khanna had 11 releases in the year 1972 and of them except for maalik ( 1972 film ) , rest of the 10 were successful .

this film was among the highest grossing films of the year 1972 .

the film became a " super-hit " at the box office .

the 2012 review of the film by hindu newspaper stated " essaying the role of surjit singh , a reckless , macho truck driver , with a penchant for consuming desi liquor and visiting brothels , the actor can be described in only one word — superb .

he adapts to the role , discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance . "

dushman ( 1972 film )

dushman is a 1972 hindi film produced by premji and directed by dulal guha . it is based on a novel by veerendra sharma .
dushman ( 1972 ) paired with mumtaz , this movie became a superhit at the box office . rajesh khanna played the lead of surjit singh .
for his stellar performance in this film rajesh khanna was nominated for film fare award .
dushman ( hindi : दुश्मन english : enemy ) is a 1990 hindi film starring mithun chakraborty and mandakini as the lead protagonists . the film is directed by shakti samanta .
dushman 1972 | hindi movie . . .
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dushman ( 1972 ) hindi full l . . .
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
dushman is mahesh bhatt ' s upcoming punjabi film written and directed by shagufta rafique . the film stars punjabi actors jashan singh and kartaar cheema in the lead roles . the film is being shot at various locations in punjab , chandigarh , moving to uk eventually .
dushman is a 1972 hindi film produced by premji and directed by dulal guha . it is based on a novel by veerendra sharma . the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor , the only nomination for the film . meena kumari , mumtaz , bindu , rehman , asit sen and johnny walker are part of the cast .
this film was remade in tamil as needhi in the same year ( 1972 ) starring sivaji ganesan and jayalalithaa . the film was later remade into the telugu film khaidii babay ( 1974 ) starring shobhan babu in the title role , and vanisri as his love interest . it was also remade in kannada as hosa theerpu ( 1983 ) with ambareesh .
, she played the all - sacrificing elder sister , but the film failed .
prem kahani ( 1975 ) directed and written by raj khosla , the film stars rajesh khanna and mumtaz in the lead roles . the film ' s melodious music is given by laxmikant pyarelal . chakravyuha ( 1978 ) chakravyuha is a 1978 bollywood film directed by basu chatterjee . the film stars rajesh khanna and neetu singh in lead roles .
3 crore at the box office . the latter was also his first film with director
' # sanju ' - an anecdotal account of one of india ' s most controversial and popular film - personalities - sanjay
baba
dutt , the film . .
movie name - dushman ( 1972 ) star cast - rajesh khanna , mumtaz , meena kumari produced by - premji directed by - dulal guha music by - laxm ikanth pyarelal dushman is a 1972 hindi film produced by premji and directed by dulal guha . it is based on a novel by veerendra sharma . the film stars rajesh khanna in the title role and for which he received a filmfare nomination as best actor , the only nomination for the film . meena kumari , mumtaz , bindu , rehman , asit sen and johnny walker are part of the cast . the film became a
super - hit
at the box office . enjoy and stay connected with us ! ! its entertainment re - defined ! subscribe to old is gold for more entertainment & popular classic movies visit our website – urltoken circle us on g + urltoken like us on facebook urltoken follow us on twitter urltoken find us on pinterest urltoken follow us on linkedin urltoken find us on tumblr urltoken also follow us on reddit urltoken vkontakte urltoken stumble upon urltoken
this is a reel story . now let us see what happens in real life . the famous ( or infamous ) case of salman khan ' s 2002 hit and run needs to be reviewed vis - à - vis this film ' dushman ' .
dushman ( translation : enemy ) is a 1998 bollywood psychological thriller film starring sanjay dutt , kajol and ashutosh rana in lead roles . the film is directed by tanuja chandra and produced by mukesh bhatt and pooja bhatt . the film was well received by critics as well as at the box office and was the seventh highest grossing hindi film of 1998 , winning lead actress kajol , who was seen in the double role of twin sisters along with ashutosh rana quite a few awards , at a number of award ceremonies that year .
he has seen success in very few films like bandhan , dushman , etc where he had an equal role with the heroine instead of being side dish of the female .
in the meantime , salman should do some soul searching and taking a cue from rajesh khanna in the film ' dushman ' , should first compensate the victims to their satisfaction . then only he should expect pardon from the widow of the person he killed because of rash and drunken driving .
dushman is a 1939 hindi social romantic drama film . it was directed by nitin bose for new theatres calcutta production . the film starred k . l . saigal , leela desai , najmul hassan , prithviraj kapoor , nemo and jagdish sethi . the music was composed by pankaj mullick and the lyrics were written by arzu lucknavi . nitin bose besides directing also wrote the story and wielded the camera for the film . the dialogue writer was sudarshan . the story subject about tuberculosis was suggested as a propaganda film by viceroy lord linlithgow and his wife , who were then the chairman and patron of king george’s tuberculosis fund .
, for example , and compare it with the strictly functional camerawork and cutting in the other parts of the film .
hi jai , as expected , your post augmented my view point on the film : ) . enjoyed reading it .
thanks for sharing such a valuable information gathered at one place . do you have film
baadil starring habib and deeba
jeetendra : in 1972 , jeetendra appeared in 10 films . while these included two special appearances in chori chori and garam masala , his most memorable turn was as the kind teacher in parichay , director gulzar’s adaptation of the sound of music .
before he hit super - stardom and was trying to find his feet in the industry , bachchan was credited with nine releases in 1972 . while these include special appearances and voice - overs as well , none of them , except s . ramanathan’s romantic - thriller
at the peak of his career in 1989 , shroff had nine film releases . interestingly , they were all lead roles . while he received critical acclaim for
watching him dance to “vaada tera vadda” — sung breezily by kishore kumar — with chamelibai ( bindu ) is sheer magic . many critics who swear by similar numbers filmed on amitabh bachan - rekha in films like “muqqadar - ka - sikandar” will have to rethink after watching “dushman” .
train is the only movie where faltu khanna has seen success as a film that had some focus on the hero . in most others he was side dish to females .
bawarchi ( 1972 ) this family entertainer was directed by hrishikesh mukherjee , starring rajesh khanna and jaya badhuri . the movie is about a young man named raghu ( rajesh khanna ) who offers to work as a cook , and is hired . raghu soon becomes the family ' s favourite and twists in the plot ensue .
prem nagar ( 1974 ) the 1974 film produced by d . ramanaidu and directed by k . s . prakash rao stars rajesh khanna and hema malini in the lead roles .
the film depicts rajesh khanna a rash driver who frequently drives while drunk . one morning he drives at breakneck speed in thick fog to make up for lost time after consuming alcohol .
, many are cynical about his constant film - churning abilities in an era where most actors prefer to take their time and work on one film in one , and sometimes , two years . but that wasn’t always the case and kumar has certainly not been the busiest actor . here’s a look at 10 actors who’ve belted out more movies in a year than one can keep count of .
i second nightwatchman ' s comment on achanak . the pace , structure and plot are very unlike gulzar and the film is compelling to this day . it is loosely based on this case . urltoken
several reasons were cited , including his restricted acting style , wherein he could enact only soft , romantic roles and his inability to sustain the onslaught of the angry young man , which is what the audiences desired in the mid - ’70s . this premise falls flat on watching khanna in director dulal guha’s 1971 film , “dushman” . essaying the role of surjit singh , a reckless , macho truck driver , with a penchant for consuming desi liquor and visiting brothels , the actor can be described in only one word — superb . wearing fatigues for most of the film and donning a moustache , khanna looks every bit the truck driver he portrays . he adapts to the role , discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance .
the film is about two friends who want to marry the same girl unknowingly till one of them discovers he has tuberculosis . he decides to sacrifice his love but ends up in a sanatorium where he is treated .
aradhana ( 1969 ) paired with sharmila tagore and directed by shakti samanta , this movie was voted best film of the year by the filmfare awards . it gave us songs like roop tera mastana and mere sapno ki rani .
