ladki sahyadri ki ( girl from sahyadri ) is a 1966 hindi social drama film directed by v. shantaram .

also called iye marathichiye nagari ( the land of maharashtra ) in marathi , it was a bilingual for v. shantaram productions under the rajkamal kalamandir banner .

the music was composed by vasant desai , with lyrics by bharat vyas .

the cast included sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , keshavrao date , and baburao pendharkar .

the story revolves around rani , a stage performer from an impoverished family , and her attempts to help repair a temple in her village .

ladki sahyadri ki

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vandana karo archana karo pt . jasraj film ladki sahyadri ki ( 1966 ) music vasant desai .
humble request for upload of the songs from ' ladki sahyadri ki ' . - sita . user is offline . . . film - ladki sahyadri ki 1966 ( dubbed ) md - vasant . .
movie / album : ladki sahyadri ki ( 1966 ) . singers : asha bhosle . song lyricists : bharat vyas . . . other songs lyrics from ladki sahyadri ki ( 1966 ) · vandana karo . . .
sandhya funny drama scene from ladki sahyadri ki movie starring sandhya , shalini abhyankar , vatsala deshmukh , kumar . . .
sandhya heart touching love scene from ladki sahyadri ki movie starring sandhya , shalini abhyankar , vatsala deshmukh , . . .
ladki sahyadri ki ( 1966 ) film completo in sottotitolo italiano visit here urltoken starring shalini abhyankar , vatsala . . .
ladki sahyadri ki ( 1966 ) prabhakar , sandhya , panshikar , k . date , kumar dighe , baburao pendharkar . . .
ladki sahyadri ki movie tohri ungli video song starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music . . .
climax scene from ladki sahyadri ki movie starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by . . .
ladki sahyadri ki movie starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant desai , . . .
ladki sahyadri ki ( 1966 ) prabhakar , sandhya , panshikar , k . date , kumar dighe , baburao pendharkar . . .
provided to youtube by sa re ga ma tohri ungli se krishna raga pahadi mand · suman kalyanpur ladki sahyadri ki . . .
ladki sahyadri ki movie part 05 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
ladki sahyadri ki movie part 11 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
ladki sahyadri ki movie part 01 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
ladki sahyadri ki movie part 10 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
ladki sahyadri ki movie part 08 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
ladki sahyadri ki movie part 09 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
ladki sahyadri ki movie part 03 / 11 starring sandhya , shalini abhyankar , vatsala deshmukh , kumar dighe , music by vasant . . .
1 - tohri ungli se krishna - suman kalyanpur - film - ladki sahyadri ki ( 1966 ) md - vasant desai lyrics - bharat . . .
angrezo ne jeet li jhansi from movie / album ladki sahyadri ki 1966 . song sung by asha bhosle amarr shaikh mahendra kapoor music composer / music .
ladki sahyadri ki 1966 songs lyrics and videos of all songs : hindi film ladki sahyadri ki film starring prabhakar , sandhya , panshikar , k date . the songs sung by asha bhosle , amar shaikh , mahendra kapoor , suman kalyanpur . ladki sahyadri ki film ' s original soundtrack album is composed by vasant desai . the lyrics of all songs are written by bharat vyas . it is produced by v shantaram . it is directed by v shantaram .
. . . karo pt . jasraj film ladki sahyadri ki ( 1966 ) music vasant desai . . . . goriya chand ke by bharat . . .
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song : tohri unglee se krishna . . . kaisi re . . jhar rahi… raqkt ki ye dharaa… singer : suman kalyanpur movie : ladki sahyadri . . .
tum mujhe khun do from movie / album ladki sahyadri ki 1966 . song sung by asha bhosle music composer / music director vasant desai lyrics written by . . .
ladki sahyadri ki ( 1966 ) by vasant desai - complete information including lyricist , singers and other credits , ratings and user and critic reviews , complete songs . . .
urltoken movie s / ladki - sahyadri . . . 1966 . . . / kahan - chale - chhali . . .
ladki sahyadri ki ( 1966 ) . music : vasant desai . cast : sandhya , kumar dighe , ranjana , prabhakar . share album : link : embed album . add to my library . . .
1 january , 1966 . . . ladki sahyadri ki songs ( soundtrack ) . . . this song . the only actress in movie who used her own voice and wasn ' t doubled by a bolly - singer .
lyrics of vandana karo archana karo hindi song from ladki sahyadri ki ( 1966 ) , vandana karo archana karo lyrics | latest hindi songs lyrics . . . . latest hindi songs lyrics | hindi movie song lyrics | lyricsbogie . latest hindi movie songs . . .
india - very old - razzabji ki banni likhayte in hindi - pages 520 .
vyang in hindi - sarak hamare baap ki hai - anup ghai - pages 122 .
awards best director , 1957 jhanak jhanak payal baaje , best film , 1958 do aankhen . . . some of his songs had to rehearsed several times before which they were . . . 1961 , sehra , 1963 , geet gaya patharon ne , 1964 , ladki sahyadri ki , 1966 , .
the men weren’t lucky at all , but for jeetendra , extra in ‘navrang’ and hero in ‘geet gaya’ the rest made no headway at all . satish vyas in “toofan aur diya” , prashant in ‘sehra’ , abhijeet in ‘jal bin’ , prabhakar panshikar and kumar dighe in “ladki sahyadri ki” were quickly forgotten .
india - indrajal comics hindi - mandrake - paksi - manvon ki ghati - no . 344
subsequently a star , rajshree was given a sprightly song in ‘subah ka tara’ but had a baby debut in ‘apna desh’ and her grown - up role was that of a court dancer in ‘stree’ . sandhya’s niece ranjana , did a bit role in ‘ladki sahyadri ki’ a longer one in ‘zunj’ and a heroine in ‘chaani’ .
india - rare - indrajal comics hindi - haivaniyat ki kimat - vol . 22 no . 13
india - ivan belikan [ stories ] ki khaniyan a . s . pushkin in hindi pages 141
) . . . up next . kyon lage laaj laaj preet ki asha bhosle . . .
) prabhakar , sandhya , . . . kyon lage laaj laaj preet ki asha bhosle . . .
india - very old & rare - indrajal comics hindi - barf ki aag - vol 21 no . 17
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he introduced and encouraged many new directors . amongst them were character actor keshavrao date with ‘bhakticha mala / mali’ ( 1944 ) and ‘andhon ki duniya’ ( 1947 ) .
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‘jhanak jhanak’ ( 1955 ) was not the first technicolour film ( 123 ) . mehboob’s ‘aan’ was the first to have prints by technicolour , after being shot on l6mm kodachrome negative . sohrab modi’s ‘jhansi ki rani’ ( 1953 ) was the first to be shot and printed in technicolor .
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on all movie pages , a list of all the songs from that particular movie are there with basic information about the movie .
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monday afternoon , a studio at yari road , andheri , saw the coming together of two venerable musicians : hindustani classical vocalist pandit jasraj and carnatic violinist , composer and conductor dr l subramaniam .
it was a collaboration that saw pandit jasraj lend his voice to a composition by dr l subramaniam – the title song of anant mahadevan’s forthcoming film gour hari dastaan , starring konkona sen sharma , ranvir shorey and vinay pathak in the lead .
