Ek Saal
Guru Dutt's glowing tribute to love Choudhvin Ka Chand is the story of mistaken identities. Pyare Miyan (Rehman) falls in love with Jameela (Waheeda Rehman) whom he catches a glimpse of at a mela. Meanwhile his old and sick mother persuades the maulvi to go to Haj on her behalf in exchange to get his daughter Jameela married to her son. Pyare Miyan thinking his love to be someone else refuses the match and instead persuades his best friend Aslam (Guru Dutt) to marry Jameela. When the two best friends find out this tangle of mistaken identities both are shattered torn between friendship and true love. Will the course of love run true? Who will be the one to make the terrible choice between love and friendship? Choudhvin ka Chand remains one of Guru Dutt's most enduring films having left indelible imprints of exquisite images of Waheeda Rehman at her beautifull best and music director Ravi's greatest hits.
A beautiful young woman is forced to lead a life of crime as her father is being held hostage by the underworld. Much against her wishes she is being forced to help the criminals. Here begins a taut suspense thriller set against the unique underworld of London. She eventually joins with a suspected criminal to fight the Don. Without the handsome young man's help she could not have turned against the gang. As circumstances develop they fall in love whilst fighting against the bad guys.
DVD
Chotte Nawab
Madine Ki Galian
Bharen Phir Bhi Aayengi is on one hand a classic love triangle and on the other the triumph of truth. Amita (Mala Sinha) the editor of a newspaper fires her young reporter Jiten (Dharmendra) for his story about some corrupt but influential builders only to discover that his report is true. She hires him back and secretly falls in love with him but finds out that Jiten is in love with her own younger sister Sunita (Tanuja). Meanwhile the pressure from the board of directors to fire Jiten mounts as his stories get too uncomfortably close to the truth... One of Guru Dutt's last films Baharen Phir Bhi Aayengi was under production when he died in 1964 and his brother Atma Ram completed the film casting Dharmendra in Guru Dutt's place. Guru Dutt had initially asked S.D. Burman to compose the music for the film subsequently replacing him with O.P. Nayyar. (Interestingly the Kishore Kumar solo Yeh Dil No Hota Bechara from Jewel Thief was rejected as the theme song for his film!). Apart from sensitive performances by Dharmendra Mala Sinha and Tanuja the film's music is one of O.P. Nayyar's best scores with such hits as Baharen Phir Bhi Aayengi (Mahendra Kapoor) Aap Ke Haseen (Mohd. Rafi) & Who Hans Ke Mile Humse often rated as one of Asha Bhonsle's 10 best songs.
Munish (Dharmendra) and JK (Feroz Khan) were friends bound together in many ways. JK has helped Munish in his education a trip to England for higher education and has now made him Engineer-in-charge for his prestigious dam project. JK's brother Ravi is engaged to Munish's sister. But these bonds of friendship are severly tested when Munish finds out that JK's vast empire is not built on totally honest business practices and refuses to support him. JK interprets Munish's behaviour as
Noir, Indian style: that in a nutshell is Raj Khosla's classic crime thriller C.I.D. (1956). Dev Anand plays the intrepid C.I.D Inspector Shekhar who is trying to solve the murder of a newspaper editor. On the way to achieving this he comes across a variety of stock film noir characters including a do-gooder with a dark side, a vamp with a heart of gold and a bumbling sidekick. All the elements of the genre are present, from the enigmatic woman to the cigarette-puffing hero to the tough police commissioner. And of course our hero finds true love as well. Produced by cult actor/director Guru Dutt, C.I.D. is a worthy companion piece to the Dutt-directed hit Baazi (1951) which explored similar territory. Cinematographer VK Murthy, who is now revered as one of the best ever, creates a shadowy, smoky world that perfectly frames the on-screen happenings. What makes it uniquely Indian is the introduction of several popular songs that enhance rather than disrupt the narrative. The suave Dev Anand is more of a soft-boiled detective than a hard-boiled one. But what makes the film memorable is Waheeda Rehman's vamp who is as coy, sexy and mysterious as they come. On the DVD: C.I.D. on DVD comes with a note that says "reproduced from vintage source for the sake of nostalgic appeal, hence possibly compromising on quality". Happily, the quality is quite good barring a couple of dropouts near the beginning. The black and white transfer is not as crisp as it could be, but given the state of film preservation in India it is quite acceptable. The subtitles are accurate. The best feature on the DVD is Nasreen Munni Kabir's three-part Channel 4 documentary "In Search of Guru Dutt" which is a comprehensive and fascinating look into the life and work of C.I.D.'s producer. --Nanan Ramachandran
Set in 1899, this musical drama from director Baz Luhrmann ("Romeo + Juliet") stars Ewan McGregor as a young poet who begins a passionate but doomed affair with the most famous courtesan in Paris (Nicole Kidman).