[ my latest lounge column , about a loony mid - 80s film by the director who later made the more widely watched chaalbaaz ] - - - - - - - - - - - - - - - . . .
dushmun is an excellent family film with an unusual story line . a truck driver who kills a person ( the sole bread winner of the family ) accidentally is sentenced by the judge to serve the members of the family , instead of going to jail . initially reluctant & loathed by the family , he gradually wins their hearts & solves their problems leading to a pleasant climax . the film has got everything going for it - unusual story , deft screenplay , lilting music by lp & excellent direction by dulal guha . the performances by the cast are superb . meena kumari is her usual self while mumtaj is sprightly & johny walker ' s comedy is hilarious . but the film belongs to the superstar rajesh khanna who is in his elements right through . there is a perception that amitabh brought the concept of the angry young man to hindi films , but looking at kaka ' s performance here , we realise that it is not true . it is a pity that he did not get the filmfare award for best actor . the film was a super hit & rightfully so . this film will find a place in the top 10 films of rajesh khanna . an all time favourite of kaka fans .
hum dono is a 1985 hindi film , starring rajesh khanna and hema malini , and is directed by b . s . glaad . the music is by r d burman , and the songs are sung by kishore kumar and asha bhonsle .
the film , produced by premji , is loosely based on v . shantaram’s iconic “do ankhen barah haath” which deals with an alternative system of punishing convicts , by integrating them in the social structure and giving them a chance to atone for their sins .
enjoyed koshish a lot . very good film . dilip kumar had seen sanjeev kumar in same frame in sangharsh . he admired sanjeev kumar ' s acting abilities then also and gave him a gift on his good performance . both were very good actors .
but given all this nuance in the first half , i thought the film was compromised by the abruptness of its final 20 minutes and an unconvincing resolution where the protagonists’ son amit is emotionally bullied into marrying a deaf and dumb girl ( the daughter of hari’s boss ) .
the film was directed by shakti samanta , and is based on a story nishipadma by bibhutibhushan bandopadhyay and stars rajesh khanna and sharmila tagore . the thought - provoking song chingaari koi bhadke written by anand bakshi and sung by kishore kumar , is one of the highlights of this classic .
[ my latest mint lounge column is on a braj bhasha film about a little boy obsessed with an immortal warrior ] - - - - - - - - - - - - - - - - - - - - - - - - - - - - - . . .
namak haraam ( 1973 ) thw movie is the second hrishikesh mukherjee film with rajesh khanna after anand . diye jalte hai , phool khilte hai , nadiya se dariya , dariye se sagar and main shayar badnaam are the most memorable melodies , all rendered powerfully by kishore kumar and picturised on rajesh khanna .
despite the fact that mumtaz had all the prerequisites of a made - to - order hindi film heroine - - - she could dance , pout , exude sex appeal and speak hindi fluently - - - she was relegated to supporting roles for a long chunk of her abbreviated - by - marriage career .
subtextual analysis aside , this sequence might seem frivolous , but i think it’s an important scene for the film because it shows us hari and arti in a light moment , sharing the sort of intimacy that they can’t share with anyone else – it’s almost like they are waggling their thumbs at the “normal” people who can speak and hear . it makes it easier to believe that these two can grow into a relationship together and that they will be able to have some fun too – that their married life won’t just be a litany of struggles . it shows a side to the relationship that we don’t get to see much of in the second half of the film , as things become increasingly grim .
when the conjugal meetings of devyani chaubal with faltu khanna stopped devi ran out of fuel and the love laced writings stopped . it is not that she hated faltu khanna because she was one such goddess who would do anything for the one she loved . when her writings stopped six films of faltu khanna flopped and 1972 saw hema malini defeating faltu khanna without receiving any blood written letters . when the love laced writings of devi stopped the illusion began to fade . it was faltu khanna and devi who together created the illusion . both of them enjoyed the illusion ( read projection ) together . but when the illusion faded faltu khanna was alone in facing the consequences .
( apparently it isn’t politically correct to say “deaf and dumb
these days , though no one told the dvd subtitle - writers this ) who meet , get married and negotiate the many challenges of their shared condition . needless to say , this makes for a film with many emotional scenes , underlined by madan mohan’s insistently ( and often effectively ) melodramatic background score .
this is a common trait amongst indian ( read bollywood ) film - makers where some of them dare to take on challenging subjects , but succumb at the last minute to box - office performance pressure by providing a more popular ending . i watched the film swades a few days ago and observed a similar ending . the film - maker , for 2 . 5 hours , presented an issue - a very realistic one , but then hurriedly wrapped up the film with a * popular * decision that the lead character takes to return to the village in india by bidding farewell to a successful nasa career . the filmmaker would have thought that if he had made the protagonist practical and made him choose his career at nasa , the general audience will not like the ending resulting in poor performance at the box - office . i feel that an even better ending would have been to keep an open ending as there is not easy solution to the issue at hand . on the contrary , and not to compare , in the movie
ordinary people
, the filmmaker chooses a realistic and non - happy and non - melodramatic ending where the family that lost a member does not live happily ever after . this is where the filmmaker chose to dare take a difficult subject , and stuck with it . as long as a realistic story that addresses realistic issues tries to please the general audience the story will never turn into a gem . i love reading your blog . great job !
against his wishes , rajesh khanna had to comply with the court ' s ruling . rajesh khanna initially faced the animosity of the victim ' s family and villagers . but slowly things changed . the film then continued with usual bollywood turns and twists and finally ended on a happy note with the victim ' s family , notably the widow , forgiving rajesh khanna for the crime .
aaj ka m . l . a . ram avtar ( 1984 ) aaj ka ram avtar mla is a 1984 film starring starring rajesh khanna in the lead role . ram avtar , played by rajesh khanna , personally grooms minister digvijay singh . when digvijay ' s political party is in need of someone to stand in the forthcoming election , digvijay recommends ram avtar as his choice .
in movies where he was equal dish to the heroine he was dependant on the luck of mumtaz with whom he was equal dish in dushman , bandhan and apna desh . even when his hips became wider during roti the luck of mumtaz favoured him . he was main dish in bawarchi and only goraa could break the flop record of bawarchi . he was main dish in mere jeevan saathi and mere jeevan saathi broke the flop record of bawarchi . he was double dish in humshakal and asked moushami whose child she was carrying and humshakal proved what will happen if faltu ' s shakal is shown twice . faltu khanna could have luck in two shakals only if vinod khanna supported him like he did in sachcha jhoota where faltu khanna had two shakals . faltu khanna tried to repeat his double shakal flop of humshakal in deewar and demanded that his shakals be shown twice and salim javed , who did not want to see a repetition of humshakal where faltu khanna showed his shakal twice , took the film deewar without faltu khanna ' s shakal in it .
media is a big vulture . when sachin bats well media will feed on his fame and write good about him . when he bats bad the same media will become vultures who feed on his failure and write about his falling scores . faltu khanna also had to face such a media that copy pasted what devi wrote . devi never spoke bad about him . even what she spoke in the bombay superstar interview was just a fact that he is going with dimple to many shrines for praying for the victory of daag . devi was an anukoola shatru of faltu khanna . she did the best pleasant thing for him . faltu khanna liked it and benefitted from it . but what they together created was poison and faltu khanna had to drink the poison alone while vinod khanna began to come up without any hype due to which the industry did not even know about vinod khanna ' s disappearance from the film industry . it is the absence of the one whose presence is frequently shown that will be visible . faltu khanna ' s absence became visible after the glorious six flops of 1972 - the year when his stardom was ended by hema malini .
kaka had a gorgeous face and a killer smile ! !
that was till 1972 - the year in which he gave 6 flops . after that his smile disappeared . see namak haram . where is the
killer smile
that he had in haathi mere saathi on his face ? it was missing and in place of that killer smile he had a faded smile . the killer smile was replaced by his buttocks that had grown double the size of lady mountbatten ' s buttocks while acting in namak haram . from 1973 it was big buttock period for him with chulbulji having the last laugh of the image she projected of big buttocks which he was struggling to keep but with no success : ) ) ) ) ) ) ) ) )
the film depicts rajesh khanna a rash driver who frequently drives while drunk . one morning he drives at breakneck speed in thick fog to make up for lost time after consuming alcohol . he inevitably ends up running over and killing a farmer . but despite the opportunity to hit and run , he decides to stay and face the consequences . he is arrested by the police , charged , and brought before the courts .
after making a futile attempt to escape , surjit is confronted by unbridled scorn and animosity by ram din’s family and other villagers , who label him a dushman . the rest of the story is based on surjit’s drive to realise the dreams of his victim : getting a bumper harvest in the fields , marrying off his sister , and preventing ganga din’s limited assets from falling into the hands of the avaricious landlord ( anwar hussain ) . his integration in the victim’s family is complete when he saves malti’s honour from the landlord’s evil grasp ( who had earlier entrapped surjit in a false murder charge ) . in all these endeavours , surjit is helped by durga prasad , a larger hearted farmer ( veteran kannaiyalal in a rare positive outing ) .
in the film , the widow of the victim finally pardoned rajesh khanna in two years ' time as she thought rajesh khanna had done enough penance with a clear conscience . in real life , the widow of nurullah sharif said on tv yesterday ,
it is the win of money power . justice is never for the poor . i will never forgive salman for taking my husband away from me
. it has been a little more than 13 years since the incident and the widow of the victim is yet to forgive salman .
