cul-de-sac is a 1966 british psychological comic thriller directed by the polish director roman polanski .

it was his second film in english , written by polanski and gérard brach .

the cast includes donald pleasence , françoise dorléac , lionel stander , jack macgowran , iain quarrier , geoffrey sumner , renée houston , william franklyn , trevor delaney , marie kean .

it also features jacqueline bisset ( credited as jackie bisset ) in a small role , in her second film appearance .

the black and white cinematography is by gil taylor .

cul - de - sac ( 1966 film )

isolation and madness in cul - de - sac ( 1966 ) – roman polanski .
dreams are what le cinema is for . . . : cul - de - sac 1966
featured in film présenté : cul - de - sac ( 1975 ) . see more »
isolation and madness in cul - de - sac ( 1966 ) – roman polanski . – celluloid wicker man
looking for movie tickets ? enter your location to see which movie theaters are playing cul - de - sac near you .
' repulsion ' & the next polanski film ' cul - de - sac ' can be read as both a contrasting and a similar pair .
cul - de - sac ' s greatest strength is that while its script resembles a bourgeois comedy of errors , its visuals are more in tune with existential horror .
i watch cul - de - sac every two - three years and never fail to consider it the best movie ever made ( together with 4 - 5 others ) .
cul - de - sac ( 1966 ) is a bleak nihilist tragicomedy filmed on location in northumberland . the tone and premise of the film owe a great deal to samuel beckett ' s waiting for godot , along with aspects of harold pinter ' s the birthday party .
this article is an adaptation of christopher weedman’s analysis of cul - de - sac in his soon to be completed m . a . thesis , victimization in the films of roman polanski .
as a study in kinky insanity , cul - de - sac creates a tingling atmosphere . this sags riskily at times when the director unturns the screws and does not keep control of his frequently introduced comedy .
alfred hitchcock , national observer 15 august 1966 . reprinted at urltoken : urltoken .
few films are as explicit in their depiction of character relationships that are at the mercy of the fluctuating landscape than roman polanski’s 1966 film , cul - de - sac . polanski had been to both ends of the environmental spectrum within his previous two films – the open waters of knife in the water ( 1962 ) and the cramped , claustrophobic london of repulsion ( 1965 ) – and cul - de - sac sees him returning to the ideas of the landscape delicately addressed in the former of the two films ; where characters are put under huge psychological strain through being stuck in each other’s company . whereas knife in the water had a more definitive human hand in the desertion from society , cul - de - sac raises the tension by removing all potential of escape . the characters are at the literal mercy of the tides of lindisfarne .
the current offering , which crept into town under cover of christmas and will doubtless creep out again in a day or two , is roman polanski ' s
cul - de - sac .
it arrives bedecked with the best film award from the berlin film festival and the critic ' s award from venice .
a year after knife in the water roman polański left for the west , where in france in 1963 he directed one part of les plus belle escroqueries du monde , and then ventured to britain to make films highly acclaimed by critics : repulsion ( 1965 ) , cul - de - sac ( 1966 ) , dance of the vampires ( 1968 ) .
brendan gill , “dead end” , the new yorker , 12 november 1966 , p . 115 .
hollis alpert , “know the enemy” , saturday review , 10 december 1966 , p . 65 .
although the film was generally well received in europe and awarded the prestigious golden bear at the berlin film festival , cul - de - sac fell victim to a hostile american press when it opened in new york on november 7 , 1966 . they found the black comedy an “odious freak show” ( 5 ) that would only entertain “those who can laugh while fighting off nausea and / or sheer amazement at the prodigious waste of talent on tripe” ( 6 ) . the critical backlash against cul - de - sac greatly contributed to the abrupt closing of the film’s new york engagement after a few days , a move that was criticised by both hollis alpert of saturday review and andrew sarris of the village voice ( 7 ) . sarris saw the cancellation as a key example of the challenges facing that era’s art - house film market :
andrew sarris , the village voice , [ new york ] 1 december 1966 , p . 27 .
and beware the literal - minded that insist on one
correct
understanding of the film . these are the kind of folks who can ' t tell you what they feel about a painting until they ' ve read the museum card .
that ' s priceless ! the astor theatre normally plays
cul - de - sac
on a double bill with
repulsion
. i think that these films are the sort that invite revisitation , for the very reason that they might seem puzzling to the first - time viewer . it reminds me about the first time that i saw
2001
, a lot to digest in one screening , but everytime i revisit it , the film becomes a more rewarding experience .
cul - de - sac
and
repulsion
only come around once every couple years on the astor calendar . even decades later and with polanski long established as one of the giant figures of cinema , a film like
cul - de - sac
is tough to sell to an audience .
kevin feige on digitally de - aging samuel l . jackson and clark gregg for captain marvel
in 1966 neither audiences nor critics were particularly responsive to trying to sort the whole thing out , so cul - de - sac ’s subsequent failure at the boxoffice threatened to sink polanski ' s newfound reputation as quickly as knife in the water ( 1962 ) and repulsion ( 1965 ) had established it . but in the famous words of john huston’s noah cross in polanski’s 1974 masterpiece chinatown : “politicians , old buildings and whores all get respectable if they last long enough . ” and indeed , cul - de - sac has enjoyed a major revival over the years . embraced by fans and polanski himself as one of his best and most cinematic films , it ' s hailed by contemporary film enthusiasts for many of the the very things it was reviled for back in the day .
france released , pal / region 2 dvd : languages : english ( mono ) , french ( mono ) , french ( subtitles ) , widescreen ( 1 . 66 : 1 ) , special features : black & white , documentary , interactive menu , scene access , trailer ( s ) , synopsis : a wounded criminal and his dying partner take refuge at a beachfront castle . the owners of the castle , a meek englishman and his willful french wife , are initially the unwilling hosts to the criminals . quickly , however , the relationships between the criminal , the wife , and the englishman begin to shift in humorous and bizarre fashion . screened / awarded at : bafta awards , berlin international film festival , venice film festival , . . . cul - de - sac ( 1966 ) ( culdesac ( cul de sac ) )
the exchange is a microcosm of cul - de - sac ’s taunting universe : a burn and a whip , leaving marks behind that signify nothing but the universality of boredom that sets in even after being shot , even after buying a castle . the inevitability of ennui is their worse - than - death fate .
polanski usually wrote his own screenplays or at least collaborated on them . that was the case on his second film in england , cul - de - sac , another story about people trapped in doomed relationships . his next effort , the fearless vampire killers , or pardon me but your teeth are in my neck , was a comic vampire film with dark overtones . it failed to make much of an impact .
the brainchild of roman polanski and longtime collaborator gerard brach ( the tenant , the fearless vampire killers , tess , frantic ) cul - de - sac represents the specific cinematic aesthetics , sensibilities , and humor of the pair . “when we were writing this script , we simply wanted to create a movie that would reflect our taste in cinema , ” said polanski to biographer , denis meikle , stressing a point difficult to contest . similar in tone to many of polanski’s short films , cul - de - sac has the look and feel of an extremely accomplished film - school thesis project and is the nearest polanski has come to making the kind of ' 60s new wave art film he spent a large part of his early career ideologically distancing himself from .
ken , i first saw this at an arthouse theater as part of a double feature with
repulsion ,
the first two polanski films i ever saw . what an experience that was . i have often cited
cul de sac
and
dr . strangelove
as my favorite black comedies . although i haven ' t seen the film in years , i did remember specific images and that fantastic setting and also the whole unique atmosphere of the film , and reading your post brought this back to me . an interesting comparison you made between this film and polanski ' s earlier short films . this idea hadn ' t occurred to me , but i saw what you were getting at , especially when you discussed the ambiguity of
cul de sac ,
which is like that of those earlier shorts .
one of polanski ' s highest regarded . brilliant british film and a must for every film fan .
in one of cul - de - sac ' s many allusions to identity and role - playing , straight - laced george reacts to his sexually mischievous wife dressing him in her peignoir and applying makeup . the gown worn by pleasence recalls that of catherine deneuve ( dorleac ' s real - life younger sister ) in polanski ' s repulsion
judith crist , “idle dreams about idols” , world journal tribune [ new york ] 20 november 1966 . reprinted in film facts , 1 january 1967 , p . 320 .
roman polanski ' s
cul - de - sac
is probably the most ' polanski - ish ' film the director has made . every sensibility of the famed auteur is on display here . from the genre bending , to the mental games of imposition , to the stylish cinematography , to the loopy performances .
cul - de - sac
also delights in being non - comformative and always hiding it ' s true intentions . after all , this is more of an abstract art film than a piece of narrative cinema ( maybe the most peculiar and obscure film he ' s made ) . what the film means seems to be a question polanski is not concerned with . he once said
it ' s just a film . . .