( 2008 ) . for dr subramaniam as well , the composition marked his return to hindi film music after 25 long years . he last scored the music for mira nair’s
speaking about the experience , dr subramaniam told mirror , “we wanted jasraj - ji to sing the title track .
will be singing part of the song with him . ” asked about pandit jasraj’s rendition of the composition , he said , “what can i say about jasraj - ji , who is the seniormost performing artiste ? he is amazing . he is simply a genius . ”
according to a source from the recording studio , it was all in a day’s work for pandit jasraj , despite his age .
– synonymous with gandhiji and his philosophy . the composition is extremely innovative . international musicians will also feature in the soundtrack , the first of its kind in hindi films . ”
apparently , getting pandit jasraj on board was a mutual decision by anant and dr subramaniam .
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latest punjabi song chandigarh de najaryan ne patya sung by raj brar feat . yo yo honey singh
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vatsala deshmukh , shalini abhyankar , manjari gadkar , ranjana , shreekant , raja pandit . production co : v . shantaram productions . less . . .
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rani ( sandhya ) comes from a very poor , who have to struggle to make ends meet . she wants a career where she can work , but her parents will not hear of it . but when their temple collapses in . . . see full summary »
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rani ( sandhya ) comes from a very poor , who have to struggle to make ends meet . she wants a career where she can work , but her parents will not hear of it . but when their temple collapses in a storm , the parents are forced to admit that they need money to repair the temple , and as such rani gets to act on stage . the owner of the stage company promises to re - store the temple , provided rani continues to work for him , which she agrees . the temple work progresses , and rani acts on stage . she soon becomes a hit . the stage owner starts showing his true colours , and before long he takes to drinking , even while on stage , and when rani refuses to have to do anything with him , he refuses to pay for the temple re - storation . how will rani succeed on stage ? what will happen to the temple ?
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rani takes a job as a stage actress to pay for a temple restoration for her family .
directed by v . shantaram . also called iye marathichiye nagari ( the land of . . .
) ; music by : vasant desai ; singer ( s ) : asha bhosle , amar shaikh , mahendra kapoor , . . .
birbal my brother ' ( 1975 ) and ' 1920 ' ( 2008 ) . it is interesting to
provided to youtube by sa re ga ma meri jhansi nahi doongi · asha bhosle eye marathichiye nagari ℗ saregama india . . .
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many great people have made the indian film what it is today , in the 101st year since its birth . the image of v shantaram hovers around the pinnacle of achievements . in the creative span , number of films made , and in the variety of chores he performed in the production of films , he is second to none .
he was associated with the silents , talkies , colour films , stereo sound - track , as an actor , director and producer , carpenter , choreographer and discoverer of new talent .
he was in showbiz for 80 years of his fruitful 90 years , and in films , for an astounding span of 65 years , through 61 films . fortunately , around 40 of these , all talkies , in hindi and marathi , are still accessible .
he made one film in tamil , ‘namnadu’ ( 1949 ) , and released its hindi version , ‘apna desh’ with telugu songs ( by t suryakumari ) in andhra , both not traceable today . when he was making kalidas’ ‘abhignyana sakunthalam’ for the second time in 1986 , he wanted to make it in telugu also , with nt rama rao in the lead . alas , this did not materialise . neither did the plan to make ‘navrang’ in telugu for which two songs written by kosaraju and sung by k jamunarani were recorded by c ramchandra .
let’s not break our hearts over the unpicked oysters ; let’s count the pearls he left behind , pearls of lasting lustre and pervading influence .
his ‘aadmi / manoos’ ( 1939 ) , made under the prabhat banner was remade as ‘vachina kodalu nachindi’ ( 1959 , yoganand / ntr , jamuna ) , was a bad film and flopped inspite of a wonderful score by s dakshnimurthy . this was about a policeman’s love for a prostitute . ‘dahej’ ( 1950 ) , about dowry and a dying daughter - in - law , was remade as ‘bommala pelli / bommai kalyanam’ ( 1958 , rk krishnaswamy / sivaji ganesan , jamuna ) . this is one of those rarer films of sivaji , where he delivers a finely nuanced performance , both telugu and tamil versions failed .
the celebrated ‘do aankhen barah haath’ ( 1958 ) was first made as ‘pallandu vazhga’ ( 1975 , k shankar ) with mgr in the lead , by whose power over the box - office , it just broke even . the next year saw ‘ma daivam’ ( 1976 , ss balan ) with ntr in the lead . a damp squib . the film that melded colour , dance , music and lyric to an unprecedented height , ‘navrang’ ( 1959 ) was remade as ‘suvarna sundari’ ( 1984 , beeraa mastan rao ) . ramesh naidu’s pleasant music was lost in the melee created by a new star - cast and inept handling .
in all these films , the adaptations were quite faithful to the originals . the music was created anew and did not lift melodies . and it is not as though the performances were bad ; but the magic , the shantaram touch , was absent .
what about stray influences , in framing , treatment , plot - motivation , music et al ? these are not skeletons tumbling out of the cupboard , but the genius’ stimuli that led to the re - creation of something worthwhile . the most rewarding of such was ‘jayabheri / kalaivanan’ ( 1959 , telugu / tamil ) . though its tamil version sank without a trace , not even the beautiful score of pendyala appealing to the public , the telugu version was critically applauded . at least two of the songs , a heavenly combination of lyric / ( malladi ) and melody , “madi sarada devi” and “rasikaraja” , reverberate in a many a ghantasala homage .
‘matwala shair ramjoshi’ ( 1947 , baburao painter - shantaram ) was the matrix . this film in hindi and marathi had the regional folk entertainment tamasha as the background . an essential part of this , the lavni song - dance was not reproduced , in costume , choreography or music in ‘jayabheri’ but an important part of it , a competitive question - and - answer song , was adapted beautifully , and subsequently taken up in telugu social films too , ‘illarikam’ ( 1959 ) and ‘zamindar’ ( 1966 ) .