another major anukoola shatru of faltu khanna was devyani chaubal . she never betrayed him . but what she did for him was to create an illusion for which only faltu khanna would be answerable if the illusion fades and reality shows . she created the illusion that he is an actor with blood written letters coming in . she used to tell this in such repeated frequencies that even today the chant continues although no one has been able to answer how many blood written letters faltu khanna got in total . since the todal number of letters were not specified by devyani chaubal everyone uses the capacity to believe that the total number of blood written letters could be one lakh , two lakh , three lakh and so on . when it was 1972 anju mahendru objected to faltu khanna sleeping with devyani chaubal and demanded that what justice is there in her cancelling her engagement with garry sobers for the sake of faltu khanna when faltu khanna continues double sleeping with anju and devyani chaubal . faltu khanna asked devyani chaubal not to come to asirwad hereafter . what faltu khanna did not know is that it was the continuous conjugal meetings between him and devyani chaubal that were the fuel for the glorious writings of devyani chaubal .
something else i found jarring : when hari’s boss initially makes the proposal , hari ( who doesn’t yet know about the girl’s condition ) firmly refuses , indicating in sign language that the gap in social status between their families is too large . this is an unedifying moment ( to say the least ) given that the film is shortly about to condemn discrimination in another sphere . basically , though hari is stricken by his son’s reluctance to accept a speech - impaired girl for a wife , he himself has been attaching undue importance to the class divide – something that is a much less momentous factor in a situation where two people will be spending their lives together .
and yet , there is an unusually whimsical , carefree moment early in the film . hari ( sanjeev kumar ) and arti ( jaya bhaduri ) are getting to know each other , going for walks together and so on . after watching a man talk into a public phone , they enter the booth and make prank calls – dialling numbers randomly , pretending to speak and listen . a succession of befuddled people answer the line at the other end , and finally there is a charming cameo : dilip kumar ( presumably playing himself ) walking down a stairway in a large house , looking around with mild annoyance at having to pick up the phone himself . he listens to hari making
kp and oddan : you ' ve made similar points and to an extent i see what you mean , but let me try and address this more fully : i feel that you are analyzing the movie through present day glasses . kp : well , okay , but so what ? surely you don ' t expect me to climb into a time machine , go back 40 years and then write about this film ! : d but more seriously , i don ' t get this watertight distinction between how things were done then and how they are done today . fact 1 : there were some people , even in that social strata , 40 years ago , who would have defied their parents and asserted themselves ( and there were parents who would eventually have given in ) . fact 2 : there are some people , even today , and in the most seemingly progressive communities , who are completely under their parents ' thumbs in these matters . ( you do know about
honour killings
, right ? ) this past - vs - present divide isn ' t a clear one by any means . also , i might be wrong about this , but in both your comments i sense an undertone of quiet respect for an idealised time when kids would toe the line and unquestioningly listen to their parents . but personally speaking i don ' t have much respect for that attitude , and naturally this colours my perspective on the ending . even assuming that it was the
done thing
in the past , i don ' t think that justifies the emotional manipulation . more importantly , from a cinematic perspective , i thought the ending of koshish was poorly done - it was much too abrupt and sketchy , and the film ' s suggestion that amit is eventually happy with the decision isn ' t at all convincing . the last shot feels like a very hurried attempt to reach a happy ending . if the film had found a way to convincingly portray amit ' s change of heart ( perhaps by giving him a scene or two with the girl ) , it would have worked much better .
all i wanted to point out is that while you and i may disagree vehemently with the choices the character makes in a movie it does not necessarily follow that it was bad character development , script or direction or filmmaking . oddan : completely agree - i should have been clearer about this in the post . like i said in my last comment , the main issue isn ' t the worldview being portrayed but the disjointedness of the film ' s climax and ending . on the other hand , the worldview does in a way contribute to the slapdash ending . i am just quibbling over the suggestion that you did not like the movie because you did not like the way a character behaved . understood . though i haven ' t said anywhere that i didn ' t like the movie !
wasn ' t koshish based on a japanese film ? i remember reading that somewhere . i recall many vignettes from the movie , though i was just a kid when i saw it . somehow i recall aarti as refusing hari because she wasn ' t sure he could look after her , then he shows himself to be assertive and capable and she changes her mind . you said she saw his vulnerability , so i must be confusing the scenes in my mind . i remember feeling really sad when their child dies due to asrani ' s burglary . and i remember asrani - after seeing him playing only bufoony roles , it was quite unusual to see him playing this negative , exploitative role . yeah , the ending jarred even as a kid . i recall feeling annoyed at the emotional blackmail by hari - he chose a soulmate with whom he could communicate , but denied his son that privilege from some kind of misguided philanthropic drive .
fraudsters using fake address to rig the system is not a new phenomenon . here’s how flipkart is using artificial intelligence to tide over this issue
in the march quarter , private equity inflows into the residential sector more than doubled to $ 1 . 32 billion
while rs 3 , 900 crore cash is for transfer of spectrum from vodafone to idea for airwaves up to 4 . 4 mhz , the bank guarantee of rs 3 , 300 crore is for airwaves beyond 4 . 4 mhz
an internship is no longer about fetching coffee and making copies . one student shares the benefits of a summer job at a global corporation
soorma—a biopic on the life of hockey player sandeep singh is slated for release this week . here’s a look at ten other sports biopics bollywood has to offer in the coming months
most of last week , the untimely demise of rajesh khanna led television channels to feature panel discussions on the superstar’s life and times , particularly his fall from the position he occupied from 1969 to ’72 .
even in action sequences , khanna looks credible . surely , the actor’s downfall was more due to other reasons cited — unprofessionalism and arrogance among them — rather than his capacity to adapt to action - oriented roles . it is a testimony to the tragedy of khanna that at an age ( 30 ) when most male actors in hindi films barely get a toehold in the industry , khanna was to go into an irrevocable slide . perhaps it was his failure to handle superstardom and the consequent adulation which led to this sorry state of affairs .
another reason that comes forth is his lack of business acumen ( most actors had become business savvy pros by then ) and his utter failure to look after his dapper looks . the camera , which never lies , caught the perceptible and sudden change in his looks — receding hairline , paunch , puffy face — truthfully .
thus , surjit singh , on a misty morning , when visibility is low , accidentally crushes a farmer , ram din , under the wheels of his truck . although he has the opportunity to escape , he gives himself up for trial in the court of a judge ( rehman , an epitome of competence , restraint and grace ) who wants to pioneer a new system of dispensing punishment . after acquiring permission for his experiment from the higher judiciary , the learned judge decrees that surjit singh will serve his sentence by ensuring the survival of deceased ram din’s family , which includes his widow , malti ( meena kumari in one of her last films is adequately placed to play the role of the beleaguered widow , with her perfect timing for tragedy , and some melodrama ) , sister kamla ( naaz , passable , with her limited talent ) , two sons , a crippled father , ganga din ( veteran actor nana palsikar is able to evoke sympathy ) and ganga din’s blind wife ( leela mishra , yet to become an accomplished character actor , which she did in later years ) .
in the midst of all this , love blooms between him and phoolmati ( mumtaz ) , a gypsy who shows a bioscope in the village to earn a living . the two share a screen chemistry that is one of the abiding milestones in the 100 years of cinema . mumtaz , with her sensuous pout and body hugging dresses , is remarkable in the role . she is indeed worth watching in songs that include “dekho dekho dekho bioscope dekho” ( lata mangeshkar ) and “maine dekha tune dekha’ ( duet by lata mangeshkar and kishore kumar ) .
the music , composed by laxmikant - pyarelal to lyrics by anand bakshi , adds to its lure , as does the crisp editing . other character actors , including abhi bhattacharya ( soft - hearted inspector ) , sajjan ( landlord’s stooge ) , asit sen ( head constable harishankar chaurasiya ) are competent .
akshay kumar with ‘singh is bliing’ , his fourth release of 2015 , has had a busy year . a look at 10 other actors who’ve belted out more movies in a year than one can keep count of
right at the beginning of his career in 1971 , the actor had 13 releases . these included several guest appearances but gulzar’s highly acclaimed
in 1977 , dharmendra was seen in 12 movies , including some big hits .
mithun chakraborty : for the year 1986 , chakraborty has a record - breaking 15 movie releases to his credit . while few would remember titles like karamdaata and avinash , there’s no taking away from the feat itself .
three years after he debuted , govinda appeared in 15 films in 1989 . these included hits like
fairly established as he was , devgn appeared in seven movies in 1999 . while his own home production
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itna to yaad hai mujhe . . rafi - lata - anand bakshi - l p - mehboob ki mehandi1971 . . a tribute
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surjit singh earns his living driving a truck , most of the time while consuming alcohol . one night he stops at courtesan chamelibai ' s , drinks , goes to bed with her , and gets up behind . . . see full summary »
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jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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dashing pilot arun romances vandana tripathi , and both in love with each other , become very intimate , and as a result vandana gets pregnant . arun and vandana have a quiet temple wedding . . . see full summary »
a village woman abandoned by her husband is forced into prostitution in kolkata and forms nameless yet strong relations with a wealthy patron as well as an abused boy in the neighbourhood .