Kaalu (Guru Dutt) is a jobless common man aimlessly roaming the streets with no real ambition in life. He does small odd jobs and one day he takes up a job in a garage. There he meets and fall in love with Nikki who is the garage owner's daughter. Meanwhile he also meets a dancer (Shakila) in a bar where he goes to deliver a message to Captain from one of his jail mates. He asks Nikki's father for her hand in marriage who refuses as he thinks Kaalu as a worthless thug. Dejected he goes to see Captain and tells him of his dream to buy a taxi and become a taxi driver. Captains offers to buy him the taxi on the condition that it will be available for his use whenever he needs it. Kaalu agrees not knowing that Captain intends to use the taxi for smuggling. Kaalu then asks Nikki to elope with him. Nikki refuses. One day he finds out about Captain's nefarious activities and refuses to be a part of it. He is captured and about to be killed when Shakila tells Captain to force Kaalu to smuggle instead of killing him.
Call It Murder (Dir. Chester Erskine 1934) This is the story of a jury foreman whose vote sends a young woman to the electric chair for a murder she committed. His beliefs are tested when his own daughter goes on trial for a similar murder. Great Guy (Dir. John G. Blystone 1937): Ex-prize-fighter Johnny Cave (Cagney) Is knocked into the position of chief deputy of weights and measures after the current chief is hospitalized by an apparent assassination attempt. After only minutes on the job Cave goes several rounds with a ring of light-weight chiselers who have mastered the art of defrauding shoppers. Cave's aggressive political tactics make him the next likely target on the underworld's hit list. The Lucky Texan (Dir. Robert Bradbury 1934): John Wayne and his sidekick 'Gabby"" Hayes are gold miners who strike it rich. Unfortunately before they can enjoy the fruits of their labor they are wrongfully accused of robbery and murder. As always the road to the truth is never a straight path. Vengeance Valley (Dir. Richard Thorpe 1951): For his entire life Owen has been covering up for his good-for-nothing brother Lee protecting the rascal from their father's wrath. Finally however Lee's shenanigans go too far. After getting a young woman pregnant Lee shifts the blame to Owen. Lee even encourages the girl's brothers to get revenge hoping that with Owen out of the picture he'll become the sole heir to their father's farm. That's as much as any man can take...and Owen decides that it's time to settle the score. The Big Trees (Dir. Felix Feist 1952): A peaceful Quaker colony is thrown into turmoil by the arrival of a fast-talking lumber man. A new law will enable his company to harvest millions of dollars from the majestic redwood forests if the locals will let him. The community refuses to see their beloved sequoias wiped out and pleads with the greedy businessman to halt the destruction. As their clash of ideas rages on an even greater threat to the trees emerges. The Man From Utah (Dir. Robert N. Bradbury 1934): This John Wayne classic brings us to the rodeo. John Weston ('the Duke') has to deal with the corrupt patron who has killed some of the rodeo's performers and who fixes the competition to guarantee Weston to lose. Gangster Story (Dir. Walter Matthau 1960): Matthau plays mob leader Jack Martin whose girlfriend Carol (Grace) is desperate for him to give up his unlawful and dishonest lifestyle. The problem is Jack doesn't have the same yearning to turn his back on his shady past but the crunch comes when he persuades the bank manager to lease him an office in the building and promptly robs the bank! With events turning very nasty is there any point in Carol trying to save her man from himself when all the signs indicate that he's hell bent on a course to self-destruction. Beat The Devil (Dir. John Huston 1953): a wacky comedy that's played as straight as any film noir and is even funnier as a result. Five men (Bogart Lorre Morley Barnard and Tulli) are out to garner control over East African land which they believe contains a rich uranium ore lode. Billy Dannreuther (Bogart) is married to Maria (Gina Lollobrigida) the other four are their ""business associates"" and Jones and Underdown are added to the mix for some interesting diversification. As the boat leaves from Italy to Africa a hodge-podge of amusingly silly adventures begins. British Intelligence (Dir. William Nigh 1940): They say that Karloff preferred character parts and in British Intelligence he's Valdar a sabrescarred butler who might be a secret agent.