‘panthalu pattimpulu’ ( 1968 ) directed by kb tilak also had many such sequences , more faithful to the tamasha tradition but that was because it was based on anant mane’s ( he supplied the story and collaborated directorially with shantaram in ‘pinjra’ ( 1972 ) mega hit ‘kela ishara jata jata’ ( 1965 ) .
much before this , the dance form of lavni was utilised in ‘varudu kavali’ ( 1957 ) and ' rajanandini’ , ( 1958 ) through the songs “saagi ravoyi bangaru mama” and “ninne ninne” . the way the hero holds the dafli in
siri siri muvva” ( 1976 ) is taken from ‘matwala shair’ and hero manmohan krishna’s stance not as people proclaimed then , ignorant of facts , ‘jis desh men ganga bahti hai’ ( 1960 ) and raj kapoor .
in the glorious musical ‘annamayya’ ( 1999 ) , the tail end of “jagadapu chanavula” brings to mind the last fifteen seconds of the holi song in ‘navrang’ ( 1959 ) “arey jarey hath” .
in ‘aadmi / manoos’ ( 1939 ) and ‘teen batti char rasta’ ( 1953 ) shantaram used bits of song in various languages , meaningfully and not as a gimmick . in the first a dancing woman of pleasure is shown catering to clients from various regions and in the second , a man ' s wife and daughters - in - law hailing from various parts of india have a happy time extolling their local dance and music ( but not claiming , ' i ' m superior ' ) .
the first telugu film to have a multi - lingual song , was a film with three titles ,
idi ma katha - mangalasutram - excuse me” ( 1946 ) and the second , a tri - lingual film ‘strange brothers - apoorva sahodarulu - nishan’ ( 1950 ) credited to three directors , acharya , c pullaiah and s s vasan . neither the film with three titles , nor the one with three directors justi - fied it the way the master did .
the tunes from shantaram found their echoes in about half a dozen telugu films . “suno suno” from ‘amar jyoti’ ( 1936 ) became “cheli cheli” in ‘rukmini kalyanam’ ( 1937 ) ; vasant desai ' s immortal creation , “ghanashyama sundara” from ‘amar bhoopali’ ( 1951 ) was lifted listlessly in ‘beedala asti’ ( 1955 ) , liltingly in ‘sati sakkubai’ ( 1954 ) and to better effect in ‘bhakta tukaram’ ( 1973 ) , devulapalli , adinarayana rao and ghantasala together giving it stature . “gaya andhera hua ujala” from ‘subah ka tara’ ( 1953 ) became “sangeethamela” in ‘santhanam’ ( 1955 ) by a man rather justly nick - named imitation dakshinamurthy ! she most lilting was of course “pagale vennela” from ‘poojaphalam’ ( 1965 ) spaced out on “adha hai chandrama” from ‘navrang’ .
a prostitute seducing a saint , so sensitively and sensuously captured by director - star team of p rama - krishna - a nageswara rao , bhanumathi in ‘vipranarayana’ ( 1954 ) is a sprout of a similar situation in ‘parbat pe apna dera’ ( 1944 ) .
in ‘maya machhindra’ ( 1932 ) a girl dances on a huge drum . this was repeated in ‘we two’ ( 1947 ) and multiplied in ‘chandralekha’ ( 1948 ) . ‘apna desh / namnadu’ ( 1949 ) showed prophetically how in just - independent india , a nexus formed between crime and high society . this was regurgitated in hundreds of films . and present day society pays obeisance to shantaram by following the screenplay of the movie in real life !
the co - author of this book , experienced journalist sanjit narwekar , sums up shantaram’s greatness in just one sentence ( foreword , page 9 ) “his greatest contribution as a director was that he understood the role ( s ) of the various technicians and blended their expertise into the making of the film ( s ) .
from the book : “shantaram rajaram vankudre was born on november 18 , 1901 , the second of five sons . his reputation as a good mimic” got him into the gandharva natak mandali , where the ruling triumvirate were govindrao tembe , bal gandharva and ganpatrao bodas . shantaram did not care for the menial chores he was given ; and he could not be given important roles as he could not sing . he left the troupe and failed at everything else he tried , schooling , trying for a job in the postal services etc . he did work for a while in a railway workshop but an accident put paid to that .
with some difficulty he found a toe - hold in baburao painter’s maharashtra film co . , in kolhapur , which in time turned out scores of personnel for the nascent industry . “his golden moment came when he played the young farmer in a film that has become a classic ( all by word of mouth ; no one now alive has seen it ) ‘savkari pash’ ( 1925 ) . after doing roles on screen and odd jobs behind it , he was chosen by painter to direct ‘netaji palker’ ( 1927 ) “based on the exploits of shivaji’s trusted lieutenant . his co - director was keshavrao dhaiber” .
the maharashtra film co . gave him everything , including the name shantaram when he did the role of krishna in “surekha haran” ( 1921 ) , the subject familiar to us as ‘maya bazaar’ . baburao pendharkar , also in the concern , felt that his name in the railways , sr vankudre was unsuitable for an actor .
on june 1 , 1929 , v shantaram , keshavrao dhaiber , vishnupant damle and s fatelal , all working for the company , branched out into their own prabhat film co . they soon shifted to pune , built their own studio , and a reputation for quality that is historical . all kinds of films were made to which all contributed their mite but shantaram directed most of them .
path - breaking films , mentioned earlier , rolled out and shantaram was riding the crest of popularity when a hitch developed . he had to leave because he side - stepped a lakshman rekha of the four , no intimacy with the heroines .
shantaram , already married , left for bombay with this young actress jayshree , floated his own concern , rajkamal kalamandir , built a studio and stabilised himself . here too , he produced , directed and acted . the first was ‘shakuntala’ ( 1943 ) and the last , ‘jhaanjhar’ ( 1984 ) .
but for the first which coasted on splendid music , the other was a write - off . to cousin and photographer v avdhoot , he gave ‘bhool’ ( 1948 ) ; no go . to kumar chandrasekhar , ‘banwasi’ ( 1948 ) ; a dud . to nephew v ravindra “chandannachi choli ang ang jaali” ( 1975 ) , a worthwhile music - and - dance extravaganza . to son kiran ‘zunj’ ( 1976 ) , passable effort . to actress sulabha deshpande , a film for children ‘raja rani ko chahiye pasina’ ( 1979 ) , which turned out a childish exercise .
many of his kith and kin were given small on - screen opportunities ; only a few made it big later . first wife’s daughters madhura and charusheela made a baby entry with ‘bhool’ and charusheela made a solo appearance in ‘stree’ . both sang in two short films for children released as one programme , ‘kale gore - phool aur kalian’ ( 1960 ) . son prabhat kumar made an appearance in ‘teen batti’ , nephew ravindra in ‘jal bin’ , grandson rahul in ‘raja rani’ . long - time secretary st eshwar was glimpsed in ‘darchhain’ and ‘toofan aur diya’ .
chandrakantha was seen singing a stammering song , a duet with lata , “do haklon ka” and then a vamp bit , in ‘subah ka tara’ and ‘jhanak jhanak’ . reshma and vandana ( later asha nadkarni ) debuted in ‘mausi’ and vandana had the court - dancer’s role in ‘navrang’ .
nanda and rajendra kumar , introduced as the romantic leads in ‘toofan aur diya’ were exceptionally successful later on .
around a dozen music - directors worked for shantaram . it is a pity that vasant desai who came out of prabhat to be with shantaram , and did the maximum number of films , a dozen , isn’t mentioned at all in the book . shivram krishna got his chance in ‘surang’ , did very well in ‘teen batti’ and got a few c class films outside before fading out . purushottam did ‘bhool’ and two songs in ‘apna desh’ to no effect . ramlal turned out lilting melodies in ‘sehra’ and ‘geet gaya’ but lacked lustre in outside films as ramlal hirapanna . satish bhatia in ‘boond jo jan bayo gayo moti” registered well but was not heard of later .