mangal singh ( rajesh khanna ) has been a career criminal , whose criminal career began to steal food and to keep from starving , and thence got him in deeper and deeper in the criminal world . . . . see full summary »
somnath ( somu ) lives in a shanty house in a delhi slum with his widowed mom , and unmarried sister , sarla . he is friendly with calcutta - based wealthy vikram ( vicky ) maharaj . when vicky ' s dad . . . see full summary »
rajesh khanna plays mumtaz ' s jealous husband who begins to doubt her fidelity when his best friend sanjeev kumar enters their lives . she is unable to convince rajesh khanna that she loves . . . see full summary »
taking place almost entirely over the course of one stormy night , a woman is terrified when an accused murderer escapes from a mental hospital and seeks refuge in her home .
when mistaken to be a sage by some villagers , an ex - tour guide reflects on his past and lost love to search for spiritual wisdom to guide the villagers .
a simple man from a village falls in love with his new neighbor . he enlists the help of his musical - theater friends to woo the lovely girl - next - door away from her music teacher .
a truck driver learns from his foster mother about the murder of his parents at the hands of a bandit and sets out to avenge them .
the story of a prostitute , with a pure heart ( pakeezah ) , and grand dreams . . .
sunder khanna is an orphan and lives a poor lifestyle in india . he is friendly with wealthy gopal verma , the only child of judge verma ; and a wealthy girl named radha , who is the daughter . . . see full summary »
naseeb , a story of destiny and fate , begins with a lottery ticket . a drunk who cannot pay his tab trades his ' winning ' ticket to the waiter , namdev ( pran ) , instead . namdev decides to share . . . see full summary »
surjit singh earns his living driving a truck , most of the time while consuming alcohol . one night he stops at courtesan chamelibai ' s , drinks , goes to bed with her , and gets up behind schedule , so he rushes out , drives his truck and accidentally kills a farmer named ram din . he is arrested by the police , charged , and brought before the courts . the judge finds him guilty and sentences him the maximum time under the indian penal code for 100 years - with a difference , he is not to spend time in jail but must labor to look after the surviving family members of ram din , which include his widow , malti ; his sister , kamla ; two young sons ; a crippled father ganga din and his blind wife . a horrified surjit attempts to convince the judge to change his ruling , but in vain and he is transported to his new penitentiary where he meets with hostile villagers who would rather kill him than let him toil on their sacred land . but with police protection , he is permitted to go to ganga din ' s house , where . . .
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is that so preeti ? when did u f * ck up india kooodhini . . er . . preeti ?
did u lick rajiv bhatia ' s lund today kooodhini . . er . . preeti ?
< quoted text > did u lick rajiv bhatia ' s lund today kooodhini . . er . . preeti ?
< quoted text > chi chi chi . . . whethr u r maurition or from mauritius ur mouth always uses gundhi gundhi batein . . . shame on australia and the dampora khandaan to have kooodhinis like u who post from their kooodhi . . . chi chi
< quoted text > is that so preeti ? when did u f * ck up india kooodhini . . er . . preeti ?
salman is a global superstar - not just a superstar in bombay like kaka was . kaka is nothing in front of salman salman has a far superior box office recoard and far more fans then kaka could ever hope for . in addition he can kick the crap out of kaka anytime he is a man not a child molester like kaka he has been at the top end of the industry for 20 years not 2 - 3 like kaka . he looks better at 50 then kaka did at 30 .
< quoted text > chi chi chi . . . . . u are f * cking bipin ' s indian sisters lol ! ! .
vipin ji won ' t mind kaala , anpadh , aussie abusing indians , because vipinji is not indian . jahan tak sawal is kaale chichore ka hai . . . . . isko khud nahi malum ye kahan paida hua tha , kyun paida hua thah , fiji ke ek pathar pe paida hone wala . . . . . india jaise purane culture ko galiyan de raha hai . . . . isse india ka to kuch nahi bigdega , ye khud mazak ban jayega . ye jahan gaya hai . . . . australia mein . . . . pichle 12 mahine mein chaar martaba to inke prime minister badle hain . . . ye haal to australia ka hai . . . . fiji supplies all the labor force to australia for doing menial jobs . atleast indo bhai had her ( preeti ) employed as office boy in our corporation . indo bhai is great . ye ( kaala aussie ) indo bhai ke pairon ke dhul ke barabar bhi nahi hai . . . . iski baat ko serious mat lo . . .
the beauty and greatness of bbc is that it not only covers , politicians , business tycoons , kings but also goes after to inquire about arrogant chipmunks like kaka , bbc also covers babboons , reptiles , and mega failures too .
in 1973 bbc london came chasing kaka for an interview
preeti , u are wrong again . bbc never chased big buttocks . only jack pizzey came chasing him . bbc never stoops down to chase a failing actor which is what bombay superstar documentary shows . jack pizzey used big buttocks documentary as an excuse to have a holiday in india visiting heritate sites so that he would get reimbursement for his india trip only if he got the documentary else his trip expenses would be treated as loan and he wld have to pay up . bombay superstar is the only documentary where big buttocks falling period is shown as it is . u know one thing preeti ? even big buttocks die hard fan roshiniji who watches amar prem again and again and worships the chulbul gossip monger ' s picture by putting it on her profile hasn ' t noticed this : it is only in bombay superstar that the chulbulvaali does not repeat her story of blood written letters and ' oopar aaka neeche kaka ' instead she says that big buttocks is going from shrine to shrine with his beevi ( anju mahendru would not have accompanied him anywhere ) dimple to pray for the success of daag . it ws for the first time that the chulbulvaali was talking about big buttocks insecurity . without the chulbulvaali to write glorious stuff about him big buttocks was a fish out of water and stopped surviving in the industry after roshiniji ' s favorite chulbul stopped supporting big buttocks .
rajesh khanna was a global superstar ! !
dont post from ur kooodhi preeti . big buttocks was a bombay superstar . raj kapoor was the global superstar whose name was famous even in russia . none of big buttocks films could beat the fame of awara which is world famous .
wow incredible india my arse ! ! ! !
preeti , ur incredible arse is in australia the land where every sadakchap co * k sucker can get a citizenship because australia does not have an identity or culture of its own . looks like there is no superstar for australia that is why the lund suckers of australia like u have to sing praise for indians like big buttocks and refer to ignorants like salim khan who does not even know from where the word
superstar
came from . . . keep showing ur incredible arse over here which mee has been drilling well making u take sabbaticals every now and then ! ! ! !
in sanskrit there is a word anukoola shatru . the word has many interpretations . although the word shatru means enemy the fact is that faltu khanna had many friends who could do to him even what a sworn enemy could not do .
one group of such friends who could lovingly ruin him was the chamcha association of faltu khanna that functioned in asirward without a board with roopesh kumar the honorary president of the association . the job of the members of chamcha association of faltu khanna was to sing praises of faltu khanna as the one with the
killer smile
and that above the clouds there is almighty and below the clouds it is faltu khanna .
< quoted text > he became a side dish hema later on in his career in the movies seetapur ki geeta , durgaa and vijay . kaka thought his career was messed up by hema ' s seeta aur geeta and why not star in hema ' s seetapur ki geeta ( a movie that sounds similar ) , this might get him a hit in 1987 , but unfortunately it was too late for him . .
faltu khanna was also side dish in aradhana , amar prem and safar which were sharmila movies .
he was also side dish in kati patang and aan milo sajna which was an asha parekh movie .
in sharmila ' s aradhana , safar as well as amar prem faltu ' s role was only that of entertainment of singing songs while his character had a very small role in the movie .
same way in asha parekh ' s kati patang and aan milo sajna his role was to entertain with songs that could not be picturized with asha parekh giving the lip sync to it .
faltu khanna was side dish to female oriented stories and basked in the fame of women oriented characters right from aurat where he was side dish to padmini and got reverse publicity due to acting with pran in aurat and continued doing side dish to females in doliwhere he was side dish to babita .
he was used as side dish because it was history that if a producer takes bribe and makes him main dish then it will flop like raaz , akhri khat and baharo ke sapne where he was main dish .
in goraa he was special dish and we know very well what happened to goraa .
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the unknown is a 1927 american silent horror film directed by tod browning and featuring lon chaney as carnival knife thrower alonzo the armless and joan crawford as the scantily clad carnival girl he hopes to marry .

film historian ken hanke considers the film to be in many respects the best of browning 's films with lon chaney .

burt lancaster said that chaney 's portrayal in the unknown featured “ one of the most compelling and emotionally exhausting scenes i have ever seen an actor do . ” chaney did remarkable and convincing collaborative scenes with real-life armless double paul desmuke ( sometimes credited as peter dismuki ) , whose legs and feet were used to manipulate objects such as knives and cigarettes in frame with chaney 's upper body and face .

as with browning 's later sound film freaks ( 1932 ) , contemporary reviewers were sometimes less appreciative .

