Shaan tells the story of DCP Shiv Kumar an honest, brave and upright police man. He live in the country with his wife, a daughter and two brothers Ravi and Vijay who are con men to the ... See full summary »
Left in the care of an alcoholic Gangu Ganpat (Shreeram Lagoo), young Heera, who named himself after a stray dog, wrestles with life in his young age. Years later, now a young man (Amitabh ... See full summary »
Being branded a coward for abandoning his ship full of over 300 passengers. Captain Vijay Pal Singh, is discharged from duty, humiliated by society and disowned by his parents. Feeling ... See full summary »
College student Mala has dreams of becoming a Bollywood movie actress; her dreams began materializing into reality when she is approached by Mr. Sharma and his assistant Mr. Verma who ... See full summary »
Ramprasad is a recent college graduate who finds a job with a finicky man, Bhavani Shankar, who believes that a man without a mustache is a man without a character. Bhavani Shankar is also ... See full summary »
Dashing pilot Arun romances Vandana Tripathi, and both in love with each other, become very intimate, and as a result Vandana gets pregnant. Arun and Vandana have a quiet temple wedding ... See full summary »
Don, a wanted criminal, dies in a police chase. DSP D'Silva is the only one who knows about his death, and to get hold of the gang he trains Don-lookalike Vijay. But Vijay faces danger from the police and from within the gang.
Raghav brags that he can smell a rat or an impersonator automatically, and Dr. Parimal Tripathi decides to take him on - result: funny family slapstick comedy, with a dose of pure Hindi and Urdu thrown in, especially the dialogue delivery by Om Prakash, Dharmendra, and Amitabh Bachchan. Notable songs are :Sare ga ma, ma sa re ga ma...."; "Ab ke sajan sawan me, aag lagegi badan mein, ghata barshegi, magar tarsegi nazar, mil na sakenghe do mahn ek hi aagan mein..."; "Chupke chupke chal di purvaiya, basuri bajaike raas rachaye daiya re daiya, chupke...". Written by
A newly married professor implements an amusing plan for getting introduced with the family of his elder brother-in-law under false pretense. It is approved by his wife and actively supported by a few friends. The couple doubly enjoys the secrecy. They continue the whole plan of joking tricks until it becomes enough. Otherwise, they enjoy the desperate love relation in a climate of adventurous hiding.
A prolonged play of secret humor--the broad connotative meaning of the title-- does not lose its relish due to the compact screenplay, the excellent performances of the casts, proper editing, wonderful music by Sachin Deb Barman and a few other supportive constituents of the film. Though the social composition of the characters, the social nature of turns and twists of the sequences focus on the educated urban Indian middle class, the lucid narrative seems to communicate a stable flow of comedian pleasure to all viewers. The final revelation of the true identities among the characters is accelerated because of the maturity of a new love relation. The narrative seems to challenge softly some insensible social norms. It also expresses its deep conviction about love and honesty of individuals and obviously its trust on the creative capacity of intelligent and humorous individual.
Any regular Indian film lover would enjoy the nice acting of at least four film stars--Dharmendra, Sharmila Tagore, Amitabh Bachchan and Jaya Bhaduri-- in simple social images and appreciate director Hrishikesh Mukherjee for another successful experiment. The film makes the spectator reminiscent of the genre, which rarely used the very close and the very long shots and rapid cuts. In spite of a theatrical design of the screenplay it could provide the actors and the actresses with the greater scope of establishing their performing talents. The use of bright light and sustained delight of the romantic characters in the family drama--initiated by an unconventionally sensitive, urban, academic personality--makes the film a bright entertainment.
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