. if that ' s the case , why does it feel so decided and precise ? like everything we are meant to see is specially chosen ? polanski seems to suggest that his film is without a specific intent , which is odd . if that is what he really meant , then why did he fight for so long to get it made ? curious , indeed . whether
cul - de - sac
is utterly worthless , or , like i believe , tantalizingly alive inside it ' s mental threesome unreality , there is no denying it ' s a one of a kind motion picture .
i had heard very little praise surrounding polanski ' s cul - de - sac . given the amount of discourse generated around his most lauded films ( and his personal life ) this film was something of a discovery for me . this is a harrowing film . the brutal environment of an isolated castle and the depravity that goes on inside between our
heroes
( a married couple and a gangster on the run ) makes this film feel much longer than it ' s nearly two - hour run time .
roman polanski remains a fascinating filmmaker to this day . alongside andrej wajda and jerzy skolimowski , polanski came to the fore in the late 1950s in poland . the bfi in london are screening all of polanski’s films during january and february 2013 and throughout january , essays on separate films will be released here on flickering myth in the hope that you too can join us in reflecting on polanski’s diverse and ever - expanding career . next up is 1966’s cul - de - sac …
l ' univers de roman polanski ,
special section , in cinéma ( paris ) , february 1980 .
cul - de - sac is a 60 ' s happening colliding headlong with a film noir , the desperate hours on acid , the whole thing organized by roman polanski ' s youthful but already perverse consciousness . clucking chickens , couples making love , a castle - - all put awhirl with polanski ' s deadly , dark , internal logic . cul - de - sac also shows the influence of the theater of the absurd on polanski ' s work . gags , repetitions of nonsensical phrases , silly musical motifs , and unexplained plot devices that seem drawn either camp horror films , a body that doesn ' t seem to want to get buried . . . if this is a thriller , as it sometimes called , then , while the spirit of hitchcock is here , so is that of ionesco and beckett .
the following film notes were prepared for the new york state writers institute by kevin jack hagopian , senior lecturer in media studies at pennsylvania state university : it is the aftermath of a crime gone wrong . a car drones slowly along a road on some forgotten moor . sand and water slide by endlessly . two low - rent criminals are escaping from a caper gone horribly wrong . they ' ve both been shot . one of them , albert , is dying , and the other , richard , is trying to shake off his bullet wound . richard leaves the car , stumbling off in search of - - what ? cul - de - sac was roman polanski ' s third feature film , following knife in the water and repulsion , like all his early work , caused consternation for its carefree attitude toward plot and the mayhem it seemed to glory in . both repulsion and cul - de - sac were refused screenings at the cannes film festival , but regardless , the word was out by 1966 that polanski was one of cinema ' s most articulate and quizzical new voices .
, chosen by fipresci as the best film of the year and awarded at the berlin film festival for best directing .
if audiences can be kept away from [ polanski’s ] very original work , we should all stop babbling about the future of young film - makers . there is no future , and there is no audience… if films like masculine feminine , cul - de - sac , and fahrenheit 451 can be driven off the screen by two or three daily reviewers , perhaps by no more than one , where is the market for so - called personal , poetic cinema ? ( 8 )
hi richard that ' s quite an introduction to polanski ! most of the people i know find both
cul - de - sac
and
repulsion
to be interesting , but tough going ( i think that ' s polite for
boring
) . me , i think they are among his best efforts . i only got to see polanski ' s short films when i purchased the criterion collection dvd for
repulsion
and found it interesting how ( at least in two men & a wardrobe , mammals , and the fat and the lean ) polanski ' s fascination / obsession with samuel beckett and theater of the absurd brings him to the recurring motiffs of oddball couplings , barren landscapes , and , as you noted , ambiguous narratives . if you ever get around to wanting to see this film again , the remastered
cul - de - sac
is really gorgeous .
it ' s important to place cul - de - sac in time and place in polanski ' s career . after the success of his polish film knife in the water , roman goes to england and is in the middle of a three - film run in three years . in 1965 , he did the surprisingly incredible suspense film repulsion and after this film he ' ll go on to do the wonderfully campy take on the hammer horror film the fearless vampire killers . in between he films a script that he wrote with gerard brach . it ' s hard for me to know how to classify the film since it seems to fall within multiple genres - it ' s arty , it ' s certainly a black comedy , but it seems to ultimately sit within the confines of a suspense plot .
yet even the briefest peep at
bitter moon ,
mr . polanski ' s 13th movie , made it clear that the 57 - year - old polish - born director is once again using psychological tension in extremis as raw material . it is a subject he knows from his own turbulent life , and one that has served him well in his most acclaimed films , from
knife in the water
( 1962 ) and
repulsion
( 1965 ) to
cul - de - sac
( 1966 ) and
chinatown
( 1974 ) .
dialogue on film : roman polanski ,
in american film ( washington , d . c . ) , august 1974 .
( 1966 ) continued to explore his characteristic motifs : mania and omnipresent fear ; imprisonment and 3 - character conflict . his hollywood debut in 1968 was
when originally picked - up for american distribution by filmways , cul - de - sac carried the advertising tagline , “sometimes there’s nothing left to do but laugh ! ” , which really is an apt warning for anyone venturing to watch this vicious comedic gem . polanski’s comedy is of the “gnashing of the teeth” variety and derives most of its devilish humour from the physical and psychological abuse that the characters inflict on one another . most of the time the recipient of this abuse is george , played by donald pleasence in a repugnantly brilliant performance . whether he is being forced to cross - dress or being buried alive alongside a corpse , george offers little resistance and keeps returning for an additional helping . his desperate need for love and acceptance from his victimisers , dickie and teresa , has trapped him in an emotional cul - de - sac from which he cannot escape .
an odd mix of the plays of samuel beckett and harold pinter and such hard - edged humphrey bogart hostage thrillers as the petrified forest ( archie mayo , 1936 ) , key largo ( john huston , 1948 ) , and the desperate hours ( william wyler , 1955 ) , cul - de - sac is best described by polanski scholar ivan butler who declared the film to be the “grimmest of comedies , most hilarious of tragedies” ( 4 ) . the film harks back to polanski’s award - winning short film two men and a wardrobe ( 1958 ) , in that it paints a portrait of a sadistic world where the destitute , feeble , and maladjusted members of society are victimised by the masses for their perceived weaknesses and inability to conform . however , whereas the two chaplin - esque vagabonds of two men and a wardrobe are able to return with their bulky wardrobe dresser to the waters from which they emerged , the characters of cul - de - sac cannot seek refuge because they are hopelessly immersed in a desolate wasteland that t . s . eliot could have called home .
entretien avec roman polanski ,
with a . de baecque and t . jousse , in cahiers du cinéma , may 1992 .
tudo é tão insólito nesta primeira incursão de roman polanski pelo terreno da comédia que não dá para cobrar lógica de fatos e dos personagens . o diretor parece imbuído do espírito livre que tomava o cinema europeu na época e não explica muita coisa , deixando ainda mais nonsense o encontro entre dois gângsters em fuga e um casal que mora num palácio à beira - mar . theresa , personagem de françoise dorléac – irmã de catherine deneuve , que morreu um ano depois do filme – é quem mais incorpora o esse estado de inquietude que polanski impõe à trama , à montagem e à trilha sonora . embora tudo pareça estar a um passo de desmoronar , polanski filma tudo com tanto rigor e inteligência que o castelo se transforma num microverso caótico onde os personagens não se prendem a regras , mas estão estranhamente confinados uns aos outros .
but this on - set tension gave cul - de - sac its constant jolts of electricity , and it remains polanski ' s most unclassifiable and unpredictable film , especially when the castle is invaded by george ' s friends in place of the expected katelbach and richard has to pretend to be a surly manservant to avoid provoking suspicion . at the time , absurdist black comedy reigned supreme in the theatre , with beckett , harold pinter and eugene ionesco well established and joe orton recently emerged , but few british film - makers had even tried to pull off anything similar before polanski showed them the way .
dickie and albie , gangsters wounded during a botched “job” of an undisclosed nature , take refuge at the secluded retreat of retired businessman george , and his much younger wife , teresa . seeking nothing but a place to hide while awaiting rescue by the mysterious , mr . katelbach , the fugitive pair hold the newlyweds hostage , setting off a bizarre chain of power struggles , game - playing , and revelatory disclosures which ultimately lead each character to their personal cul - de - sac .
cul - de - sac ( 1966 ) had echoes of waiting for godot , but was more directly influenced by harold pinter , not only in the casting of donald pleasence , who had triumphed in pinter ' s the caretaker a few years previously , but also in the portrayal of sexual humiliation and in the relationship of the two gangsters . however , the depiction of a married couple ' s sexual tensions that erupt into violence when an outsider intrudes on their world was a favourite theme developed in the polanski - brach screenplays , one which the polish director had already dealt with in his first feature , a knife in the water ( 1962 ) .
yeah i keep hearing that about sand pebbles so i think i’m gonna skip it . i tend to be a completist but life’s too short and i want to move onto 1967 already . i however want to give alfie a chance . it looks fresher than the other 4 bp nominees and i’m a caine fan , so i wouldn’t like to pass it . i think i’m watching that , resnais’ “the war is over” and polanski’s “cul - de - sac” and consider myself done with this year .
the well - known link between the effects of isolation on human sanity may be one potential explanation for the bizarre goings - on in roman polanski’s 1966 psychological black . . .
polanski ' s next film is an adaptation of the french novel based on a true story , by bestselling author delphine de vignan . the film stars eva green and emmanuelle seigner and follows a writer ( seigner ) struggling to complete a new novel , while followed by an obsessed fan ( green ) . the film starts production in november 2016 from a script adapted by polanski and olivier assayas .