here are little known facts about shantaram i have unearthed over the years . he was no singer but his voice is heard conversing with court dancer rajshree , ‘stree’ , on a 78rpm disc ( n53981 ) . in the english version of ‘dr kotnis’ , he is heard reciting dewan sharar’s lyric , ‘life isn’t a dream’ as khan mastana’s song “zindagi sapna nahin” is heard in the background . he is heard chanting the words of “ai malik” as the male chorus is singing it in ‘do ankhen’ .
the first sound - track recordings from an indian film were from prabhat’s colour film ‘sairandhri’ ( 1933 ) . these were made in germany , by telefunken , when shantaram took the colour negatives for processing and printing . it is his hand - writing in marathi and hindi , that is on the record labels .
actor mahipal who plays a poet to perfection in ‘navrang’ , actually wrote a song for ‘mali’ , “ham to bhole bhale mali” .
the book is understandably reticent about certain domestic developments in shantaram’s life . it does not mention sandhya’s marriage to him and shies away from saying that she was the reason why jayshree moved out from shantaram’s household .
on the whole it gives a consolidated picture of the maestro , the man and the film - maker . it omits to mention he did the choreography , termed ‘mukta nritya’ , for ‘navrang’ under the pseudonym of sham , and used a picture of his son - in - law in the promotional brochure of the film . the truth came out when the bombay film choreographers assn . chose to give this work the best choreography award for that year .
for an in - house production like this , it contains too many factual inaccuracies . whether it was ignorance or indifference , it remains inexcusable . here are just a few of the many .
sandhya was not just two films old ( 69 ) when she was starred in ‘jhanak jhanak’ . apart from ‘amar bhoopali’ and ‘parchhain’ mentioned , she had done ‘teen batti’ for shantaram and the role of parvati in a mythological for an outsider before
in ‘navrang’ every title is not heralded with nine colour pots . actually , the pots are only seven ; and they splash colour only at the last two titles , ‘navrang’ in hindi and english .
only one scene is from ‘jhanak jhanak’ and the other is from ‘navrang’ . the caption says otherwise ( 76 - 77 ) .
‘sairandhri’ was made in 1933 , not 1935 ( 10 ) . this is omitted in the filmography . so is ‘boond jo ban gayi moti’ ( 1967 ) .
rajshree does not play the small role of shakuntala’s sakhis in ‘stree’ ( 89 ) ; mumtaz does . rajshree plays the role of the court dancer .
caption for a still ( 106 ) says that sushant became a big hit as siddharta in ‘jhanjhar’ . no way . this is the least seen film of shantaram .
is it true that its hindi version failed to go beyond even the first day and that in some theatres the enraged crowd tore the seats and demanded their money back ( 102 ) ? it ran peacefully in madras for two weeks .
shantaram wrote his autobiography in marathi , ‘shantarama’ and it was published in 1986 , later in hindi . what happened to the promised english version ? isn’t it high - time , in the 101st year of the indian cinema , to bring out the life of a truly great man whose life was cinema ?
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the film was declared
super hit
on box office . [ 1 ]
classical dance guru mangal stumbles on a dance performance in a lavish haveli by neela . he orders his talented son girdhar to demonstrate to the audience the true method of classical dance . entranced by girdhar ' s skill , neela begs mangal to admit her as a pupil . he finally agrees on two conditions : she must devote her life to art and she must partner girdhar in the tandav portion of an upcoming dance competition . as the two practice together , she begins to fall in love with girdhar . manilal , a wealthy and jealous man who hopes to have neera for himself , warns mangal that the two are falling in love , but he ignores him . when mangal goes away for some time to buy new costumes for the pair , they confess their love to each other and neglect their dancing in favor of idyllic walks and boat rides . mangal returns and discovers that the two are in love . enraged that girdhar ' s dancing has suffered and believing that he will now never win the title of bharat natarajan , he renounces his son and resolves to leave him . dismayed that she has endangered girdhar ' s career , neela pretends that she has betrayed him with manilal and he returns to his father and his art . the devastated neela tries to drown herself in the river , but is rescued by a kindly sadhu . she decides to follow the example of the minstrel meerabai and devotes her life to krishna , but is alarmed when girdhar appears declaring that he can not forget her . she pretends not to know him and he is enraged ; his father takes him away . she becomes ill and the sadhu and her servant bindiya take her to the temple where the dance competition is being held . hoping to sabotage his chances , manilal has bribed girdhar ' s new partner to drop out of the competition . neela takes her place in the tandav dance and mangal realizes that she spurned girdhar to help him win the competition . he then convinces his son to give her a second chance . with the help of neela , girdhar wins the competition and mangal gives the couple his blessing to marry .
vasant desai composed the music and hasrat jaipuri wrote the lyrics for the film . the song
jo tum todo piya
inspired from meerabai was later also used for the 1981 film silsila . shivkumar sharma , the padma shri and padma vibhushan recipient musician has played santoor in this film . santoor was used first time in indian cinema .
voice of asha bhosle used in few lines which was not available on records , but only on film soundtrack .
this page was last modified on 3 april 2016 , at 18 : 11 .
this article ' s content derived from wikipedia , the free encyclopedia ( see original source ) .
you know the feeling . you are at a supermarket , have finished three - quarters of an hour of shopping , and your cart is full . now you are tired and want to stop heaping the cart . you want to go sit down somewhere , recharge your batteries with some french fries and coffee . or perhaps head home to quiet sanity . but look at this , there are long lines at the checkout counter ! it will take you at least fifteen minutes to pay the bill . it’s painful to leave so much hard work behind , but what’s the alternative ? maybe come back the next day and hope there won’t be such queues ? you are effectively faced with hobson’s choice , a clear ‘take it or leave it’ situation . but what’s that last counter you see over there , with very few people in the line ? oh no , that’s an express counter , for people who have bought ten things or less .
figuratively speaking , such an ‘express counter’ also existed in hindi cinema’s ‘supermarket’ for people who exited with ten credits or less to show for their score . composers who scored in under ten hindi films , like dan singh , or even one film , like tushar bhatia ( andaz apna apna ) . even songwriters who wrote for just one film , as did pervez shamsi ( nausherwan - e - adil ) . such a metaphorical counter also existed for many people offering their singing voices on the run in hindi cinema’s recording studios . these are people who recorded ten songs or less .
some of these artistes may have arrived to become singers , but left without contributing too much in any area in hindi films , like anup ghoshal , kabban mirza and shivaji chattopadhyay . there are people who came to become singers , but ended up as composers ( khayyam for instance ) , or composers who offered the odd rendition ( like anil biswas , husnlal and ravi ) . it may have been a director ( like raj khosla ) who sang a bit . these could be classical vocalists like pandit bhimsen joshi , bade ghulam ali khan , kishori amonkar , shobha gurtu , parveen sultana or pandit pheroze dastoor . these could be film stars who sang for themselves , in a quick honeymoon sort of way . raj kapoor , dilip kumar , nalini jaywant and nutan come to mind right away . of course there are many more .
yes , we need to give a thought to many artistes passing through such an ‘express checkout’ counter at one time . sn tripathi , chitragupt , pg krishnaveni , sridevi , ghulam mohammed , and the brothers gope and ram kamlani , there were dozens more . let’s see some who used the fast checkout , these songs showcasing them just once here :
utth to chale avdhoot ( bulo c . rani with geeta roy in jogan , 1950 )
din control ke aaye ( pg krishnaveni ‘zikki’ with geeta roy in mr . sampat , 1952 )
in case you were wondering , sandhya mukherji , ashok kumar , satish batra , manmohan krishna , usha khanna , kanchan , bhupen hazarika , pb srinivasan , jani babu , premlata , subir sen and many others were not allowed express checkout , since their cart was much fuller than ten . others who went through the counter above with maybe a few songs over ten may have escaped this attendant’s attention !