" a visit to the dissecting room in a hospital would be quite as pleasant , " opined the new york evening post , " and at the same time more instructive . "

modern viewers can discern the same macabre style of this film ( and other browning-chaney collaborations ) in later productions ranging from the 1930s universal studios horror films to the 1960s twilight zone and alfred hitchcock presents programs .

the unknown ( 1927 film )

the unknown ( 1927 ) : lon chaney , tod browning , and . . .
the unknown ( 1927 ) , black & white , 63 minutes , not rated .
the lodger ( 1927 ) : hitchcock ' s take on belloc lown . . .
edit pf pollock ' s original us version . released at end of 1927 .
browning and chaney’s collaborations are : the wicked darling 1919 , outside the law 1921 , the unholy three 1925 , the blackbird 1926 , the road to mandalay 1926 , the unknown 1927 , london after midnight 1927 , the big city 1928 , west of zanzibar 1928 , where east is east 1929 .
the film was first presented , partially restored , at the bfi london film festival in 1980 .
“don’t step on it , it might be lon chaney . ” a 1927 quip .
channing pollock edition prepared for american release through paramount . premiered march 1927 . running time given by variety at 107 minutes . varying lengths given in contemporary reviews throughout 1927 .
no matter how you describe this silent film from 1927 ( directed by tod browning ) you end up with something strange and demented .
daniel eagan is a film writer and author of america ' s film legacy : the authoritative guide to the landmark movies in the national film registry .
a trailer i created to promote the screening of the film at niles film museum on feb 4 , 2017 .
a lost film that was never really lost , the last surviving print of the unknown was found in the early 1970s at la cinemathéque française in a few film cans marked “unknown . ” some minor lengths of footage did not survive in the print , but the film is largely intact , with no discernable gaps in the storyline . the film has probably survived only in a european release print that was originally shot from a b - camera position , but we are lucky to have the film — any print of the film — to enjoy today .
lon chaney collection ( 1921 - 2000 ) , black & white and color , 329 minutes total , not rated , including the unknown ( 1927 ) , black & white , 49 minutes , not rated .
in their very own archives , where it had become lost among all of the hundreds of reels of unidentified film similarly marked “unknown . ” ( well , technically marked
modern restoration using all known extant film . prepared by a team at the munich film museum , under the guidance of enno patalas .
many reviewers of 1927 didn’t like the film , thinking it too morbid for the general public . but chaney / browning fans of today think that it stands as one of the best of the duo’s collaborations . — carl bennett
while west of zanzibar is undeniably sleazier and the lost london after midnight contained more traditional horror elements , the unknown is the craziest film from an actor - director team that excelled at climbing on the crazy train .
modern restoration using all known extant film . prepared by a team of german film archivists , lead by martin koerber .
a superb mystery thriller , unusual and startling even for a chaney film . lon as
the unknown
eats , drinks , shoots a rifle and dresses with his feet . don ' t miss this startling spectacle . ( print ad - the cobbleskill index , ( ( cobbleskill , ny ) ) 13 october 1927 )
is quite possibly the most unusual , and the most deserving of “cult film” status .
we highly recommended this edition of the unknown for its visual quality , its unusual music score , and its new audio commentary .
chaney and browning were kindred spirits with a taste for the macabre and the unknown is probably their most popular collaboration . while audiences of 1927 were not entirely sure what to make of the picture , modern audiences can’t seem to get enough of alonzo and his twisted idea of romance .
a superb mystery thriller , unusual and startling even for a chaney film . lon as
the unknown
eats , drinks , shoots a rifle and dresses with his feet . don ' t miss this startling spectacle . ( print ad - the cobbleskill index , ( ( cobbleskill , ny ) ) 13 october 1927 ) see more »
the unknown is available on dvd via amazon , and streams in various spots around the internet ( it’s in the public domain , though soundtrack quality varies ) .
in 1927 , star lon chaney and director tod browning were among the biggest names in hollywood . joan crawford was a starlet on the rise , striving for recognition .
film historian anthony balducci has traced pie throwing on film back to at least 1905 , but the keystone studios , remembered today for its eponymous cops , ran the bit into the ground in the 1910s . when buster keaton started making his own features in 1923 , he explained in his autobiography , he forbade pie jokes entirely . but four years later , in september 1927 , a virtual unknown named stan laurel proposed to revive the gag—by making it bigger than it had ever been before .
and if that’s not enough for you ? well , this film is going to get a lot weirder . and then it’s going to get weird some more . and i’m not talking about weird for 1927—this is weird
many sources list joan crawford ' s character as
estrellita ,
but the cutting continuity and extant prints of the film use nanon as her character name . prints of the unknown existed for many years only in a murky 9 . 5mm blowup . henri langois at the cinematheque francais in paris had a nitrate print in his collection , but when mgm asked to borrow the print , it took him months to find it among all the cans of unidentified film marked
unknown .
eventually uncovered , mgm restored the original english titles and the film is now available in a lovely 35mm print .
the unknown is a truly horrifying film that takes us into the darkest recesses of the human psyche . all of the characters are simple beings who are driven by their emotions : the circus owner bullies , the hunky strongman loves , the attractive nanon lives in fear , and alonso oscillates between obsession and hatred .
it should be noted that there are numerous variants of metropolis available on video release , though it is often difficult to relate these to the versions of the film listed in the table above . this is due to variations in copy transfer speeds from film to video , and the unknown or uncited origin of the film from which the video was produced . the jef films video of 1986 , and its subsequent variants , is a good example of this .
if you have never seen the unknown but all of this sounds like a kick to you , go ahead and check it out . the chaney and browning collaborations are definitely not for the easily offended but if you put aside squeamishness , you will find a truly unique picture . there has never been another film like the unknown . whether or not that is a good thing depends on your point of view .
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 .
over the weekend , it was quietly announced at the library of congress’ festival of “unidentified , underidentified , or misidentified films ” that one of the most deeply mourned lost treasures in film history has reappeared . as reported by pamela hutchinson at silent london , silent film historian jon mirsalis unexpectedly rediscovered the second reel of laurel and hardy’s 1927 film the battle of the century , lost for 60 years . the battle of the century is not only a crucial film in the careers of laurel and hardy , but it contains the biggest , best , funniest execution of the pie - in - the - face gag in cinematic history . for fans of early film comedy , this discovery is roughly the equivalent of moby dick swimming ashore carrying the holy grail .
the film will also be available on bfi dvd / blu - ray and bfi player .
survival status : prints exist in the metro - goldwyn - mayer film library [ 35mm restoration negative and positive ] ; and in the george eastman museum film archive [ 35mm positive ] .
running at some five and a half hours on screen , the 1927 film demands a huge investment of resources - from projectionists , musicians , conductor and audiences , and in a live performance with intervals the experience adds up to more than eight hours from start to finish .
sounds like a lot of weird stuff going on in this film . and it’s about the circus ! count me in for a ticket to the big show . i’m down for this film !
waxworks ( 1924 ) : paul leni ' s anthology film brings . . .
joan crawford always considered the unknown ( 1927 ) a big turning point for her . she said it wasn ' t until working with lon chaney in this film that she learned the difference between standing in front of a camera and acting in front of a camera . she said that was all due to chaney and his intense concentration , and after that experience she said she worked much harder to become a better actress . see more »
also included below ( table 2 ) is an attempt to correlate film projection speeds against film lengths and film screening times for the various known versions of metropolis listed in table 1 . this is followed by a listing of cast and crew . finally , a tabulation ( table 3 ) of information relating to the gross takings of metropolis during its initial american release during 1927 is given for interest , based on figures compiled and published by variety magazine at the time .
this is the most complete version of napoleon since it opened at the paris opéra in 1927 , and the first u . s . screenings of the film with an orchestra in over 30 years . due to the technical and financial demands , there are no further screenings scheduled in this country , and no plans for a digital release of any kind .
rpm orchestra plays a live film score during the screening of silent movie classic
the unknown
( 1927 ) @ filmbar theater . audience participation is written into the score , with theatergoers divided into three orchestra ' toy instrument ' sections : flutes & horns ( heard @ 2m38s ) , whirlygig whistles ( @ 15m53s ) , and rattles ( 28m24s ) . the live performance ( as recorded during the oct 14 screening ) is heard here . [ the live
movie soundtrack
( audio - only ) recording is avail @ urltoken
mr brownlow said :
this is a tremendous step forward for film history .
the following information was extracted from the film daily yearbook for 1927 ( new york , 1928 ) . it lists a selection of box - office figures for metropolis , and is based on information gleaned from variety magazine . metropolis took in close to $ 140 , 000 during its initial six week run at new york ' s rialto theatre . the rialto was a medium - sized theatre , able to accommodate 1 , 960 patrons . during the screening of metropolis between 10 march and 16 april , tickets were available at 30c , 50c , 75c and 90c , and it is known that some 6 , 400 people attended the theatre on easter monday , 1927 . it was also noted in variety that the first week taking for metropolis were affected by the opening that week of the 6 , 200 seat roxy theatre . despite its rather average takings for the time , and often critical reviews , a panel of 286 critics and the film daily yearbook for 1927 voted metropolis number 12 amongst the best pictures of that year . that journal also identified the length of the film upon original release in the united states as 10 , 400 feet , though the motion picture news booking guide and theatre directory for 1927 gives a figure of 8 , 039 feet .
for fans of early film comedy , this discovery is roughly the equivalent of moby dick swimming ashore carrying the holy grail .
the most amazing thing i was struck by was the direction by tod browning . it was very well crafted , and so now i ' m beginning to wonder about those stories by david manners saying that browning actually did not direct most of 1931 ' s
dracula
after all . because with the unknown here is earlier proof that the director could do very interesting work . considering that the unknown , freaks and even mark of the vampire…
a growing source of silent era film information . this listing is from the progressive silent film list by carl bennett . copyright © 1999 - 2018 by carl bennett and the silent era company . all rights reserved .
from autumn 2016 , audiences will be able to experience this cinematic masterpiece with carl davis ' s score - the longest ever composed for a silent film - when the film goes on theatrical release in uk cinemas .