polanski ' s trademark skill at utilizing locations as though they are integral characters in the story is atmospherically evoked by the remote 11th - century castle that serves as the fortress / prison in cul - de - sac . situated high atop a craggy hill on the british peninsula of holy island , a major plot point has it that the access road to the castle is obliterated twice daily by high tides ( a similar device that was used to good effect in the 2012 daniel radcliffe thriller , the woman in black ) .
dokumentation : polanski und skolimowski : das absurde im film , zurich , 1985 .
film historian and theoretician , the author of multi - volume ‘film art history’ , erudite and connesuer of the europena cinema history . after 1945 , co - organizer of polish cinematography and co - founder of the lodz film school . lodz film school lecturer and director , and then rector ( 1957 - 68 ) . general editor of ‘the film quarterly’ and ‘cinema’ . in 1968 , supported student protests and was removed from the post of the rector . in the 70s , left for australia , where he founded the sydney film and television school . chairman of the international film archive federation ( 1948 - 72 ) , vice - chairman of unesco international film and television council ( 1966 - 72 ) , vice - chairman of cilect , the international film and television schools’ centre ( 1976 - 79 ) . after returning to poland he continued his scholarly work at the polish language and literature department at warsaw university .
cul - de - sac is roman polanski’s most existential film . its bored alienated characters dread the impending doom they seem to bring onto themselves . polanski’s previous film repulsion was more or less as bleak and hopeless , but it was received far more positively by audiences and critics , probably because they knew what to make of it . repulsion greatly transcended the horror tale polanski was paid to deliver while still being recognizable enough as a genre entry to be accepted by a wide audience . cul - de - sac is arguably polanski’s most challenging movie because it’s such an odd mix of comedy , drama , thriller , suspense , and horror . its primary tactic seems to be draining the signature elements of each genre , and thus the film is generally inert as everything slowly boils beneath the surface . it’s closest to black comedy , but most of the potential the laughs , come from the characters refusing to address the situation and generally hoping it will simply correct itself even though they obviously know it’ll never happen . the audience is not only never instructed whether to join the fun or recoil , chuckle or be repulsed , but polanski seems to dare us to laugh at shootings , a burial , and all sorts of humiliations so we’ll see ourselves for the self - satisfying hypocrites we are . regardless of the style of film he’s making , to roman polanski life is always a cruel comedy .
it has been 30 years since i first saw this film , yet it still rates as one of my all time favourites . forget about special effects and daredevil stunts - you won ' t see either of those in cul - de - sac . it ' s a strange film which highlights the devastating effect that unexpected events can have on human relationships . at first glance it ' s a black comedy , but running throughout the film are dark menacing undercurrents which maintain the attention of the audience . all of the leading acters are good , but donald pleasance , as the bumbling , insecure host to his unwelcome guests is outstanding . in my opinion his best performance ever . polanski ' s quirky direction has never been bettered , and the exterior photography is spectacular . brilliant .
landscape of a mind : interview with roman polanski ,
with michel delahaye and jean - andré fieschi , in cahiers du cinéma in english ( new york ) , february 1966 .
landscape of a mind : interview with roman polanski ,
with michel delahaye and jean - andré fieschi , in cahiers du cinéma in english ( new york ) , february 1966 .
director , screenwriter , actor and film producer , lodz film school graduate , oscar nominee for the full - length feature debut film ‘knife in the water’ ( 1962 ) . since 1963 has lived in the west making films in great britain , the us and france : ‘repulsion’ ( 1965 ) , ‘cul - de - sac’ ( 1966 ) , ‘dance of the vampires’ ( 1967 ) , ‘rosemary’s baby’ ( 1968 ) , ‘macbeth’ ( 1971 ) , ‘chinatown’ ( 1974 ) , ‘the tenant’ ( 1976 ) , ‘pirates’ ( 1986 ) , ‘bitter moon’ ( 1992 ) , ‘the ninth gate’ ( 1999 ) . the greatest actors such as catherine deneuve , jacqueline bisset , mia farrow , jack nicholson , harrison ford , ben kingsley , emmanuelle seigner , johnny depp , jodie foster , kate wintslet and christoph waltz have played in his films . master of pastiche and black humour , sophisticated narration ; in an original way he talks about cruelty , sex and insanity . for the film pianist’ ( 2002 ) awarded the palme d”or in cannes and oscar for best direction .
one of the biggest thrills to be had in watching cul - de - sac is to once again see a motion picture that demands attentiveness . the economics of filmmaking today ( to be profitable , movies have to appeal to as broad a demographic as possible ) has resulted in an uptrend in cinematic obviousness . movies today can’t afford to be misunderstood . everything is spelled - out , underlined , and explained with such pedantic literalness , a kind of passive , dull - wittedness has replaced active engagement on the part of the moviegoing experience .
polanski identifies with self - loathing george , but this isn’t the usual tale of him hulking up , reasserting his masculinity , and overcome the odds by defeating the big bully . some of that may be involved , but the focus is on the world colluding to drive george insane . he seems to act more like a normal man once his ulcer - ridden stomach is forced to allow some moonshine to eat away at it . but that only exemplifies the bizarre humor of cul - de - sac , a film where the main character is so far gone a drug has the reverse effect , bringing him back “inside the box” .
mccarty , john , the modern horror film , secaucus , new jersey , 1990 .
( 1933– ) polish director and actor . he established his reputation with the short film
mccarty , john , the modern horror film , secaucus , new jersey , 1990 .
at the same time , brach and polanski wrote the script for when katelbach comes ( later retitled cul - de - sac ) , for which they were unable to get financial backing until three years later , after the international success of repulsion ( 1965 ) . the first of four films polanski shot in england , repulsion was a psychological drama of the mental breakdown of a young woman ( catherine deneuve ) culminating in murder . according to brach , her problem derived from her fear of sexuality or sexual disgust , a strong element in the brach - polanski films .
returning to the alienating landscapes and seascapes that endowed knife in the water with a paradoxically exposed claustrophobia , cul - de - sac features perhaps roman polanski’s most immaculately realized black - and - white palette . he and gilbert taylor create a surreal world of flickering grayscale , the nuance of which is marvelously enhanced by criterion’s 1080p transfer . the beach scenes probably fair the best due to the aforementioned flatness of the harsh lights atop the pitch black of the distance ; the planate film grain seems to coruscate with desperation . the uncompressed audio is mixed smartly , with the creepily beach - house farfisa organ music always seeming one or two volume knobs twists too loud .
tired , wounded , and lost . cul - de - sac showcases suffocating claustrophobia and the deterioration of the human mentality . as the characters are further forced to challenge and confront one another , the greater the toll on their sanity , relationship dynamics , and the potential for fatality . the film plays itself out with a loose structure , creating an air of unpredictability and suspense without having to necessarily endure through contrived roads to achieve synonymous results . polanski captures a vibe that recalls the visual cues of michelangelo antonioni’s l’avventura and blends it with the punishing cruelty that is similar to some of godard’s films . though i found some of its pacing to be stretched and certain…
when researching knife in the water , it was clear that his exploration into social issues was a rare theme he tackled in his debut , but i do believe that cul - de - sac manages to touch upon some basic assumptions between the elitist , ignorant upper - class against the rough , hyper - masculine working class . dickie manages to mock george tremendously to teresa’s amusement and , only in the final moments does george manage to re - affirm himself and protect his wife . of course , it’s too late then , and the guilt , shame and anger at his own initial inaction combined with the self - destructing nature of his flawed attempt at protection ( destroying the only way of escape ; giving dickie an opportunity to use the tommy - gun ) leads to only further upset . knife in the water ended somewhat ambiguously as characters continued their life with no clear change – whilst cul - de - sac finishes as george , akin to gollum in the hobbit , perched atop of the rock , crying out about his own fate . he has lost the love he adored – not through the actions of others – but through his own inaction .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
thomson , david , a biographical dictionary of film , alfred a . knopf , 1994 .
granted the degree of the lodz film school doctor honoris causa on 3 march , 1993 .
granted the degree of the lodz film school doctor honoris causa on 27 october , 2000 .
granted the degree of the lodz film school doctor honoris causa on 6 december , 2001 .
granted the degree of the lodz film school doctor honoris causa on 5 october , 2006 .
granted the degree of the lodz film school doctor honoris causa on 6 june , 2008 .
granted the degree of the lodz film school doctor honoris causa on 9 december , 2011 .
granted the degree of the lodz film school doctor honoris causa on 11th october , 2013 .
granted the degree of the lodz film school doctor honoris causa on 8th june , 2017 .
s success , polanski enjoyed a reputation as one of the most interesting contemporary film directors .
director and screenwriter . in the years 1946 - 49 , studied at cracow film arts academy ; also finished the film foundation course ( 1946 ) . the fiction film ‘the village mill’ ( 1951 ) was his debut . the author of many distinguished literary adaptations : ‘mother joan of the angels’ based on jarosław iwaszkiewicz’ short story ( 1960 ; palme d’argent at iff in cannes ) , ‘pharoah’ based on bolesław prus’ novel ( 1965 ) , ‘the inn’ based on julian stryjkowski’s novel ( 1982 ) . as a film director he was fascinated by juxtaposing outbursts of mass hysteria with rationalism . this motif is present in almost all of his film . he was a consummate draughtsman of the complexity of human nature . since 1955 , head of the ‘kadr’ film studio . one of the co - founders and the first chairman of the polish film - makers society ( 1966 - 78 ) , in the 80s – lecturer at the lodz film school .
