A cabaret dancer and singer, Sheela (Zeenat Aman) has two admirers: a small-time thief Rajesh (Feroz Khan), and a young, eligible widower, Amar (Vinod Khanna). Both are best friends and ... See full summary »

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Cast

Cast overview, first billed only:
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Rajesh Kumar / Kailash Nath
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Sheela
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Inspector Amjad Khan
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Joe
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Fat women in car
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Jwala Singh
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Rakka
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Vikram Singh
Natasha Chopra ...
Tina
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Mohammad Ali
...
Mac
Narendra Nath ...
Traffic Cop
Raj Bharti
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Storyline

A cabaret dancer and singer, Sheela (Zeenat Aman) has two admirers: a small-time thief Rajesh (Feroz Khan), and a young, eligible widower, Amar (Vinod Khanna). Both are best friends and does not know that they love the same woman. Then an enemy in the gust of Vikram Singh (Shakti Kapoor) appears and make both men life miserable by exposing each others reality to one another, hereafter Rajesh and Amar's friendship turn upside down. Rajesh is blamed for Rakka's (Amrish Puri) death and is schedule to be jailed for a lifetime. While Amar along with Sheela and his small daughter escapes to the U.K. with a lot of diamonds and money stolen by Rajesh. Will Rajesh allow Amar to betray him or will he jumped to conclusion and escapes from the police to take revenge from his perpetrators? Written by gAvInDrA (brave_loverboy2004@hotmail.com)

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friend | widower | love | thief | dancer | See All (40) »


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Release Date:

20 June 1980 (India)  »

Also Known As:

O Sacrifício da Vida  »

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Trivia

Biddu felt his Hindi was terrible. He barely was able to read Indivar's lyrics "Aap Jaisa Koi Mere Zindagi Mein Aaye". He based the tune on the song "Dance Little Lady Dance" with Tina Charles. The rhythm was Latin based. He checked the lyrics and composed the song in a hour. See more »

Connections

Referenced in Raees (2017) See more »

Soundtracks

Hum Tumhen Chahte Hain
Performed by Manhar Udhas & Kanchan
Music by Kalyanji Veerji Shah & Anandji Veerji Shah
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User Reviews

 
Shtyle
6 June 2009 | by (India) – See all my reviews

Think Feroz Khan and Qurbani crops up. This is the actor-director-producer's signature work. His other films are more about individual parts not quite adding up to a syncretic whole. Not that Qurbani manages this entirely but it is the most well-knit of his oeuvre. The elements themselves have acquired a special place in the history of Hindi films. For starters, as with most movies that have done well at the box office, Qurbani's got great music. Kalyanji - Anandji scored big time with songs like 'Laila O Laila', the Qawwali 'Qurbani Qurbani' and 'Kya Dekhte Ho'. That the songs stand out in spite of the chart-buster 'Aap Jaisa Koi' scored by Biddu and rendered by Bangladeshi pop sensation Nazia Hassan, is credit to the duo. Utlimately though, this film is about 'Aap Jaisa Koi' and I guess the late Khan-saab knew he had something on his hands even while making the film. It features twice (so that Vinod Khanna can shake his head too !) and the guitar riffs are used extensively during the first half of the film. Strangely enough, it did not spawn imitators and remains a singular composition even today. There is a peculiar 'phoren' quality to it that other disco based Hindi songs do not have if one excludes the Arabic influences in our songs.

Vinod Khanna and Feroz Khan pull off their dosti act rather well. I still think of Vinod Khanna as an underrated actor despite his successful parallel wave during the Amitabh years. Then there is the feisty Zeenat Aman in probably the most glamorous turn of her career. You could watch Yaadon Ki Baaraat and Qurbani back-to-back and be forgiven for thinking they were released within a year of two of each other. A 7-year gap doesn't reflect on screen at all. Qurbani also gave me two chuckles. I knew Amjad Khan played, in his own inimitable style as it turned out, a cop-who-won't-stop character. Imagine this. During his intro scene, he announces to a flustered Feroz Khan - "Khan naam hai mera, Amjad Khan" ! The other chuckle is a well-documented whim of Feroz Khan. Only a man obsessed with translating his ideas on screen at any cost would import two Mercs, one for the rehearsal and the other for the actual scene, which involves the clinical decimation of a Merc. I think its impact on Indian audiences merits comparison with the 'D'you want me to talk ?' scene from Goldfinger. Just as world-wide audiences in 1964 had never seen a laser beam, Indian audiences hadn't even seen a Mercedes-Benz let alone ride in one. The execution is good too. At the end of the scene, when a suave Khan tells Amrish Puri to keep one rupiah - "half a rupee for losing the bet (that he couldn't drive a Merc which he demonstrates) and half for damage costs", one is watching the the essence of Feroz Khan's brand of cinema.


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