175 + intertitles . original director ' s cut as presented to the berlin film censor ' s office .
the unknown is an early tod browning film , featuring lon chaney in the role of alonzo the armless , a criminal who hides his distinctive double - thumb deformity by working in a traveling circus as an armless knife thrower . throughout the film , the illusion that chaney is using his legs to open doors , smoke cigarettes , and throw knifes is accomplished by having paul desmuke , armless in real - life , play the role of chaney ' s legs .
the musical accompaniment is another nonstandard take by the alloy orchestra , with its emphasis on digital keyboards and percussion , more melodic than the band’s comedy scores and far more expressive . it was recorded in 1997 for tcm showings and was the soundtrack used on the laserdisc release . we were privileged to see the band peform the score live during a theater screening of the unknown , and because of the laserdisc edition and the live show , we inextricably associate the score with the chaney film .
( because this film is so popular , the review will be relatively spoilery , though i will not reveal the ending . )
2018 © san francisco silent film festival . true art transcends time . all rights reserved .
notes : the unknown is arguably chaney ' s best film with browning , and one of the best performances of his career . though contemporary critics found the film
gruesome
and
shocking ,
it holds up extremely well today . a body double was obviously used for some of the more elaborate scenes with chaney performing maneuvers with his feet , but for several of the scenes chaney did have to perfect picking up wine glasses and other impressive acts of dexterity with his feet . the unknown was a modest production , costing only $ 217 , 000 for its 35 - day shooting schedule . it earned respectable profits of $ 362 , 000 .
. ) this is the only instance i know of in which a film’s title caused it to be lost .
. fearing that “lesueur” would be difficult for the public to pronounce , mgm staged a contest in a fan magazine to rename her . “joan crawford” was the winning entry . between 1926 and 1927 she appeared in 14 films , among them
the film is full of characteristic tod browning macabre touches and twists of storyline that surprise audiences who see it for the first time .
menilmontant may be more often billed as a thriller , but the double axe murder that opens the film is as intense as the shower stabbing . . .
it wasn’t until 1961 that john mccabe published stan laurel’s account of the film , finally restoring at least a brief account of the film’s first reel . mccabe believed at the time that the film was “leading a lonely life in the vaults of the hal roach studios . ” but he was wrong—four years earlier , the negative had been exhumed for the last time by filmmaker robert youngson , probably the first and last person to see it complete since its theatrical run .
i don ' t like hands . they ' re coarse and rough and irritating and they go everywhere . not like here . here everything is soft and armless .
nanokin , attack of the armless , 1927
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 .
being a nice , normal to the point of boring sort of person , i always thought that one viewing of “the unknown” would be all i could handle . you have made me want to brave those waters again and shout “bravo” at the screen .
the film features full - scale historical recreations of episodes from the personal and political life of napoleon , from the french revolution to the arrival of french troops in italy marking the beginning of the first italian campaign of 1796 .
metro - goldwyn - mayer pictures corporation production ; distributed by metro - goldwyn - mayer distributing corporation . / scenario by waldemar young , from a screen story by tod browning . production design by cedric gibbons and richard day . costume design by lucia coulter . cinematography by merritt b . gerstad . intertitles by joseph w . farnham . edited by harry reynolds and errol taggart . presented by louis b . mayer . / © 27 june 1927 ( at seven reels ) by metro - goldwyn - mayer pictures corporation [ lp24123 ] . released 4 june 1927 . / standard 35mm spherical 1 . 33 : 1 format . / working title : alonzo , the armless . principal photography was taken from 7 february through 19 march 1927 . polly moran’s appearance as a lady’s lady and bobbie mack’s appearance as a gypsy were cut from the film before release . / silent film .
if you love freaks , in theory you should love this one . i happen to love freaks , but have be in the mood to watch the unknown . it’s a truly disturbing film - perhaps why it has survived , to preserve its uniquely disturbing aspects . what must contemporary u . s . audiences have made of it , i wonder .
central park - 1932 - joan blondell has trouble on her hands when she gets suckered into helping a gangster to rob a charity event . though this film stars joan and wallace ford , it also features the american great depression which is the background for the hunger and desperation that flavors the film .
wolf blood is arguably the second werewolf film ever made , yet it’s often inaccurately listed as the first . countless books and articles c . . .
for additional information , readers are referred to the feb / march , 1992 issue of filmfax for an excellent article on the film by author bret wood .
the following section deals with the various physical and technical aspects of metropolis . it begins ( table 1 ) by listing known releases and variants of the film which have occurred since november 1926 , when fritz lang presented his initial director ' s cut to the berlin film censor ' s office . table 1 is a summary of the numerous editions known to the author . additional detailed information is available martin koerber ' s article published in jaconsen and sudendorf ( 2000 ) . data on release dates , film length ( in feet and metres ) , and screening duration ( in minutes according to varying film speeds ) is given , though this is somewhat tentative and subject to variation , dependent upon the specific reference used . furthermore , it should be noted that the print as originally released to distributors and theatre managers by ufa during 1927 - 8 may have been subject to servere cutting by local authorities and operators ; or the film run at inordinately fast speeds - up to 26 frames per second - to fit the time constraints of local programs ( a 90 minute feature was often the ' ideal ' ) . as a result , it is difficult to ascertain exactly what version of metropolis individual audiences saw during the initial run in 1927 - 8 , and what was the precise screening time . for example , a reviewer might indicate that the length of the film was ' 12 reels ' or that it ran for ' 107 minutes ' . unfortunately this information is not detailed enough to indicate the exact length of the film ( in feet / metres ) , whether it had been cut or censored , or the speed at which it was screened on the night .
( 1925 ) . the film was a hit , reviving a creative partnership that would last through seven more films . of these ,
lon chaney as an armless knife thrower in tod browning ' s the unknown . some of the stunts were performed by real - life armless foot double paul desmuke , who went on to perform for years billing himself as
lon chaney ' s feet .
literally everyone that walked into the living room and gave the unknown a few seconds of their attention , ended up sitting through to the end . and literally everyone that did , giggled , and gasped , and
yooooo ' d
, and laughed ( my wife even came in for a high five during a pivotal scene ) . i ' m probably the worst person you could ask regarding the consitution of a quality silent film - - this being only my second one - - but i know quality entertainment when i see it , and the unknown was one hell of a circus act . as a fan of the kind of horror and macabre making up the majority of 1950s ec horror comic books , this landed so well for me .
as in any art form , the history of cinema contains many works that are , for whatever reason , overlooked and underrated . tod browning’s the unknown ( 1927 ) is definitely one of these works , and it is , without hesitation , a modern masterpiece for the current century . browning is best remembered for the milestone dracula ( 1931 ) , the first of the universal horror films ( for which lon chaney was originally offered the lead role but he deferred and then died ) and freaks ( 1932 ) , the director’s confronting rebuke for the representation of malformation by hollywood , filmmaking , and the other arts . yet prior to both he made a remarkable series of films with the extraordinary , ‘man of a thousand faces’ , lon chaney ( 1 ) , of which the unknown is the pinnacle . this delirious , outrageous l’amour fou – a chilling , genuinely disturbing and haunting melodrama – is what cinema should be all about : a suspension of belief in the face of a story that defies all logic yet rings true to the deeper human emotions .
, he created not one , but five voices . shortly after completing the film chaney died of throat cancer , on august 26 , 1930 .