with new releases from the criterion collection , the ones i look forward to the most aren ' t always the major works or world cinema or the important independent releases . the most intriguing are usually the lesser - known works of well - respected directors . when i go down my list of directors that are masters of the craft ( meaning that they have control of all aspects from script to acting to filming ) - one name that will always appear is roman polanski . the man has given us classics in multiple decades : rosemary ' s baby in the ' 60s , chinatown in the ' 70s and the pianist in the ' 00s . the most recent criterion collection release is his 1966 film , cul - de - sac . i was excited to see this on the release lists because it ' s on of the few polanski films i had never seen - barely even knew about it .
polanski followed this with the dark psycho - sexual film bitter moon ( 1992 ) , followed by a film of the acclaimed play death and the maiden ( 1994 ) starring sigourney weaver .
founded in 1999 , senses of cinema is one of the first online film journals of its kind and has set the standard for professional , high quality film - related content on the internet .
sarris , andrew , the st . james film directors encyclopedia , visible ink press , 1998 .
in a direct parallel with the ghost ( titled the ghost writer on its us release ) , the family are isolated , cut off from the outside world as the phone line is disconnected . the marshy landscape and surrounding water combined with an upper - class elitism of the married couple , again connect with the pierce brosnan / ewan mcgregor thriller . unlike the ghost , though both films have an interest in the role of a powerful female , cul - de - sac has a clear comedic edge – mocking the childish weakness of donald pleasance against the “lan - dan gangster” of lionel stander , who carries a certain alan sugar - like charm .
cul - de - sac is polanski at his best early form , running up to the film that capped the first half of his career , 1968 ' s rosemary ' s baby . polanski was a survivor of the holocaust , and for him , mortal violence has been a fact of his life , not its exception ; from his youth , he has been an unwilling voyeur of some of humanity ' s most unthinkable acts . barbara learning has said that for polanski , the subject of violence is an obsession , as it certainly was for other directors of his generation . but not the doing of violence , rather , the watching of violence . polanski ' s sensibility in cul - de - sac is that of a child who has stumbled upon very adult goings - on , and is watching them through a keyhole , unknown to the preoccupied grown - ups . the child doesn ' t exactly understand what he sees , but he watches with analytical interest , each strange act receiving the same careful attention . the horrific events of august , 1969 , in which polanski ' s pregnant wife , actress sharon tate , and three others were killed in an orgy of violence by charles manson and his followers , did not slake polanski’s fascination with violence observed . rather , it seemed to confirm that his destiny was to be simultaneously a victim and a chronicler of the evil that men do .
the film is an interesting peek inside the mind of polanski . he ' s working through themes that we will see from him for decades to come . he loves to isolate characters in order to explore deeper emotions . in the pianist , that isolation becomes a fight for survival . here it ' s an artificial isolation that only lasts while the tide is in . it ' s beautifully shot in b & w , which is interesting because the one thing i take from his later films like fearless vampire killers is the vivid colors and complete control of the color pallette . the film is ultimately not as satisfying as i would have hoped . the gangster plot is mere window dressing . and the marriage and infidelity plot doesn ' t seem to be the ultimate cause of the resolution of the story . maybe that ' s really why the film has such an evocative title - cul - de - sac - is it all just a fancy name for a dead end ?
given his rape charge and also the vicious slaying of his pregnant wife sharon tate by members of charles manson’s “family” in 1969 , polanski has caused great dissension between film scholars , who are divided on whether or not the director’s dark films should be judged independently from his personal life . these events are so indelible in the public’s consciousness that it is hard to remember a time when polanski’s name was not associated with such sordid events . however , even before these tragedies , polanski was not a universally loved figure in cinema . unlike the cuddly , family - friendly hitchcock , who every week on his television program alfred hitchcock presents “brought murder back into the home , where it belongs” ( 2 ) , polanski was seen as a sadist , who , in the opinion of rosemary’s baby ‘s star john cassavetes , was someone “obsessed by the bloody and gruesome , behaving like some kid in a candy store” ( 3 ) . never was this notion more evident than in the reaction to polanski’s 1966 black comedy cul - de - sac .
i shall be returning the italian blu - ray version of cul - de - sac . yes , it ' s sharper than my standard dvd copy ( anchor bay ) but several scenes in the film are strangely significantly darker in blu - ray . one of the interior scenes changes from light to dark and back again within a minute . the night scenes on the beach are particularly murky on blu - ray but , again , perfectly clear on my standard dvd . in addition , the blu - ray offers only stereo sound in english while the standard version offers 5 . 1 . what a pity - this has been one of my favourite films since i first saw it in the 1960 ' s . perhaps the french blu - rversion listed by amazon won ' t have these odd fluctuations ?
the blu - ray ediiton has a flawless high - definition transfer . i can ' t imagine the film looked this good even in 1966 . there is a 2003 documentary on the making of the film and also a television interview with polanski from 1967 . in both cases , i found that there was more attention paid in the interviews to the process of the film than to the deeper meanings of the themes . the booklet essay by david thompson sheds some light but leaves me feeling like i read an excerpt from what should be a much longer book .
roman oratory ,
an interview with andrea r . vaucher , in american film , april 1991 .
on 7 october , 2016 , janusz gajos was granted doctor honoris causa degree of the lodz film school .
it ' s still odd to review a film with that cast and not comment on him at all .
caos calmo ( a . k . a . quiet chaos ( film ) ) as steiner ( 2007 )
maybe i should also give a try to godard’s “made in usa” and passolini’s “hawks and sparrows , but i feel like i’d never finish the year and it’s not like i’m closing the door to anything from 1966 or something , i’ll eventually watch them .
interview , in the film director as superstar , by joseph gelmis , garden city , new york , 1970 .
several examples will illustrate this . the story of the three characters in the film knife in the water , elegant , though full of tension resulting from frequent turns of action and changes in atmosphere is also a bitter and ironic story about the shallowness of dreams , about a career which , on one hand , determines certain social roles , but also deprives the individual of his freedom . in the film cul - de - sac the system of values which the main characters embody is totally discredited thus it becomes a grotesque fable about violence and psychological captivation . the films repulsion and the tenant made in the thriller genre , are at the same time shocking studies of human loneliness . rosemary’s baby is not only a film with satanic themes , but also a penetrating analysis of the state of consciousness and the emotions accompanying a woman expecting a baby . bitter moon , a film saturated with eroticism or even erotic perversion is a parable full of sad afterthoughts about the destructive force of passion in which there is no room for love , tenderness or sense of attachment , which provide the premises for a long relationship between a woman and a man . even chinatown , which in a congenial manner fulfills the requirements of a literary or “film noir” crime story , contains elements of an antique drama ruled by the forces of fate .
polanski ' s french - language adaptation of the award - winning play venus in fur , stars his wife emmanuelle seigner and mathieu amalric . polanski worked with the play ' s author , david ives , on the screenplay . the film was shot from december 2012 to february 2013 in french and is polanski ' s first non - english language feature film in forty years . the film premiered in competition at the 2013 cannes film festival on 25 may 2013 .
film and theatre director , screenwriter and art director . studied fine art and then film direction at the lodz film school . oscar as life achievement award winner ( 2000 ) . co - creator of the ‘polish school of film’ , one of the most important trends in post - war cinema ( ‘generation’ , ‘canal’ , ‘ashes and diamonds’ , ‘speed’ ) . author of extraordinary screen adaptations of polish literature ( wedding’ , ‘promised land’ , ‘pan tadeusz’ ) . head of the ‘x’ film studio ( 1972 - 83 ) and the chairman of polish film - makers society ( 1978 - 83 ) , and later its honorary chairman . author of the film triology , ‘man of marble’ ( 1976 ) , ‘man of iron’ ( 1981 ) and ‘walesa . man of hope’ ( 2013 ) . founder of the andrzej wajda master school of film directing in warsaw ( 2002 ) . as a theatre director has worked with the stary theatre in cracow .
is 1966’s the worst lineup ever in ampas history ? this and “a man for all seasons” are as bland as it gets , and that virginia woolf mess is pretty dumb . i still have to watch “alfie” and “the sand peebles” , but they don’t look very promising…
( based on thomas hardy ' s novel ) with nastassja kinski - the most expensive film made in france at the time . it gained polanski yet another oscar nomination and a césar award for best direction . polanski ' s next film ,
the school film production unit organizes and carries out the production of about 300 film projects a year . with its help the following student films are made : fiction and documentary films of film directing students , directors of photography films , animation films and television dramas . films made during workshops or regular classes are recorded on all kinds of media ; traditional optical film stock as well as analogue and digital video . all areas of film production work in units : camera equipment , sound , editing , scenery , props and set design are all involved in the making of every film from the shooting stage to the production of the final print . we are trying to keep up - to - date with each technical innovation as it appears in the world of contemporary film technology . each year , new equipment is purchased and the film and television studios are equipped so that the school can give a taste of professional production , so that students , the future filmmakers , feel at home in this environment .
