amrapurkar). An unscrupulous politician Chaturvedi rapes and kills
David’s wife and frames David for her murder. Released from jail
after 24 years, David vows to settle scores with Chaturvedi. In the
second role, Amitabh plays Vijay, a police officer. Though the
reasons for David turning into a criminal are enough to redeem him,
yet Vijay arrests his father saying that crime cannot be justified.
The film is not so much about the conflict between a father and a
son as between a criminal and a cop. Amitabh sways the audience with
his charismatic charm and down-to-earth performance.
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