maya memsaab ( hindi : माया मेमसाब ) , also known as maya and maya : the enchanting illusion in english ) is a 1993 indian hindi film directed by ketan mehta .

the film is based on gustave flaubert 's novel madame bovary .

maya memsaab won the national film award - special jury award / special mention ( feature film ) in the year 1993 .

the rights of this film are now owned by shah rukh khan 's red chillies entertainment .

maya memsaab

maya memsaab is based on gustave flaubert ' s novel madame bovary . . . .
watch khud se baatein from maya memsaab featuring shah rukh khan , deepa sahi & farooq sheikh in the lead roles . khud se baatein is sung by lata mangeshkar . film : maya memsaab song : khud se baatein singer : lata mangeshkar for more updates on maya memsaab , click on the links below : urltoken urltoken urltoken
listen free to pt . hridaynath mangeshkar - maya memsaab ( original motion picture soundtrack ) radio on iheartradio | iheartradio
maya memsaab ( hindi : माया मेमसाब , urdu : مایا میم صاحب ) , also known as maya and maya : the enchanting illusion in english ) is a 1993 hindi film directed by ketan mehta . the film is based on gustave flaubert ' s novel madame bovary .
shah rukh khan made me a promise 20 years ago when he appeared in ' maya memsaab ' and i intend to hold him to that today .
urltoken like : urltoken check out the romanctic scene of shahrukh khan from his movie maya memsaab . subscribe for more videos . # shahrukhkhan # mayamemsaab # lovescene # romance
deepa sahi plays maya showing the extreme madness of maya ' s character with charm . she haunts through out the movie with her natural grace .
“maya” – a hindi word for “illusions” . maya memsaab is a story about illusions that attract a human being . these illusions are pretty attractive for anyone . but when we go close , we find it was all just our own imaginations and expectations . nothing else .
the elephant whisperer and maya memsaab is an amazing story of debu and his incredible connection with the animal , as well as his life - long fascination for the leader of the largest herd of 40 wild elephants in kaziranga , maya . through debu , the film enters the world of maya and the elephant society , and follows them through spring , summer and monsoon .
maya derives her goals in life from the romantic novels she has read . maya lives her life in illusions and dies in the same fictious fashion as she had lived her life .
farooque sheikh plays maya ' s husband by fine tuning his screen image of a confused innocent man .
deepa sahi wanders around her palatial house singing to herself while being secretly followed by farooque shaikh . maya memsaab ' s soundtrack is composed by pandit hridaynath mangeshkar with lyrics by gulzar . maya memsaab ( loosely based on gustave flaubert ' s madame bovary ) is directed by ketan mehta and stars his wife deepa sahi in the title role , supported by farooque shaikh , raj babbar and shah rukh khan . song name - khud se batein movie - maya memsaab singer - lata mangeshkar composer - pandit hridaynath mangeshkar lyricists - gulzar music label - sony music entertainment india pvt . ltd . © 1993 sony music entertainment india pvt . ltd . subscribe : vevo - urltoken like us : facebook : urltoken follow us : twitter : urltoken g + : urltoken
deepa sahi wanders around her palatial house singing to herself while being secretly followed by farooque shaikh . maya memsaab ' s soundtrack is composed by pandit hridaynath mangeshkar with lyrics by gulzar . maya memsaab ( loosely based on gustave flaubert ' s madame bovary ) is directed by ketan mehta and stars his wife deepa sahi in the title role , supported by farooque shaikh , raj babbar and shah rukh khan . song name - o dil banjare movie - maya memsaab singer - lata mangeshkar composer - pandit hridaynath mangeshkar lyricists - gulzar music label - sony music entertainment india pvt . ltd . © 1993 sony music entertainment india pvt . ltd . subscribe : vevo - urltoken like us : facebook : urltoken follow us : twitter : urltoken g + : urltoken
ek haseen nigah ka is ably sung by kumar sanu while farooque shaikh serenades his on screen wife deepa sahi . maya memsaab ' s soundtrack is composed by pandit hridaynath mangeshkar with lyrics by gulzar . maya memsaab ( loosely based on gustave flaubert ' s madame bovary ) is directed by ketan mehta and stars his wife deepa sahi in the title role , supported by farooque shaikh , raj babbar and shah rukh khan . song name - ek haseen nigah ka movie - maya memsaab singer - kumar sanu composer - pandit hridaynath mangeshkar lyricists - gulzar music label - sony music entertainment india pvt . ltd . © 1993 sony music entertainment india pvt . ltd . subscribe : vevo - urltoken like us : facebook : urltoken follow us : twitter : urltoken g + : urltoken
here , lata mangeshkhar ' s beautiful voice lends itself to the somewhat philosophical lyrics , picturised largely on deepa sahi and shah rukh khan . maya memsaab ' s soundtrack is composed by pandit hridaynath mangeshkar with lyrics by gulzar . maya memsaab ( loosely based on gustave flaubert ' s madame bovary ) is directed by ketan mehta and stars his wife deepa sahi in the title role , supported by farooque shaikh , raj babbar and shah rukh khan . song name - ye shahar bada movie - maya memsaab singer - lata mangeshkar composer - pandit hridaynath mangeshkar lyricists - gulzar music label - sony music entertainment india pvt . ltd . © 1993 sony music entertainment india pvt . ltd . subscribe : vevo - urltoken like us : facebook : urltoken follow us : twitter : urltoken g + : urltoken
ashish lakhia , one of the most talented art directors known for his work in mirch masala and maya memsaab , passed away in ahmedabad sunday of multiple organ failure that began with his lung giving way . other complications followed . he was 49 . he worked with his mother meera lakhia . his brother aditya lakhia , known for playing kachra in lagaan , [ … ]
beautiful young maya ( deepa sahi ) has a mind full of dreams and a body full of desires . one day , her father falls down the stairs and breaks his leg . a young country doctor ( farooque shaikh ) comes to treat him . love blossoms between the gentle doctor and maya and they get married .
the acting is restrained and naturalistic , with maya frequently expressing herself through internal monologues ( which are , sadly , often not subtitled . ) even the cinematography is different ; the entire film is suffused with a pale white light , which bleaches the color out of everything , adding to the languid and dreamlike atmosphere . more surprisingly , maya and lalit have a lengthy sex scene . by western standards , the scene is fairly tame , but it’s quite explicit for an indian film , including a lingering shot of maya’s naked breast as viewed from the side .