christopher weedman is a visiting assistant professor in the department of english at kutztown university of pennsylvania , where he teaches courses in film studies . his scholarship has appeared in quarterly review of film and video , senses of cinema , and the edited anthology fifty hollywood directors ( routledge , 2015 ) . he is currently writing a book on joseph losey and harold pinter’s film collaboration .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
how i rank / rate his filmography : 1 . the tenant ( 1976 ) 9 . 6 2 . chinatown ( 1974 ) 9 . 6 3 . rosemary ' s baby ( 1968 ) 9 . 0 4 . the pianist ( 2002 ) 8 . 4 5 . the ghost writer ( 2010 ) 8 . 2 6 . dance of the vampires ( 1967 ) 8 . 0 7 . repulsion ( 1965 ) 8 . 0 8 . cul - de - sac ( 1966 ) 8 . 0 9 . la vénus à la fourrure ( 2013 ) 8 . 0 10 . nóz w wodzie ( 1962 ) 7 . 8 11 . carnage ( 2011 ) 7 . 8 12 . tess ( 1979 ) 7 . 5 13 . death and the maiden ( 1994 ) 7 . 2 14 . the ninth gate ( 1999 ) 7 . 2 15 . oliver twist ( 2005 ) 7 . 0 16 . the tragedy of macbeth ( 1971 ) 6 . 5 17 . bitter moon ( 1992 ) 6 . 0 18 . what ? ( 1972 ) 5 . 0 19 . frantic ( 1988 ) 5 . 0
nationality : polish . born : paris , 18 august 1933 . education : krakow liceum sztuk plastycznych ( art school ) , 1950–53 ; state film school , lodz , 1954–59 . family : married 1 ) actress barbara kwiatkowska , 1959 ( divorced 1961 ) ; 2 ) actress sharon tate , 1968 ( died 1969 ) ; 3 ) actress emmanuelle seigner , 1989 . career : returned to poland , 1936 ; actor on radio and in theatre , from 1945 , and in films , from 1951 ; joined filmmaking group kamera as assistant to andrzej munk , 1959 ; directed first feature , knife in the water , 1962 , denounced by polish communist party chief gomulka , funding for subsequent films denied , moved to paris , 1963 ; moved to london , 1964 , then to los angeles , 1968 ; wife sharon tate and three friends murdered in bel air , california , home by members of charles manson cult , 1969 ; opera director , from 1974 ; convicted by his own plea of unlawful sexual intercourse in california , 1977 ; committed to a diagnostic facility , department of correction ; upon completion of study , returned to paris ; also stage actor and director . awards : silver bear , berlin film festival , for repulsion , 1965 ; golden bear , berlin festival , for cul - de - sac , 1966 ; césar award , for tess , 1980 . address : lives in paris .


yuddho ( or juddho ) ( english : war ) is a bengali language action drama film released in 2005 and dubbed in odia .

directed by rabi kinagi , the movie featured mithun chakraborty , jeet , koyel mullick and debashree roy .

yuddho

@ jeet30 @ jeetmusic watching # yuddho . . 1ta action film ao j ato lovely music numbers thakte pare , really amazing spclly # kichuasha , # boisakhete
@ yourkoel gd nit didi , after # mlafatakesto # yuddho ar por nw abr m . g ar sathe , experience ki ager moto ? ? janio plss
@ idevadhikari dev trust me i am super excited for your new look in # yuddho it will be so much heart touching movie in the year . i am sure
@ jeet30 just now finished # yuddho on jalshamovies . watched uncountable time . at last can say ' i salute to u inspector সুর্য সিনহা ' : ) # gn
@ jeet30 watching # yuddho . . akhane tomar total 3te song ache . . r 3tei sonur gaowa r amr fvrt sonu ' s voice with your killing expression ! !
ajj fully koel day enjoy korlam : * 1st # herogiri 2nd # paglu2 3rd # rangbaaz 4th # ghatak 5th # premerkahini 6th # yuddho @ yourkoel thanx di . .
song name : swapno jeno pelo vasha from # saat _ paake _ bandha , but tunes played se chilo boroi anmona from # bandhan nd tumi amar prothom prem i love u from # yuddho .
4 ti movie te . . 1 . # yuddho 2 . # shatru 3 . # power 4 . # inspector notty k ( upcoming ) # bidhater _ lekha little police roll , # bkpk ( not a real police but some scenes playing police roll ) # inspectornottyk .
ghosts and goons to puppy love and mature relationships & apos ; a host of bengali films promise to pull in the crowds this season . metro lists what to expect .
storyline : working mother locket buys her seven - year - old son a talking doll . once the doll is brought home , strange things start happening including the gruesome murder of locket & apos ; s colleague . with sleuth sabyasachi on the case and a tantrik baying for blood , the plot hurtles towards a ghostly chase .
watch out for : shot in sync - sound with a handheld camera , the bengali & apos ; remix & apos ; version of hollywood horror film child & apos ; s play , mantra also marks the directorial debut of editor maitra and the comeback vehicle for saregama films . & apos ; it & apos ; s spooky but highly entertaining and high on thrills . this is not a blood and gore film , & apos ; says maitra .
storyline : rituparna runs into her office colleague shilajeet five years after the death of her husband ( sabyasachi ) in a hill station . though she lives in the past most of the time , a new relationship blossoms with her old friend which draws her towards the future .
watch out for : some scenic beauty of kalimpong , and rituparna as the woman at the crossroads of life . & apos ; it & apos ; s a film about untold love and a strange relationship that has a universal appeal , & apos ; says director dasgupta about his debut . he has co - written the script with wife manjulika .
storyline : prosenjit is everybody & apos ; s favourite raju uncle at the orphanage he runs despite a cash crunch . he also saves damsel - in - distress sayantani from the clutches of some goons and gives her shelter . love blossoms amidst the twists and turns .
watch out for : the romantic chemistry between prosenjit and model - turned - actress sayantani . also look out for the toy train sequence shot in darjeeling , a la parineeta .
& apos ; it & apos ; s a film which children will find highly entertaining . we have built up the climax through a lot of suspense , & apos ; says producer pijush saha .
storyline : mithun is an honest cop who loves to mow down criminals . a chance meeting with jeet makes mithun want to bring the educated - youth - turned - rebel into the police fold . but by the time jeet returns home , the cop has turned fugitive for the alleged murder of his wife . then on , it & apos ; s all about mithun on a vendetta track with jeet hot on his trail .
watch out for : a & apos ; taut action thriller & apos ; starring mithun and jeet for the first time . while the two men battle for the leading man & apos ; s slot , the pretty ladies ( debasree and koel ) will be adding the glam quotient .
& apos ; i am working with mithun in a mainstream film after a long time . we had worked together in troyee , chaka , ferari fauj and nadir teere sagare , & apos ; said debasree .
footnote : also in the running is swapan saha & apos ; s rajmahal , starring prosenjit and rachana banerjee , with lots of spooky elements thrown in .
from the colour black to the darkness of nishijapon . the party people stripped off their veneer or an artist & apos ; s struggle to come to terms with his wife & apos ; s body . there & apos ; s no faulting bollywood or tollywood on the variety score this year . but what about the hits , the misses and the talking points to date & apos ; here & apos ; s a breeze through & apos ;
storyline : a fitting tribute to the spirit of hellen keller , the film revolves around the unique relationship between a blind - deaf - mute girl and her never - say - die teacher .
plus point : bachchan and rani act out a human drama with a difference . & apos ; black was quite an extraordinary experience . ( for sanjay ) to make black after the colourful and grand devdas is a great departure . that & apos ; s a sign of a genius , & apos ; says amitabh bachchan .
storyline : a peek into the high - flying party life of mumbai through the eyes of a journalist .
plus points : bhandarkar & apos ; s roving , and often intrusive , camera , a novel theme and effortless performances . & apos ; the honesty of the effort shines through in every frame , & apos ; says boman irani .
storyline : a broken marriage in the first few reels , an extra - marital relationship in the next few , and a gripping thriller from there on .
plus point : the bhatt formula of making small - budget ( rs 3 - 4 crore ) thrillers . & apos ; the director and producer used the sex thing to create hype around the film , to make the audiences come to the halls . they always knew , once the audiences came to the theatres , they would love the film , & apos ; says udita goswami .
storyline : a fairytale set in the pristine locations of russia , where a schoolgirl and an older man fall in love while on the run .
plus point : salman khan still rocks at the box - office , especially with ash ii for company . & apos ; lucky is a love story with a fable quality , & apos ; say rao and sapru .
storyline : a family drama where a super - rich dad suddenly realises that he has to make his son realise the importance of money before his time ( he has a fatal disease ) runs out .
plus point : families are booking tickets in bulk to laugh in the first half and cry in the second . & apos ; it is an honest film about emotions . we are real . the relationships are real & apos ; everybody who loves someone fears losing him or her , & apos ; says akshay kumar .
a throwback to the turbulent times of the sixties through three different mindscapes make sudhir mishra & apos ; s hazaaron khwaishein aisi one of the best films to come out from india in recent times , while the honesty of my brother & apos ; nikhil tosses up a fresh perspective to the persistent problem named aids .
the first four months have been a downer for tollywood . of the dozen releases , the mythical potboiler devi is reportedly doing brisk business in the suburbs . but tinsel town , as we know it , is still waiting for its first hit of the year . here & apos ; s focusing on the five most talked - about films that have sailed through this tepid season .