BAHAREN PHIR BHI AAYENGI is on one hand a classic love triangle and on the other the triumph of truth. Amita (Mala Sinha) the editor of a newspaper fires her young reporter Jiten (Dharmendra) for his story about some corrupt but influential builders only to discover that his report is true. She hires him back and secretly falls in love with him but finds out that Jiten is in love with her own younger sister Sunita (Tanuja). Meanwhile the pressure from the board of directors to fire Jiten mounts as his stories get too uncomfortably close to the truth... One of Guru Dutt's last films Baharen Phir Bhi Aayengi was under production when he died in 1964 and his brother Atma Ram completed the film casting Dharmendra in Guru Dutt's place. Guru Dutt had initially asked S.D. Burman to compose the music for the film subsequently replacing him with O.P. Nayyar. (Interestingly the Kishore Kumar solo Yeh Dil No Hota Bechara from Jewel Thief was rejected as the theme song for his film!). Apart from sensitive performances by Dharmendra Mala Sinha and Tanuja the film's music is one of O.P. Nayyar's best scores with such hits as Baharen Phir Bhi Aayengi (Mahendra Kapoor) Aap Ke Haseen (Mohd. Rafi) & Who Hans Ke Mile Humse often rated as one of Asha Bhonsle's 10 best songs.
When five friends return home from a high school reunion it is clear between them they share a dark secret. Their bond of secrecy is put under threat as the story of a friend who was buried alive begins to surface. They must attempt to survive the dark forces that lead them back to the shallow grave as one grisly event after another continues to plague them...
Featuring music by: Naushad. Featuring the songs: Chehre Se Apne Aaj To Parda (sung by Mohd Rafi) Dil-E-Betab Ko Seene Se Lagana Hoga (sung by Mohd Rafi) Janewale Tera Khuda Hafiz (sung by Lata Mangeshkar) Kal Raat Zindagi Se Mulaqat (sung by Mohd Rafi) Main Idhar Jaaoon Ya Udhar Jaaoon (sung by Asha Bhosle Manna Dey Mohd Rafi)
Chief Inspector Birkett (Ian Hendry) and Sergeant Saunders (Ronald Fraser) are called in to investigate the murder of a glamorous model. They discover that the murdered girl has led a chequered life and that her acquaintances include drug pushers. Jordan Barker (Jeremy Brett) and Hammond Barker (Peter Arne) are reluctant to help but when the police finally make an arrest another murder occurs in a seedy Soho Jazz caf. But are the two murders connected?
Set in the 16th Century India, Baaz is the story of Prince Ravi (Guru Dutt) who lives with his mother the Queen, in Malabar. Since the Portuguese traders have practically begun to rule the state, the royal family has been reduced to mere figureheads. Nisha (Geeta Bali) is the daughter of a revolutionary who, along with her father, is arrested by the Portuguese and sold as slaves on a ship. Witnessing the killing of her father, she becomes a revolutionary herself, fights the Portuguese, takes over the ship and ultimately becomes the leader of her group. Each time she attacks, a Baaz (falcon) comes and sits on her shoulder and hence her group is named BAAZ. Meanwhile, Prince Ravi is travelling by a Portuguese ship to Portugal to get crowned by their Queen. Nisha and her group attack the ship but Ravi is unharmed because he is Indian. Nisha also realises that he is the same man she had met on an earlier occassion when sparks flew... The attraction, ignited again, is mutual and Ravi not only romances her but also helps her to come ashore and start to fight against the Portuguese, not revealing his royal identity. Will Nisha ever get to know? How will she reconcile her love and her mission? Baaz marked the beginning of Guru Dutt's remarkable career as an actor and filmmaker and his long association with music director O.P. Nayyar, who scored for this film evergreen hits like Zara Saamne Aa, Har Zabaan Ruki and the Talat Mehmood song Mujhe Dekho Hasrat Ki.
The Red Right Hand
The movie begins in the dying moments in the life of a famous film director played by Guru Dutt. The movie then moves to the beginning of his career where he meets Shanti only a debutante and unsure of everything she does. His growing fascination for her prompts him to cast her in his movies. Her growing independence and stature and his subsequent decay into mediocrity the tension between their personal feelings and their professional goals sets the stage for the rest of the movie. The movie has several generally acclaimed songs by Geeta Dutt which are inextricable from the movie plot itself.
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