casting shahrukh was a remarkable stroke of luck . he wasn’t a big star at the time , and the producers had no way of knowing that he’d rise to become the king of bollywood through just the sort of frothy romances that maya is so enthralled by . it’s certainly not intentional , but his future career ads an extra element to the performance . ( and even though his role in maya memsaab is a supporting one , and he’s among the last of the actors to be named in the credits , the dvd box features a huge picture of him , proudly announces “starring shahrukh khan” , and does not mention anyone else in the cast . )
the story is narrated in flashback as a reconstruction of the life of maya . the film ends very tragically when her house is auctioned and she appears to be engulfed by her fantasy life .
as a teenager , sexcapades that questioned the sanctity of marriage weren ' t exactly on the top of my parents ' list of what they would allow me to watch at home and in the supervised and scarce trips to the cinema hall . so when i finally caught up with maya memsaab , ketan mehta ' s colonized interpretation of gustave flaubert ' s emma bovary , the pigeon - chested actor who made uninhibited love to the sultry deepa sahi immediately had my attention .
new delhi : i ' ll be honest . i have never liked shah rukh khan ' s acting . i have never been a fan of the hamming the actor has now nurtured into an art form . my bias should disqualify me from writing a balanced opinion on a man who has evidently lived a dream for 23 years . but khan made me a promise twenty years ago when he appeared in the film maya memsaab and i intend to hold him to that today .
spoiler to anyone who hasn ' t seen maya yet well , in the end , i guess maya died because she drank that potion thing . and like the seller guy said ,
anyone who has a bit of evil in their hearts will have unthinkable consequences
. so , it ' s a bit magical in a way , i guess . the message ? uhmmm , maybe do good ? not quite sure of the message myself .
early in the film , a street vendor is hawking assorted mystical potions outside of maya’s house . one of the things he’s selling is an “elixir of wishes” ; if someone with a pure heart drinks from it , he will get his wish , but of the heart isn’t pure he will recieve a terrible curse . when the vendor is arrested , the pharmacist takes the elixir , and it’s not too much of a spoiler to say that in the end it’s maya who drinks . the film tries to create a little ambiguity about whether maya’s heart is pure or not ; by the end of the film she’s wishing to escape er life entirely , and that’s what she seems to get ( though the narrator at the end is a bit unreliable . ) still , maya betrays and financially ruins her husband ( the only man who truly mourns her death ) simply because her life doesn’t measure up to her fantasies .
what sexual awakening was to thousands of teenagers in the optimistic 90s , shah rukh was to indian cinema . he was yet to discover his best camera profile and the scope of his dimples . he has , since then , scaled buildings , detonated bombs and brought roses to his sweetheart at midnight , but his super stardom has taken its bloody toll . he has lost the nerve he once showed in revealing his imperfect body in maya memsaab and reneged on the promise he made to his converts in the 90s to always select good cinema over money .
the only really “filmi” thing about maya memsaab is shahrukh’s performance . as lalit , he displays most of the usual srk quirks , but within the naturalistic world of the film , the effect is quite different . lalit is just as passionate and devoted as the usual srk romantic hero , but with one key difference : lalit doesn’t worry about the ‘proper way” to get what he wants . he doesn’t balk for a second at romancing a married woman , and he’s certainly not the type to put off the conclusion of a romance until he can receive his beloved from the hand of her own father . lalit just wants maya , and he doesn’t care how he gets her . now , this doesn’t make him an evil person , but it certainly doesn’t make him a hero , either ; he’s careless , and that makes him dangerous .
as the film opens , maya ( deepa sahi ) is dead , and her story unfolds in a series of flashbacks as the police interview the various men in her life . maya grew up in a crumbling mansion with only her father and her books for company . when she marries the recently widowed dr . charu das ( farooq shaikh ) , she’s happy at first , but grows steadily more disenchanted when her new life fails to live up to her romantic fantasies ; she’s especially disappointed when , after faking her own grisly demise , charu’s first instinct is to phone the police rather than to promptly attempt suicide .
maya ( deepa sahj ) says she has everything she could possibly want , with a decent but awkward professional man as a husband , and two lovely daughters . however , she is just as attracted to men as they are to her , and she falls into and out of any number of disastrous sexual liaisons . indeed , she eventually cuts such a swath through society that the police are looking for some way to remove her from circulation , and concoct something called
the maya scandal
to permit them to put her away . this tragic melodrama is based on madame bovary by gustave flaubert . ~ clarke fountain , all movie guide .
here in the movie , we see maya making a choice of walking out of her house to fulfill her dreams . she makes changes to her own life which adversely affect her innocent husband . now he is left with nothing else but a bunch of questions for his wife which will be answered only when nature takes him to her .
director ketan mehta , who was involved in the 3d conversion of 1975 film sholay , said revisiting the classic with the new technology was challengingproducer gp sippy’s grandsons approached ketan mehta for the 3d conversion of the amitabh bachchan - dharmendra starrer through his maya digital studios . the film is being released in 3d on january 3 , 2014 [ … ]
well , in the end , i guess maya died because she drank that potion thing . and like the seller guy said ,
anyone who has a bit of evil in their hearts will have unthinkable consequences
. so , it ' s a bit magical in a way , i guess . the message ? uhmmm , maybe do good ? not quite sure of the message myself .
subscribe @ urltoken like : urltoken with shahrukh khan ' s happy new year coming up lets have a look at the bold side of our very old shahrukh . he has done some mind blowing roles and one of his astonishing roles was that in maya memsahab where he had a lots of raunchy bed scenes with his co actors . check out some of his hot bed scenes with hot then deepa sahi
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a beautiful , wealthy woman’s insatiable appetite for romance leads to tragedy and a police investigation .
a dysfunctional family of superheroes comes together to solve the mystery of their father ' s death , the threat of the apocalypse and more .
a writer bonds with the eccentric residents of guernsey when she decides to write about the book club they formed during the wwii german occupation .
memories in a bowl of steaming noodles , a fading beauty finding her way and a bittersweet first love - - all in these stories of city life in china .
after her husband disappears , meek maria luiza turns his property into a bossa nova club and begins to come into her own as an independent woman .
after scientists discover a mysterious substance that can influence human minds , two factions wage an all - out battle to control its awesome power .
in 1969 , l . a . ' s newly formed swat team attempts to raid the black panther party headquarters , resulting in an intense face - off that lasts for hours .
inspired by a true story , this series follows a group of roman teenagers as they defy society in their search for identity and independence .
a year after helping richard secure the crown , amber’s getting ready to walk down the aisle with him . but she’s not so sure she’s cut out to be queen .
jio institute picked as an ' institute of eminence ' . selection panel head explains why
who is this scrawny guy , who wears the sexy nail marks on his back like a badge of honour ?
i remember thinking .
yes , in that way , i have had a falling out with him . while he has moved on , i haven ' t .
as a revisionist hero , shah rukh was the spiritual head of the new order he established in the early 90s and sustained for the next 10 years paring competition from two other emerging stars - aamir and salman - both intense and utterly focussed on using the consumerist audiences of the age of liberalization to their advantage .