storyline : after love at first sight , artist koushik discovers on his wedding night that wife churni is flat - chested . as the marriage sours , tota steps in to win the woman & apos ; s heart and steal a march over his friend .
plus point : pre - release hype coupled with a controversial subject is pulling in the college crowds . & apos ; nandan is doing daily business of around rs 75 , 000 . on weekends , it is touching rs 85 , 000 . talks are on with mumbai - based shringar films for a nationwide release , & apos ; says kaushik ganguly .
storyline : a family of five and a guest are stranded in a desolate cottage in the hills when a landslide snaps all sources of water , food and electricity .
minus point : something & apos ; s missing , say some . the drama isn & apos ; t taut , say others . & apos ; not all films can be a bombaiyer bombete , & apos ; counters sandip ray . & apos ; it has been a dream production but i am not satisfied with the distribution . publicity has really been very low . & apos ;
plus point : much of the charm in probhat roy & apos ; s comeback film after three years comes from the rustic hero adapting to the ways of the world . plus , the proven screen chemistry of jeet and koel . & apos ; i have packed in everything a family would want to watch together & apos ; comedy , emotion and drama , & apos ; says roy .
storyline : fighting against a corrupt social set - up , prosenjit flits in and out of six different looks to beat the bad men .
run : a little more than two months in the city . still on in the suburbs
minus point : prosenjit & apos ; s role - swapping didn & apos ; t work with his fans , despite the smart editing and sleek frames .
plus point : lush south india locales , sharp camera work and bollywood beauty rambha & apos ; s oomph , not to forget the mithun - tlv prasad combo . & apos ; cheeta is the remake of a hit south indian film with a good budget , & apos ; says shyamal dutta of eimpa .
director : amol palekar cast : shah rukh khan and rani mukherjee . cameos by amitabh bachchan and juhi chawla why watch : palekar goes mainstream with this film based on a folk tale about a woman who falls in love with a ghost
mithun , koel and jeet celebrate the film & apos ; s success at a city hotel . picture by aranya sen
it takes two to tango in tollywood , in today & apos ; s times , at least . the box - office jinx kept tripping tinsel town for the past six months till two leading men teamed up to vault it on july 29 . now , with house - full shows and deafening catcalls , the film industry is finally breathing easy .
riding high on the combined box - office might of mithun chakraborty and jeet , action thriller juddha has grossed more than rs 2 . 5 crore .
directed by ravi kinnagi , with debasree roy and koel mullick also in the lead , the film recorded an unprecedented initial of rs 1 . 2 crore in the first week .
footfall at the theatres & apos ; juddha was released at mitra , bharati and prachi in the city & apos ; this august has come as a shot in the arm for an industry reeling under a spate of flops and average scorers from the start of 2005 .
in the first week , juddha ran to 90 per cent occupancy at mitra , while prachi and bharati recorded 100 per cent collections . such high initials have smashed all previous records in tollywood , claims shrikant mohta of shree venkatesh films , which has produced juddha with a budget of around rs 2 - crore ( including print and publicity ) . & apos ; all the theatres where the film is running have reported profits . we have had 95 per cent overall collections . we didn & apos ; t expect anything like this , as it & apos ; s an action film , & apos ; mohta says .
while a bengali film is normally released with a maximum of 30 prints , venkatesh released juddha with 41 prints across the state . the ticket rates had also been raised by more than 50 per cent , which added to the profits , explains mohta . the new rates at bharati , for instance , are rs 20 for rear and rs 25 for balcony stalls .
& apos ; juddha is a superhit . we have had house - full night shows over the weekends , which is rare these days , & apos ; confirms mitra owner dipen majumdar , adding that it could well turn out to be the top grosser of the past three - four years .
from the venkatesh stable , juddha is the second action film to have rolled out after pratibad , starring prosenjit and wife arpita , in 2001 . in between , there have been quite a few of this genre under other banners , with prosenjit or mithun at the helm .
but juddha is again one of those inexplicable instances of the box - office performance being just right though the plot is almost all wrong . supercop mithun rounds up para rowdy jeet but discovers the good soul hidden within . and just when friendship begins to bind the two men , a corrupt mla kills mihun & apos ; s wife debasree to settle a score . framed for the murder , mithun turns fugitive , while jeet slips into cop gear to stop his mentor . and then , the cat - and - mouse chase that bollywood has long slammed its brakes on .
so , what has juddha going for it & apos ; the mithun - jeet combo , a sizzling item number , a fast pace , a slick look & apos ; one leading man couldn & apos ; t agree more . & apos ; the most important factor i think is me and mithun da coming together for the first time . that apart , juddha is above the normal bengali film in terms of stylisation , pace , content , looks and promotion , & apos ; sums up jeet .
& apos ; with jeet and mithun carrying equal weight , this is the first of its kind multi - starrer in tollywood . and the audience wants to see who scores over whom , & apos ; stresses mohta .
the racy remix version of the popular folk song saadher lao , to which gladrags supermodel contestant konkona bakshi shakes her hips in a skimpy outfit , has also done its bit to boost footfall .
& apos ; we expect juddha to run till the pujas and we will leave a gap before releasing our next , shubha drishti , & apos ; adds mohta .
if juddha is aimed squarely at the masses , shubha drishti , a rajshri - venkatesh co - production , will spring a step forward to pull in those hooked to parallel films , when it releases in the kali puja week .
kichu asha khoje bhasa ( hd . . .
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
sure sure aaje mon ( hd full . . .
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koyel mollik at hyland park . for opening
hemlok socity
music cd . recording by myself . koel mollik
action film is a film genre in which the protagonist or protagonists are thrust into a series of challenges that typically include violence , extended fighting , physical feats , and frantic chases . acti
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the story revolves around a young lady , sarbani . she has a son , bunty . years before , sarbani loved indranil . indranil and sarbani had a physical relationship and bunty is the ultimate result of that relationship . before their marriage indranil died in an accident . indranil was the eyewitness in a murder case . amar mitra , a young police officer was investigating that case , and he took indranil as his witness . amar could not save his witness , indranil was murdered by those criminals . indranil died , and sarbani lost her love and the colour of her life . she became an unwed mother , her father committed suicide . she has not forgiven amar and still now she hates him . she is now a school teacher but dresses as widow and lives with bunti and her younger brother soumen . soumen is a college student , who falls in love with nandini , another student . amar who is a very honest officer , is now starting his battle against anathbandhu , his father jagatbandhu and their gang . jagatbandhu is in an illegal business . incidentially , amar comes close to bunti , which makes sarbani ' s angry . amar also meets soumen and nandini . sarbani gets scared when the murderers of indranil threat her . years later , now she discloses to amar that she is also an eyewitness of that murder case . jagatbandhu cames to know about this by the murderers . jhantu , a spy of amar listens to all this and their plan to kill sarbani . he tells everything to amar . amar loves sarbani , knowing this , his mother comes to sarbani and proposes for her son . at that moment , the murderers try to shoot sarbani but amars mother is shot at by accident and dies . they also kill jhantu . in the end , jagatbandhu dies by amar ' s gun shoot . sarbani acccepts amar as her husband .
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the story revolves around police officer agnishwar ray ( mithun chakraborty ) , who keeps getting transferred due to his aggressive nature towards criminals . he ends up at uttarpara police station where young boy surja sinha ( jeet ) is the local strongman . ranjit saha ( bharat kaul ) , the younger brother of the local mla named joy chand saha ( rajatava dutta ) , abducts a girl when the girl was returning from a college function , and violently rapes her in his car , leaving her to die . agnishwar arrests ranjit . to take revenge , the mla gets agnishwar put in prison and his wife sandhya ( debashree roy ) murdered . there starts agnishwar ' s revenge where he slowly kills all the persons responsible for putting him behind bars and killing his wife , ending with the death of the mla and himself at the hands of surja , who has by now become a police officer .
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the story revolves around police officer agnishwar rai ( mithun chakraborty ) , who keeps getting transferred due to his aggressive nature towards criminals . he ends up at utarpara police station where young boy surja sinha ( jeet ) is the local strongman . ranjit saha ( bharat kaul ) , the younger brother of the local mla named joy chand saha ( rajatava dutta ) , abducts a girl when the girl was returning from a college function , and violently rapes her in his car , leaving her to die . agnishwar arrests ranjit . to take revenge , the mla gets agnishwar put in prison and his wife debashree roy murdered . there starts agnishwar ' s revenge where he slowly kills all the persons responsible for putting him behind bars and killing his wife , ending with the death of the mla and himself at the hands of surja , who has by now become a police officer .
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the story revolves around police officer agnishwar rai , who keeps getting transferred due to his aggressive nature . he ends up at utapra police where young boy sujo sinha is the local tough guy . a girl is raped by the younger brother of the local ml , mithun arrests him but the ml gets him put in prison and his wife murdered . there starts his revenge where he slowly kills all the persons responsible for putting him behind bars and killing his wife , ending with his death and that of the ml .
juddha
. calcutta , india : www . telegraphindia . com . 18 july 2005
big clash means big cash
. calcutta , india : www . telegraphindia . com . 29 august 2005
joddha ( tentatively titled )
. calcutta , india : www . telegraphindia . com . 2005 - 05 - 08
biswas , pradip ( august 19 , 2005 ) .
bengali films lucrative ?