( 1970 ) . crawford died on may 10 , 1977 , as legendary a film icon as her early influence , the remarkable lon chaney .
reviews of silent film releases on home video . copyright © 1999 - 2018 by carl bennett and the silent era company . all rights reserved .
film # 10 for 31 days of silent horror films is maciste in hell , featuring one of the longest - running characters in cinema . the beefy mac . . .
an 89 - year - old film , which could take cinema - goers a marathon seven hours to watch , is returning to the big screen .
although it has strength and undoubtedly sustains the interest ,
the unknown ,
the latest screen contribution from tod browning and lon chaney , is anything but a pleasant story . it is gruesome and at times shocking , and the principal character deteriorates from a more or less sympathetic individual to an arch - fiend . view full article in timesmachine »
lon chaney is a circus performer known as alonzo the armless , and the film’s first scene shows us alonzo in action , throwing knives , with his feet , at joan crawford . now , silent film fans know better , but there are a lot of people in the world who only know crawford from her later work—in other words , as the scary hag of
in our digital age , it’s easy to lose sight of how revolutionary napoleon was . and the many different versions of the film—as late as the 1970 , gance was reshooting material for a new cut he called bonaparte and the revolution —have made it difficult to pin down napoleon ‘s place in film history . in my lifetime , brownlow and other historians have managed to tease out much of the majesty and scope of the movie .
in less than two weeks , the magnificent film festival il cinema ritrovato ( ‘cinema rediscovered’ ) kicks off in bologna , italy . and yes , i’m going to be the . . .
it is the most complete version of the film available , compiled by academy award - winning film - maker , archivist and historian kevin brownlow , who spent more than 50 years tracking down surviving prints from archives around the world since he first saw a 9 . 5mm version as a schoolboy in 1954 . he worked with the bfi national archive on a series of restorations .
the audio commentary by chaney biographer michael f . blake is packed with little tidbits of production information about the unknown , chaney and tod browning . the information is related by a chaney fan for the benefit of cinema fans , and does not have the sterile feeling of an academic reading . it is a commentary that is worth listening to more than once , unlike the over - intellectulized commentary of other silent era discs .
browning came to hollywood after working in the circus for fifteen years . his knowledge of this milieu enriched many of his films , including freaks , the unholy three ( 1925 ) , the show ( 1928 ) , and the unknown . while the circus background is relatively cursory in the unknown , many small details , such as the play of shadows on the carnival canvas when the strongman first attempts to embrace nanon , bring an additional texture to the image . further details , such as the gypsy funeral ritual , add depth to the portrayal of circus life . browning’s non - judgemental view of the gypsy lifestyle runs counter to the stereotypical depiction of ethnic minorities by hollywood , especially a group as misunderstood as the gypsies . browning’s interest in outsiders and the rejected was no doubt nurtured by his time in the circus , and he well understands the audience’s attraction to this image of the dark underbelly of carnival life , hidden by the masquerade of gaiety . his heroes were not the attractive and glamorous found in most movies , but those misbegotten beings normally hidden from our sight and treated in a condescending manner .
just six of the 3 , 000 pies thrown in the battle of the century .
shortly after the golden age of comedy was released , the battle negatives decomposed so completely that they were junked . only youngson’s version remained—and he hadn’t printed the first reel at all . it wasn’t until the 1970s , when financier earl glick purchased the rights to the hal roach library before discovering roach didn’t actually have copies of most of the films he’d just bought , that anyone even realized how much had been lost . to make good on his reckless investment , glick funded a global search for prints of the lost film library , but there was no sign of the film’s second reel . in 1979 , the first reel did show up : now modern audiences could finally see the part of the film that contemporary audiences didn’t care about , but not the great pie fight of legend .
super spooky and atmospheric silent film from tod browning and the man of 1 , 000 faces himself , lon chaney ! i really like the atypical horror plot of the unknown focusing on circus performers and their infighting and strange habits and unrequited love . lon gets a lot of mileage out of his craggy world weary face . he ' s a knife thrower that ' s seen some hardship ! the black and white silent treatment really adds to the otherworldy quality of the movie as well . those caravan interiors look positively gloomy , and the stark paleness of a very young gypsy joan crawford pops off the screen like a beautiful phantom ! and for a movie almost a century old , the unknown creeps into some surprisingly dark places : deadly foot knife throwing , body horror surgery , a drawn and quartering set piece , those sharp hats . all in a tight 50 minutes ? why did i sleep on this macabre gem for so long !
although it has strength and undoubtedly sustains the interest , the unknown . . . is anything but a pleasant story . it is gruesome and at times shocking , and the principal character deteriorates from a more or less sympathetic individual to an arch - fiend . . . mr . chaney really gives a marvelous idea of the armless wonder , for to act in this film he has learned to use his feet as hands when eating , drinking and smoking . he even scratches his head with his toe when meditating .
- - - the new york times
while very short at just 50 minutes , this film packs an emotional punch and is macabre in a way that is unique to the genre of horror movies . i won ' t spoil the big moments , but the tone is set from the beginning as we find ourselves at the circus performance with an armless man ( lon chaney ) hurling knives and firing a rifle at his partner ( a young joan crawford ) . as we later see chaney ( and a real - life armless double ) manipulate objects and do things like smoke with this feet , we ' re reminded of the film director tod browning would make five years later , ' freaks ' . chaney ' s performance throughout the film is brilliant , and he dramatically captures angst , jealousy , and pain . john george turns in a strong performance as the little person in the circus who is chaney ' s friend , and the two of them create a striking pair . while the overall tone of the movie is deliciously creepy , the romance joan crawford warms up to with a circus strong - man ( norman kerry ) is sweet , and browning uses a piece of gauze over the camera lens to create an idyllic , dreamy feel to some of their scenes . the uncredited score that was used on the tcm showing was also fantastic . great film , especially for 1927 .
today , we are going to be looking at one of the most famous and popular of the chaney - browning collaborations . the duo spread their creepy pall over sunny spain and indulged themselves shamelessly in the bizarre , grotesque and macabre . let’s see if the film lives up to its reputation .
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a re - watch of one of my favorite films with one of my favorite silent film actors : the hands of orlac with conrad veidt . a concert piani . . .
another typically morbid chaney film has him working as a circus freak and trying to win the heart of his assistant . alas , she does not want him so he must kill the object of her intentions .
it may not be browning ' s best silent film , but it is certainly his most fascinatingly perverse - - and that ' s saying something in the world of tod browning .
it was the last of the great silent films , as just 4 months later the first talkie opened : the jazz singer .
the historian was backed by the fiaf ( the international federation of film archives ) , which appealed to archives around the world to send materials to london . “these prints came pouring in , ” brownlow said , “every one of them with different elements . it was unbelievably exciting . ”
browning’s great strengths as a director lay in his ability to draw memorable performances from his cast and to create a believable world despite the mounting absurdities of the plot and the world in which his characters lived . he has the audience believe in the fantastic possibilities of the cinema . bela lugosi gave his definitive and arguably only real performance in browning’s dracula . when the simultaneously filmed spanish language version of dracula was rediscovered ten years ago , a number of viewers , in their excitement , considered this latino version , directed by george melford the better film , for its libidinous content . however , a comparison between the two is instructive since it reveals browning’s skills as a director . his film has lugosi’s memorable performance while the spanish version features uniformly inept performances by its cast , lead by the excruciating carlos villarias as count dracula . browning has a sympathy for his material , and the film , although encumbered by a static expressionism , is replete with remarkable cinematic vignettes that make it unforgettable . consider lugosi’s “creatures of the night” speech , missing from the spanish version , or the striking imagery of the ‘one hundred and twenty five step’ staircase where the climax of the film occurs . this was further refined in the minimalist decor of universal’s frankenstein films .
it is these skills that also make the unknown great . the film relies on a finely balanced performance from chaney to succeed . chaney had been mesmerised by clowns from an early age , fascinated by the potential duality of their personae . it is this that he brought to the fore in his acting , especially in the unknown . alonso is a hate - filled , fear - inspiring creature who has an all - consuming , obsessive passion for his assistant . chaney is required to display a credible balance of psychosis towards the world and believable emotion for nanon . frequently he is required to do this within the same scene without detracting from either aspect of his performance . for the amputation scene to work , one needs to feel compassion for alonso , to understand his motivation , and once the scene is over , the horror of what alonso has done only has its full impact if one sympathises with the character , even if paradoxically , he is a loathsome thug , unworthy of our compassion . the scene when nanon asks alonzo if he is thinner , before her disclosure of her love for the strongman , is tinged with perversity , dread , misunderstanding and ultimately extreme pain .
edison didn ' t have anything to do personally with frankenstein ' s first film adaptation , which was thought lost for years , but hi . . .