like an ageing rockstar who remembers the heady aphrodisiac of a stadium full of screaming girls , shah rukh keeps trying to recreate the magnetic hold he had on his audience 10 years ago as a monument to his ego in films such as ra . one . his is a career well lived . he is wealthy beyond all comparison and has established a fan base that few actors can emulate .
my life may seem glamorous from the outside but off screen it ' s as ordinary as anyone else ' s . i want people to know that movie stars live a normal , middle - class life ,
he told the bbc at the time of releasing the documentaries by filmmaker nasreen muni kabir on his outer and inner worlds .
yet he rarely ever chooses scripts that do not revolve around the central theme of ' shah rukh khan ' . he rarely ever shares screen space , except in his early years , with some one who is his true competition . in shimit amin ' s chak de india shah rukh gave a stellar performance due to the strong ensemble cast and the fact that the focus was evenly shared by a team of good actors .
shah rukh has been told , over and over again , by the men he trusted his career , and by default his life with , he looked cute when he nodded his head a certain way or like a devil - may - care cary grant when his hair was brushed away from his forehead . nobody would ever dispute his contribution to cinema . he is the single most important face a billion people the world over identify indian cinema , its culture and the masculinity and fabulous wealth of its men with . i will not waste your time running you through a laundry list of his films and achievements , his endorsements and the sheer discipline with which he has built himself an empire in mumbai .
i see him as a middle - aged realist with sharp intelligence but too entrapped in his super stardom to realize the message his changing audiences are sending him in his friday outings at the box office . yes , ra . one made money , and so has don 2 . but the man on the street , which he himself once was at the time of circus and dil dariya , is losing interest in the hamming , in the lined forehead and the body tortured in the gym to keep the tapering waist even in his middle age .
would you , shah rukh khan , see your own films , if they were showed to you back in 1988 when you valued character - driven performance ? how would you rate your acting ? i doubt if he would answer those questions .
if they were to put up a statue of him at bandra it would have its arms outstretched and head tilted back - a pose his fans interpret as welcoming both the malice and the love he has received over 20 years . which is not inconsiderable . he is the first hero to give back to his fans as much as he got , welcoming them into his drawing room . if only he knew when to stop .
at the height of his success , shah rukh , with good humour and the shrewd derision he often directed at himself , said he has learnt to live with the burden of his fame . in a candid interview with his friend and filmmaker karan johar , he said he would always be king khan in his mind and amongst the people who love him . the first cracks in the good humour have started to show now .
despite protestations that opinion of film critics do not matter , the stress is showing after repeated thrashing from opinion makers across the board on two of his last films , ra . one and don 2 , which were almost his children in the amount of love and attention he had bestowed on them . he had exhausted himself promoting ra . one on a scale that has never happened before and previously thought impossible .
the sulking star is now in the news for slapping filmmaker farah khan ' s husband shirish kunder , a lightweight in the pecking order of the industry . he is taken to making potshots at rivals , dressing in drag at major award shows and masquerading a barely concealed jealousy at the success of a hugely successful risque film under the garb of genial humour .
i mean it the kindest way , but it ' s time to say goodbye . shah rukh will not be able to keep up with the formidable crowd forming at bollywood ' s second rung every day , neither will he be able to accept a character role that is not an ode to his super stardom . for as long as his friends in the industry keep shaping his career he will find a hit or the other . but now is a good a time as any for a dignified exit from playing the romantic hero opposite heroines half his age and choose scripts that will do justice to his talent .
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katra katra milti hai katra katra jeene do | asha bhosle | ijaazat 1987 songs | r . d . burman | rekha
aaina mujhse meri pehli si soorat maange . . . talat aziz ( daddy )
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initially , the excitement of beginning a new life , of redecorating the house and discovering togetherness , gives her a feeling of euphoria . but gradually the monotony of marriage starts setting in . the boredom of a small - town , middle - class existence starts becoming oppressive , and she finds escape in a series of extramarital affairs . at the same time , her craving for a more glamorous life leads her to the fantasies of romance and passion . she seeks refuge in the extravagant , hoping that possessing symbols of luxury will provide her some satisfaction , but it only leads her to duplicity , debt and despair .
even her extramarital relationships , at first platonic , then passionate , end up as pathetically possessive , making her realize that adultery can become as banal as marriage . the more she gets disillusioned with reality , the further she slips into her fantasy world . and she keeps chasing her self - created mirages till her tragic , comic , heroic and magical end .
johann jakob griesbach - gospel synopsis 1776 griesbach published his greek gospel synopsis of matthew , mark and luke as a volume separate from his critical edition of the new testament ( cf . . . above ) , of which it had previously been a part , and thereby established the tool of a synopsis as an essential research aid in new testament studies . . .
why we fight - description of films . . . capra ' s synopsis
showing the gallant and victorious defense of britain by royal air force , at a time when shattered but unbeaten british were only people fighting nazis .
the battle of . . . capra ' s synopsis
history of russia people , size , resources , wars . . . capra ' s synopsis
japan ' s warlords commit total effort to conquest of china . . .
the sword of truth - synopsis - journey through the old world . . . in the eighth novel , naked empire , richard and kahlan are interrupted from their journey home to the new world to help free the bandakar empire , deep in the old world , from the imperial order . . . they learn that the people of bandakar are pristinely ungifted like jennsen and oba , and have been overrun by the order because they have shunned all forms of violence , refusing to fight for their own lives . . .
henry iv , part 1 - synopsis . . . adding to king henry ' s troubles is the behaviour of his son and heir , the prince of wales . . . hal ( the future henry v ) has forsaken the royal court to waste his time in taverns with low companions . . .
the adventures of brisco county , jr . - plot - synopsis . . . in the pilot episode , brisco tracks john bly ' s second - in - command , big smith ( m . c . . . gainey ) . . .
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because of this disenchantment , she first becomes depressed , and then drifts into adultery , first with thakur rudra pratap singh ( raj babbar ) and then with lalit ( shahrukh khan ) , nephew of the local pharmacist . all the while , she’s also buying luxuries on credit from lalloji ( paresh rawal ) , not giving a thought as to what will happen when payment becomes due .
lol . . . luv the pic my friend sent me the link to this
scene
. . .
this reminds me i must go for away for a few minutes to watch this scene again . i will use the slow play and the zoom ! ! ! ! !
) . but i did not quite understand the end and the message that this movie wanted to give the audience .
the very
interesting
scenes with shahrukh apart , did anyone understand the subject of the movie ? of course , it was not a typical indian movie and the nude scenes were quite daring ( i cannot imagine that shahrukh would do this kind of movie again ) . but i did not quite understand the end and the message that this movie wanted to give the audience .
i havn ' t seen the movie , only these
special scenes
and i don ' t know but i don ' t think it ' s really exciting . it ' s not that i ' m not used to see him in such scenes ( also i think some normal
erotic
scenes suits him better ) , it ' s more that it looks not real .
i ' m not sure if i have this impression , because the video wasn ' t good or if it is the same way in the movie .