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jeet began his acting career with the lead role in saathi directed by haranathchakraborty 2002 . followed by films champion ( 2003 ) , naater guru ( 2003 ) , shongee ( 2003 ) , premi ( 2004 ) , bondhon ( 2004 ) , juddho ( 2005 ) , hero ( 2006 ) , neel akasherchadni , wanted ( 2010 ) , josh ( 2010 ) , dui prithibi ( 2010 ) , fighter ( 2011 ) , shotru ( 2011 ) , 100 % love ( 2012 ) , awara ( 2012 ) , deewana ( 2013 ) , boss ( 2013 ) , game ( 2014 ) , the royal bengal tiger ( 2014 ) , bachchan ( 2014 ) , besh korechipremkorechi ( 2015 ) , power ( 2016 ) , badshah ( 2016 ) , abhimaan ( 2016 ) .
abhimaan ( gepl , reliance entertainment , & walzen media works pvt . ltd . ) 2016
abhimaan is the story of a proud business tycoon ashok deb burman ( sabyasachi chakraborty ) and his estranged daughter madhuja ( anjana basu ) . madhuja harbours hate for her father — who disowned her because she married someone against his wishes . . twenty five years have now passed . mellowed with age , ashok now wants to mend his relationship with madhuja . for this , he seeks the help of his grandson , aditya deb burman ( jeet ( actor ) . the rest of the story follows aditya ' s entering the house posing as a driver and how he gets into many adventures and misadventures and finally succeeds in reconcilling his grandfather with his aunt .
a story of a boy who always wanted to be a don from childhood . he reaches to london , england , where he friends a girl named shreya and he fall in love with her .
the plot is simple - a man who was the look - alike of an honest police officer in his previous life , is eager to join the police . he gets the opportunity , and what follows next is a thrilling ride of comedy with kharaj , and action along with a flashback to his previous life , which was thought to be another person altogether .
aditya ( jeet ) is a smart young man , who has a solution for every problem . one fine day , he meets rai ( koel ) and falls in love with her ; later rai also falls for him . however , he soon realises that he has rubbed her elder brother on the wrong side ( ashis vidyarthi ) . aditya then with his plans brings his elder brother and rai to his own house as paying guest . then aditya slowly unites the brother with his another sister who he had thrown out of his house for loving a boy not of his brother ' s choice . all was going fine when on the marriage day of rai and baskar ( vivaan ghosh ) as planned by aditya , aditya reveals to dibakar ( ashis vidyarthi ) that he is actually the son of his rival raghab singh ( puneet ishar ) . finally after the climax fight aditya wins to get rai , his love of his life .
abir plays abhirup , a guy who is as ordinary as any other person can be and has no personality simply because he is one of the most timid people you can know . he has no say in anything and he refuses to speak up even when required . there are a number of occasions when people are out to destroy him - like his office colleague who tries to finish him , like his tenant who refuses to pay rent and humiliates him or like his colleague who gets molested in front of him . yet on each occasion , he remains a mute spectator . however suddenly one day everything changes when his childhood friend and saviour , anjan ( jeet ) , comes back in his life and awakens the tiger in him and he becomes the man possessed and he becomes the ‘trbt’
“game” is about abhimanyu ( jeet ) , an army man and a secret dia agent , who returns to kolkata on vacation . he has a loving family who wish to get him married to trisha ( subhashree ) a girl chosen by his parents . along with his romantic escapades , he also has a greater task at hand as he has to eradicate sleeper cells that are out to bomb and terrorize kolkata across 12 prominent localities . abhimanyu manages to successfully spoil the plan of a serial bomb blasts with the help of his 11 - army friends which alarms and shocks the kingpin . the remaining story revolves around how abhimanyu takes on this terror network and emerges out of it .
jeet ( bacchu ) plays a crazy fan of the big b and so he is called vijay bachchan because of his immense adulation for the superstar . he walks , talks , fights and tries to imitate big b in every which way he also gets to romance an armyman’s daughter by posing as a doctor and fighting the goons at the same time . it was a puja release and have done quite well at box office . the movie featured 3 heroines , aindrita ray from kannada film industry , payelsarkar , and subhoshree for an item dance , choreographed by ganesh acharya .
the movie of jeet & koel ; is the sweetest love story that deals with commitment despite familial attachments . in the film koel plays the role of a girl who is torn between love for her soul - mate and commitment towards her family . not really a teenage romance and most crucially it is an emotionally charged love story where dedication to all matters concerning the heart is everything .
abhi ( jeet ) is a funloving and extremely popular boy from phoolbari , a small township in north bengal . his father indranath ( biswajit chakraborty ) is a highly respected man in phoolbari . agnidev roy ( bharat kaul ) , a dreaded mafia from kolkata , sends his daughter shruti ( srabanti ) to phoolbari on a vacation . binay ( supriyo dutta ) an old aide of agnidev requests abhi to receive shruti at the railway station . abhi takes an instant liking for shruti the moment he sets his eyes on her at the railway station . gradually , shruti starts to enjoy the company of abhi and his friends and the fondness between abhi and shruti grows . one day , abhi finds out that shruti is suffering from ' post traumatic event disorder ' , since the time she met with a car accident recently . she has no memory of the last three years . when abhi takes her to a doctor at phoolbari , the doctor states that shruti can be cured , but she might not remember anything of her visit to phoolbari , her friends or even abhi .
megh sees mita one day and falls in love at first sight . he follows her to her house and discovers that she is expecting a ' man servant ' from orrisa . he decides to pose as the man servant ' priyo ' . this game continues for quite some time . meg also comes to know that mita is actually his employee . mita also discovers his real identity one day . she is furious and does not accept him . megh hatches a plot with his grandmother where there is a false marriage taking place . mita arrives at his marriage after getting his invitation and discovers that everything had been planned in that manner so that he could win her over .
based in hridaypur , police officer dibakar singha lives a wealthy lifestyle with his parents , grandmother , and a sister . he is very well respected in the community , and everyone rises up to support him when a gangster , arjun sarkar , brings an army of goons to intimidate him . the latter is humbled and humiliated and returns home to howrah where he uses his influence with politicians and senior police officers to transfer dibakar . once there , the latter finds out about arjun ' s criminal activities but is prevented from taking any action by his supervisors . frustrated , he and his friends , including his sweetheart , pooja , must endure more humiliation at the hands of a ruthless arjun - who plans on carrying with his agenda of terrorizing and humiliating dibakar with impunity .
the film starts with a flashback . acp bose ( ferdous ) is a sincere police officer happily married and lives with his parents and younger brother surya ( jeet ) . surjo is a college student and he falls in love with his classmate indu ( srabanti ) . enter section shankar , bharat kaul , the villain who is notorious for settlements and land deals . indu comes across acp bose when she is on a field trip from her college with her friends . she gets friendly with his daughter pinky who tells her that she would get her introduced to her uncle surya and they would make a good pair . it turns out that surya studies in indu ' s college and soon after they accidentally even come to know each other and get close .
acp bose investigates the case of a dreaded criminal section shankar whom no one has been able to touch . he is even involved with a land deal involving crores of money which is completely illegal and others including the d . i . g is involved . when the chairman of the bank who has lent money for the deal demand the money back as the deal hasn’t worked , but section shankar eliminates him . the people who are customers of the bank take to the streets and try to damage the bank . acp bose arrives there , arrests the manager and takes him away . somehow section shankar comes to know where the manager has been taken . he arrives there with his men and the d . i . g and nearly kill acp bose . section shankar asks his men to dump the body . on the way , somehow surya gets involved and ultimately rescues his brother from a burning bus and the elder brother dies in the younger brother ' s arms . the entire media and the people think that acp bose has swindled off all the money as they have been made to believe that by the d . i . g . surya decides to take revenge on the people who killed his brother . firstly he kills nikhil ( his friend and section shankar ' s friend ) . then he kills the d . i . g ( he had been taken to jail and he had escaped ) . nikhil had also kidnapped indu as he wants her at any cost , but surya rescues her . section shankar also kidnaps the entire family of surya . surya goes to section shankar house ' s where he kills shankar and rescues his family under the supervision of the new d . i . g who supports him wholeheartedly .
rahul roy , ( jeet ) as called by his friends and family , is the son of a multi - millionaire called arup roy ( b . d . mukherjee ) . he is born and brought up in comfort and luxury and for him life is just a game and he is accustomed to lavish lifestyle . he is portrayed to be a happy go lucky character and quite popular with the female kind . he comes across nandini ( koel mallick ) , a young & charming doctor . rahul challenges his friends that he would make her fall in love within few days . rahul invites nandini for coffee after a dance programme and proposes to her .
nandini , being an orphan , is very kind towards the poor people and is a good samaritan . she mingles with poor people and provides succor to them . but , being a rich boy , rahul hates those people . however , nandini ' s free - spirited nature takes him very near to her and he develops an intimate friendship . at the same time , nandini keeps maintaining some distance and does not express her love . though she likes him , she can ' t love him for he ' s not sensitive to the people and things around him . a privileged upbringing makes him myopic to the hard realities of life . by the time , she wants to express her love , she learns that rahul has challenged his friends about his love and decides to keep herself off .