chaney’s collaboration with director tod browning was a successful one for both artists . working together at universal studios in 1919 , the duo hit their stride while both were under contract to mgm studios . browning , a former sideshow performer and vaudevillian , crafted stories that were a combination of the macabre and tragic romance . with chaney , browning often came up with an idea of a character and then used that character to fashion a story , as he did for what is considered to be one of the best films the two artists ever made , “the unknown” ( 1927 ) . chaney plays alonzo , an armless knife thrower , who hides out from the police in a local circus . actor burt lancaster once commented on chaney’s performance that in one particular scene , chaney gave “one of the most compelling and emotionally exhausting scenes i have ever seen an actor do . ”
the oakland dates will be the most complete and lavish screenings of napoleon ever shown in this country , with an orchestra of 46 playing “the finest score i’ve ever heard for a picture , ” brownlow enthused . “carl davis made the decision to use composers who were alive at the time of napoleon , and that gives the film an incredible sense of authenticity . ”
until this weekend . all these years , a copy of the second reel was apparently sitting unnoticed in the personal collection of gordon berkow , a film collector and an amateur preservationist . at the time of his death in 2004 his collection included more than 1 , 400 prints , which eventually made their way into the hands of jon mirsalis in the summer of 2014 . mirsalis began slowly working through the canisters , cataloging and logging the state of each print and deciding which to keep and which to sell . almost certainly destined for the sell pile : a canister labeled “battle of the century r2 . ” prints of youngson’s edit were common—in fact , mirsalis already owned one—and the complete second reel , as everyone knew , had crumbled to dust in the ’60s . mirsalis only recently got around to inspecting the film , an experience he described over email . when he opened the canister , he found twice as much film as he’d expected wound around the reel :
youngson , who won several academy awards for his short films , specialized in compilations made with old stock and newsreel footage— daredevils , firemen , failed airplane designs , and the like . for his first feature , the golden age of comedy , he was stitching together scenes from the silent film comedies and wanted the battle of the century’s legendary pie fight . he had footage transferred from volatile nitrate to safety stock—but , according to every report , only printed the specific footage he wanted , not the entire second reel . once he was done re - editing it for his film , he threw out what he didn’t use . so when audiences were finally reintroduced to the film , it was with new cuts and wipes , and a hokey 1950s documentary voiceover .
yes , i have to agree that it’s a very refreshing change . west of zanzibar is still my favorite but i definitely see the appeal of this film . i hadn’t seen it in ages .
the most famous of napoleon ‘s special effects is polyvision , a three - camera widescreen process gance used to close the film . like cinerama , polyvision required three projectors running in synchronization . they expanded the screen image dramatically . gance used the process sometimes to show broad landscapes , but also to break the screen into complementary or discordant images .
the battle of the century opened in december of 1927 and for a few happy months could be seen in theaters , randomly paired with anything from lillian gish’s “throbbing drama of love and sacrifice” the enemy at the hippodrome in murphysboro , illinois , to henri fescourt’s 1925 adaptation of les misérables —original running time 359 minutes—at the bentley theatre in monongahela , pennsylvania . in those days , when films left theaters , they were done : no revival screenings , no television , just a pile of prints melted down to recover the base metals . the last theatrical screenings happened in the summer of 1928 , at the kinds of second - rate theaters that pointedly didn’t advertise air conditioning . audiences who braved the heat were , with a vanishing few exceptions , the last to see the battle of the century in its entirety .
chaney and browning would ultimately collaborate on ten films , and while it’s often remarked upon that each of their greatest works were outside of that collaboration , this is undoubtedly the best film they made together .
it took some political infighting , but laurel eventually sold hal roach on the idea . the studio bought an entire day’s output of the los angeles pie co . and , that october director bruckman staged the greatest pie fight in history : 3 , 000 pies soaring gloriously through the air . and yet the secret of the film’s success , as laurel told scheuer , turned out to be not volume , but pacing :
the love triangle is handled so well in this one . one issue with many of the chaney films is that the other two ends of the romantic triangles he finds himself in aren’t as interesting as he . but here , everything is so perfect . such a twisted little film , definitely my favorite chaney picture .
a version of napoleon sponsored by francis ford coppola , and with a score by his father , composer carmine coppola , toured the united states in 1981 . i was lucky enough to see the film at new york city’s radio city music hall . the polyvision finale drew gasps and applause from the sold - out audience .
despite the south american discovery of 2008 , fritz lang ' s metropolis no longer exists in the form as originally created by the german director , due not only to the contemporary cutting , re - editing , and censoring of the film , but also as a result of the vagaries of time and history which have , until recently , placed little value on preserving copies of films such as metropolis . since the late 1960s efforts have been made both within germany and without , to restore and revive the film , and produce a copy which is as close as possible to lang ' s original conception . these efforts continue to this day .
nanon and malabar’s relationship is handled with more care than many romances of the silent and classic film era . often , older films would reward the male suitor who least respected the heroine’s boundaries , described as the “caveman” approach in the silent era . ( however , this was nothing compared to the oh - so charming 1950s . that decade wins the icky - patooey “romance” prize but that’s okay , apparently , because poodle skirts ! )
heather stewart , creative director at the bfi , said :
several generations of staff at the bfi have worked on this project . napoleon is a landmark in the history of cinema and we are grateful to all of the great talents who have helped us along the way but especially , of course , kevin brownlow for his indefatigable championing of the film and carl davis for his amazing score .
the critical consensus seems to be that the film was acted extremely well but its sordid subject matter was a bit much for some . of course , critics and audiences do not always align so take that with a grain of salt . i really love the penalty , another absolutely crazy story .
mirsalis is handing the film over to restorationist serge bromberg at paris - based lobster films for preservation and an eventual theatrical or home video release . after nearly a century , the battle of the century may finally be seen again . but these occasional victories against entropy don’t just happen ; without preservationists and collectors , the battle of the century would have disappeared forever . and for every film saved , more are well and truly gone . mirsalis has his own list of lost films he’s still searching for : lon chaney in a blind bargain and the chimney’s secret , ernst lubitsch’s the patriot , josef von sternberg’s the case of lena smith , f . w . murnau’s 4 devils . when a film like the battle of the century miraculously re - emerges , it gives a sense that the teacup , despite what hawking and hannibal say , will occasionally reassemble itself . that’s sometimes true , but as every version of the battle of the century , no matter how mangled or incomplete , makes hilariously clear , the process is usually one - way : you can’t unthrow a pie .
this table has been arranged from shortest down to longest , with details relating to the longest known version of the film - i . e . fritz lang ' s director ' s cut at 4189 metres - given on the bottom row . the times under the frames per seconds headings ( 16 , 18 . . . 26 ) are in minutes . it is telling that the many extant versions of the film - including the 9608 feet long 1995 german restoration - are still less than the channing pollack edition of 10 , 400 feet , and substantially below the original german and australian editions . this suggests that not only are whole reels missing , but that editing within extant reels has also occurred on a widespread basis . such practises are mentioned in the literature , indicating that individual theatre managers and projectionists had no qualms in cutting such films in order to accomodate time and other constraints of local programs . they would even go so far as to locally censor the film according to personal taste and beliefs .
the movie also works well when the three points of the triangle share the stage . one of the best scenes in the film is nanon’s engagement announcement when she announces that her phobia is cured and she loves hands now . malabar paws at nanon’s body and she giggles as alonzo laughs , his mind quite gone . the happy couple assumes that their friend is laughing with delight and so they laugh along with him . it’s glorious , sick dramatic irony .
a criminal on the run hides in a circus and seeks to possess the daughter of the ringmaster at any cost .
i cannot emphasize how much i respect kevin brownlow and his work . he received a governors award from the motion picture academy of arts and sciences in 2010 for making , writing about and restoring movies . he is the author of landmark books like the parade’s gone by… and the war , the west , and the wilderness , works that helped draw attention to the artistry of a generation of silent filmmakers . alone or with partners , brownlow also directed groundbreaking documentaries on charlie chaplin ( the unknown chaplin ) , harold lloyd ( the third genius ) , and buster keaton ( a hard act to follow ) . his photoplay restorations of films like raymond bernard’s the chess player are among the most complete and beautiful works of their kind . he is also a generous friend to anyone seeking to learn more about the history of movies .
both stan laurel and oliver hardy had been appearing in films throughout the 1920s , occasionally together , but had only been officially paired together since that june . although they’d shot the first three laurel and hardy films , none had yet been released . nobody at the hal roach studios knew it at the time , but they were at the center of a unique confluence of cinematic talent : not just laurel and hardy , but directorial legends leo mccarey , george stevens , and clyde bruckman . mccarey and stevens had their greatest successes ahead of them ; bruckman , the most successful of the group in 1927 , hadn’t yet begun his spectacular implosion . the first reel of the new feature seemed like a surefire hit : a parody of the jack dempsey and gene tunney “ long count fight , ” which had just happened in september of 1927 . no one had any particular reason to believe laurel could pull off the tired pie throws he planned for the second reel . but he had an improvement in mind , as philip k . scheuer explained in a los angeles times profile two years later : “his method would consist , simply and directly , of throwing more pies . not one , not two , not ten or twenty , but hundreds , even thousands . ”