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story : based on gustave flaubert ' s ' ' madame bovary ' ' .
cast : deepa sahi , farooque sheikh , raj babbar , shah rukh khan , paresh rawal and dr . sreeram lagoo
the cops are investigating a mysterious death . they are asking my husband different types of questions . he is telling them what ever he knows . the cops now go places visiting many people asking them questions regarding the death . everyone tells what they know about the one who is dead . but no one seems to know everything about the dead woman . who is the right person to ask ? obviously me . i am the one who knows everything that happened with me . so what are these cops doing asking a bunch of fools who know bits n ' ' pieces of the story ? they are just trying to gather everything they can get and stitch it together to make up a conclusion for themselves .
a thin ductile line that passes between fiction n ' ' reality . which side of the line do we choose to live in ? are we happy with the reality or do we cross the thin line to choose fiction instead ? i don ' ' t know about the others , but i chose fiction for myself .
it rained heavily that very day . it seemed beautiful as never before as the drops of water touched the earth . as usual i was in the world of my romantic novels . just then , something went crashing . to my bewilderment , i found dad painfully sitting on the floor with a broken leg . i lifted him up and helped him to his bed . then i called a doctor . he came in straight from the door into my heart . he had got wet in the rains . he had that cute lill ' ' not so perfect attitude . but that was what i fall in love with . soon i found a new life waiting for me with open arms . marriage changed everything for me . it gave me a way to accomplish my dreams . nothing has been so beautiful . a house of my own which i can decorate as i want , a loving husband , freedom . . . . . and beauty ; i can feel it as it comes upon me with each passing day . days passed by and these beauty , dreams , house decorations , my husband ' ' s love all seemed to grow into a casual activity .
where were my dreams to lead my life in fiction ? they were still not accomplished and they don ' ' t even care to get accomplished in a middle class environment . i had to chase them badly . i needed to reach extremities of love , passion , wealth . . . . i needed it all for myself . i wanted to see men drinking out of my hands . but my husband seems to be a satisfied human being in all respects . no spark ignites the madness that i want to see in my partner . he thinks these are just my fantasies . and if they are fantasies , i want them right here in my life . that ' ' s it . i thought it all for myself .
one fine day i walked out of my house as if i was never there . don ' ' t know what my husband must have thought of me then . but then who cares . i had to live my dreams , my passions , my fantasies . . . .
i wanted to lead a life with all the riches . i wanted to buy love . i wanted sources of money for all these dreams . my journey of fantasies saw many men in n ' ' out of my life as i wanted them to . but nothing seemed to quench my thirst for my fantasies . i was enjoying the bliss of making men dance on my finger tips . but my affairs soon became as boring as my marriage was . the money i had borrowed too had finished . i had to repay it . but how ? everything has come to an end . my house will be auctioned and gone for ever . i tried all my sources to repay the debt , but all men turned out to be bloody hypocrites and cowards . i couldn ' ' t see a way out .
i returned home . my husband was enthralled to see me back . he kept asking questions . i payed no heed to them . i sat on my chair thinking of where my fantasies had taken me to . then something wierd happened . something magical . very much like my fantasies . as i wanted life to be , it ended in the same way . i drank a magical potion which saw me making my way out of this middle class environment to a world where i still search my life full of fantasies . when will this journey end ? when will i conquer all my passions and fantasies ? i still wait desperately for the day to come .
it had to happen the day i walked out of my house hunting for my dreams . but nothing won in satisfieing me . the fact being that i didn ' ' t exactly know what i was chasing . it was just a faint idea to be free . but did i commit a mistake ? is chasing one ' ' s dreams a sin ? i did whatever i felt like doing . no boundaries were meant for me . i broke free from all the clutches of my society . i had crossed that line between reality and fiction . but if i had really crossed that line why wasn ' ' t i able to continue the way i was living ? where did this money factor come in between my path ? isn ' ' t money just a part of the fictious life ? but the reality is that even my fictious life was based on dirty money itself . so i was just fooling myself thinking that i was living it my way . i was still living in the same reality . fiction was just virtual . it was me who had created this virtual world for myself . with the fact that it was based on real money , reality caught hold of me , as soon as this money was drained in the labour towards completion of my dreams .
i don ' t know if i ever crossed the thin line between reality and fiction , but yes , i did cross the thin line of my limits . the limits of every human being which were transparent to me .
the others , raj babbar , shah rukh khan , paresh rawal and dr . sreeram lagoo lend support with their commendable performances .
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a frustrated housewife whose marriage to an average man does not meet her expectations enters into an affair with a younger man . of course , there are no easy escapes from reality .
this film is not currently playing on mubi but 30 other great films are . see what’s now showing
an unsatisfied housewife finds solace in her extra marital relationship with a much younger boy . but things like these come with an expiry date and so did this one .
sorry ! none of the critics have had a chance to review this movie yet .
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the crew of this film were busy filming a herd of wild elephants when a young one decided to give them a charge . trapped in their car in between tall elephant grass on either side and a mammoth female elephant blocking the passage ahead , the crew had few options of escape . then , when the female elephant came charging , all on the vehicle froze , fearing the worst .
it was at this moment that debeshwar appeared ! the young forester lunged forward from the jeep , one hand holding the vehicle and other outstretched towards the charging elephant .
go , mother , go !
, he urged the elephant .
incredibly , she listened to him and turned away . debeshwar , the smiling forester with a diminutive frame , became ' debu ' that day .
during the three seasons that the crew spent in india ' s kaziranga national park , filming a television series on rhinos , there were at least four occasions when they were attacked by wild elephants ( and 6 incidents of rhino charges ) . on every occasion , debu held them back with the same chant ,
go , mother , go !
. after the first incident , none of the crew feared wild elephants . . . as long as debu was around !
the ek tha tiger actor has been approached by the veteran filmmaker to play the leading lady in his next biopickatrina kaif seems to be at an enviable space as far as her acting career is concerned . not just item numbers or rs 100 crore films , she is now also being offered roles where she [ … ]
after being loyal to his wife for 20 years , shahrukh khan is reportedly seeing his don 2 co - star priyanka chopra and they are quite an itemshahrukh khan has always maintained a very ‘loyal to my wife’ image in tinseltown , even as he romanced so many beauties on the big screen . seeing pictures of gauri and [ … ]
here’s a treat for the ladies – while it’s always been the women who strip down to bare nothingness in bollywood , the trend changed when b - town hunks like ranbir kapoor and john abraham showed off their assets on the big screen . skin show in bollywood never fails to garner attention , be it male or female . [ … ]
deepa sahi trained from national school of drama and started off with plays . her debut film was govind nihalani’s party ,
farooq sheikh or farooque sheikh ( born 25 march 1948 ) is an indian actor , philanthropist and a popular television presenter .
shah rukh was born on 2 november 1965 in new delhi to meer taj mohammed khan and lateef fatima . his grandmother wanted to
shahrukh khan often credited as shah rukh khan and informally referred to as srk is a famous indian actor . called the
dissatisfied with her life , a married woman embarks on a series of affairs that always end in disaster .
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mujhe khabar thi wo mera nahi | romantic song ft . lata mangeshkar , mona singh ( saadgi )
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