while dropping her at her hostel on his car after a party , rahul tries to convince her that he is really in love with her but she does not listen to him . in the process , rahul has an accident , where a woman dies and her son is orphaned . nandini survives the accident , while rahul wakes up from injuries in hospital . after gaining consciousness , rahul cannot find nandini and he decides to go in search of her on his bike .
in the process , he happens to meet a motorbike thief called shibu , brilliantly played by dev . though shibu is a vehicle thief , he is good at heart . the journey rahul takes changes his life drastically : as he is exposed to the hard realities of rural life and yet its simple joys . the landscapes and the people he meets takes him through an emotional journey that alters his perceptions forever . be it a teacher ( manoj mitra ) who supports orphan kids , a disillusioned ex - militant ( debranjan nag ) , a prostitute who craves for love ( barkha ) , or his own companion shibu , they all aid in his journey to self - discovery .
indra ( jeet ) and rajib ( anshuman ) are the thickest of friends studying in the same college . when indra comes to the city to visit rajib , indra notices rajib ' s sister , anu ( srabanti chatterjee ) , and is attracted to her instantly . when rajib visits his home village , indra visits along with him . anu , who returns from singapore , is impressed by indra , who continually impresses her , based on her tastes . he gets along well with rajib ' s and anu ' s family , in the meanwhile convinces them that he would make a prospective groom for anu .
anu ' s family , mainly her brother and cousin , are involved in regional gangs in their village . when anu takes out indra to the temple for a visit , without the knowledge of their brother ( tapas paul ) , anu is then attacked by rudra ' s brother nikhil ( bharat kaul ) gets hold of anu and threatens to kill anu . in a swift action of bravery and skill , indra knocks down rudra ' s brother .
after this incident , anu ' s brother , gives indra a talk about why things are so violent in the village . he explains how he is a masters degree holder from a prestigious university ( pune ) and how his wife is also a masters degree holder in integrated mathematics . unfortunately , due the nature of the villages , the rivalry is deadly and fatal . he ultimately says , even though the villages are violent , he will remain a noble person , with high ideals .
after a few days though , in the most ungrateful manner and a show cowardice , the rival gang fights with fierce brutality , and the rival gang leader rudra ( puneet issar ) murders rajib ' s entire family , except anu . indra makes the promise to anu ' s brother that he will take up the responsibility of anu and that he will eventually marry her . in the process , he also becomes a rival of rudra as he kills his younger brother nikhil to protect anu .
after the tragedy , indra and anu head back to kolkata city to attend indra ' s sister ' s marriage . the movie shows the jovial aspects of the marriage ceremonies . at the end of the marriage , an uncle of indra insults anu and tells her to leave him and bribes her money to leave . indra turns furious to his uncle and promised that he will marry anu , whatever may come . just as anu and indra go out to eat , the original rival gang of rudra returns and indra , in a fit of deep rage and anger , beats all the rival gang members , chases them down a few miles . realizing he left anu behind , he goes back to find she is gone and then instantly becomes deeply dejected and despondent . this is when his father asks him to tell him what happened . the story he tells his father is the story that is written above . the rest of the film deals with how indra saves anu and takes revenge from the goons .
a party leader , amarnath ganguly wants someone to attempt an assassination on him so that he can get more sympathy votes in the upcoming election . amarnath ganguly ' s colleague shubhankar banerjee ( biplab chatterjee ) hooks him up with raja for a deal . however , before raja can shoot amarnath ganguly , someone else fatally shoots him . within minutes , police surround the building . just before the exit of the building , a big car accident occurs on the street with raja ' s car . raja assumes that joy got trapped and died in the accident . so raja goes to the top of the skyscraper . with the police behind him and in front of him , he is helpless . suddenly a train comes and raja uses a rope to jump from the skyscraper to the train .
on the train , raja meets shibu ( atanu mukherjee ) . shibu reveals that he ran away from his village , ganganagar , when he was young , he explains that he is finally returning to his village . later that same evening , while aiming for raja , the police accidentally shoot shibu . raja escapes and decided to go to ganganagar . thinking that raja is shibhu , his family accepts raja into their family .
meanwhile , a cbi officer , salim ali khan ( sharad kapoor ) , investigating the murder of amarnath ganguly comes across raja alias shibu . he suspects raja of amarnath ganguly ' s murder . he tries taking raja ' s fingerprints unconventionally but raja outsmarts him . soon clues lead to joy but he is dead .
chandni ( koel mallick ) is the daughter of ( ranjit mallick ) , a renowned proponent of indian classical music .
into this carefree life enters akash ( jeet ) , a boy of parentage who wants to grasp the intricates of indian classical music under the guidance of pandit darbar . neel stays with the darbar family , and chandni is asked to vacate her room to give the guest the nicest room in the mansion . chandni takes a dislike to akash , and the two keep playing pranks on each other , but soon realise they are in love . their love blossoms in the darbar household around weddings , festivals and family get - togethers .
one day the pair are caught rehearsing their wedding vows and dreaming of their future together by pandit darbar , who becomes furious with them as he has already planned chandni ' s wedding with neel ( jisshu sengupta ) . akash is banished from the household as darbar has quit singing because of chandni being impure . as contribution to a teacher , akash is asked never to meet chandni again . akash does not leave india immediately . he stays in town and writes letters to chandni asking her to join him , but his letters do not reach her in time . chandni reluctantly goes through the marriage with neel , who had fallen in love with chandni during her cousin ' s wedding .
on the wedding night , neel realises that chandni is not behaving sane and tries to ask her why she is not responding to his love . he asks her for the truth , promising he will help her no matter what . chandni doesn ' t reply to him which angers him .
neel soon catches her reading love letters by akash . neel is rudely shattered and drags her back home . at first he is extremely furious because chandni hasn ' t said the truth . since his wife is in love with another man , he shows ultimate love and wisdom by taking chandni to italy , in search of akash , to the initial dislike , but eventual approval of his own parents .
chandni and neel arrive in italy , but always come up against dead ends , searching for akash . during their search , they face many problems and dilemmas and slowly chandni gets to see what neel really is like . she sees neel selflessly devoting himself to caring for her during her stay in hospital after a gunshot . eventually they get news about akash through his mother , and neel dutifully arranges for their encounter on the night of akash ' s debut concert . his job done , neel bids goodbye to chandni and walks away , a heartbroken man .
rahul ( jeet ) , the son of a wealthy but traditional industrialist , returned home to his father after completing his academic career in foreign lands . when the father tries to persuade him in his marriage he puts up a fantastic condition - that he will marry the girl of his father’s choice and will live as married couple for one year only , after which , if either of the two seems to feel distant from the other , the marriage will be called off . surprisingly , the traditional father agrees and chooses pallavi ( koel mallick ) , his pa as the most appropriate bride .
now pallavi’s family consisted of her widowed mother , an elder sister deprived of her husband , a younger brother not at all competent for any job , and the youngest sister getting pregnant with the boyfriend trying to avoid responsibilities . so pallavi , just to save her family , accepted the contract much against her wishes and thus began a curious way of life with both of the wedlocked couple leading an unreal lifestyle .
though both shared the same bed , but rahul seemed to be oddly insensitive to pallavi’s emotions . thus it was not strange that he never cared to celebrate pallavi’s birthday and his scathing remarks while appreciating pallavi’s cooking hurt her feelings and duty seemed the only virtue that kept rahul any closer to his wife . but the artificiality of the story is vividly brought to fore when rahul , after quickly recovering from a comatose condition , chiefly due to pallavi’s sincerest nursing , doesn’t hesitate to declare that the next day is the end of their contract term when he will be willingly divorcing pallavi . well at this point if the audience thought that the story is nearing a tragic completion , it is only the intermission that is declared .
in the second half we see that the table turns as rahul suddenly feels sympathetic to pallavi and all his passions overwhelms him so much that he rushes to his in - laws’ house and requests pallavi’s return . but no says the director , and the story goes on with pallavi now rejecting all the ardent proposals of rahul , be it him buying all the shares of pallavi’s new struggling organization just to secure for himself the position of pallavi’s boss . surprises seem to be on store for the audience with pallavi conceiving a child ( just imagine that rahul was in comatose for a pretty long time and the day he recovered , the couple separated ) and now rahul , in sympathy arranges for an ac bus for her and shifts her office to the ground floor . now the only thing that remains is revelation and pallavi invites and insults rahul in one of the most improbable of settings with rahul sophisticatedly defending his views .
finally after all these , the two again reunites in hospital bed after the severely injured rahul takes pallavi to the maternity ward ( it is clearly indicated in the picture that pallavi was less than seven months pregnant though she suffers serious labour pains and again when the baby was delivered no sign of immaturity is ever observed ) and they celebrate the simultaneous delivery of the child and rahul’s recovery from his critical condition . thus family ties are again restored and the happy ending is guaranteed .
the film covers a span of a few days — beginning before independence day and reaching its climax on d - day itself . anikit ( jeet ) , a talented singer and a simpleton , lands himself in trouble when a stranger takes shelter in his house along with her child . what follows , is a series of lies by anikit and room - mate kobi ( biswanath ) , only to cover up the incident . the actors , who stand out are biswanath , who tries to do an ustad zakir hussain act , in search of his muse , papiya adhikari as the neighbourhood boudi , biswajit chakraborty as mama sen and mimi dutta as hiya ' s ( varsha ) intelligent sister .