#Story of Kaajal Movie

[amongxylophonesandglockenspiels]

Bollywood Movies Part CCVIII

Inspector Jatil Yadav (Nawazuddin Siddiqui) investigates the murder of the influential Raghubeer Singh (Khalid Tyabji) on his wedding night to his young second wife Radha (Radhika Apte). As Jatil investigates, he learns more about Raghubeer’s proclivities and about family secrets long left undisturbed, including the truth about the death of Jatil’s first wife (Natasha Rastogi).

CW for movie: human trafficking, rape, sexual abuse of a minor, some gore. Raat Akeli Hai is a good whodunnit that gives us a satisfying ending, while also being a love story. I enjoyed Jatil and Radha’s interactions, but I loved the performances of Shivani Raghuvanshi and Padmavati Rao as the combative Vasudha (Raghubeer’s niece) and the reprehensible Pramila Singh (Raghubeer’s sister-in-law) respectively. Ila Arun was also good as Jatil’s mother who wants him to get married. Favorite song is Ghoom Charkhya (no subtitles).

Kaajal (Bhumi Pednekar) moves out from her cousin Dolly’s (Konkona Sen Sharma) place when Dolly’s husband Amit (Aamir Bashir) makes a move on her and leaves her hated factory job. To make ends meet, she starts working at an adult call center as Kitty and begins an affair with “Pradeep” (Vikrat Massey), one of her callers. Meanwhile, Dolly deals with trying to make ends meet for her and Amit’s new luxury apartment that under construction and with the backlash against her son Pappu (Kalp Shah) liking girly things.

CW: corporal punishment. Dolly Kitty aur woh Chamakte Sitare is a good film about two cousins and their lives. It does a good job talking about women experiencing sex and desire without punishing them for it. It also doesn’t shy away from showing the realities of the society they live in, but doesn’t make those realities disheartening. A great example of this is the call center and how all the women there support each other. Favorite songs are Neet Ve and Khwabida (audio only). Neither song has subtitles.

Akash (Aditya Roy Kapur) goes to local crime lord Sattu Bhaiya (Pankaj Tripathi) to help take down a sex video made of him and his ex-girlfriend Shruti (Sanya Malhotra) without their knowledge. Meanwhile, Aalu (Rajkummar Rao) tries to help the woman he loves, Pinky (Fatima Sana Shaikh), when she comes to him to help get her husband out of jail for being prime suspect in a murder Sattu Bhaiya committed. After being released from prison, Bittu (Abhishek Bachchan), Sattu Bhaiya’s former second in command, meets Mini (Inayat Verma) who has run away from home and agrees with her plan to pretend to kidnap her to get her parents’ attention. Rahul (Rohit Saraf), after being taken by Sattu Bhaiya for being near the murder, manages to get Sattu Bhaiya’s money with the help of nurse Sheeja (Pearle Maaney), but Sattu Bhaiya sends his goons after them to get his money back.

Ludo is an entertaining dark comedy that is structurally based on the board game ludo (more recognizable to Americans as Parcheesi). It was quite entertaining and funny, while also being heartwarming. I loved Bittu and Mini’s story because of how cute it was, especially when Mini prompts Bittu on how to make ransom calls to her parents. Overall, a fun romp. Favorite songs are Qismat Ki Hawa Kabhi Naram (originally from Albela), Aarbaad Barbaad, and Meri Tum Ho. None of the songs have subtitles.

[sareideas]

This Is How Kaajal Film Famous Song Choo Lene Do Najuk Hothon Ko Made Know Here The Interesting Story

This Is How Kaajal Film Famous Song Choo Lene Do Najuk Hothon Ko Made Know Here The Interesting Story

Kajal movie song scene New Delhi : People still like to watch the famous 1965 film ‘Kajal’. This film was directed by Ram Maheshwari. Apart from Meena Kumari and Raj Kumar, Dharmendra, Padmini, Mumtaz, Mehmood, Durga Khote and Helen were also in the lead roles in the film. All the songs of this film were hits, but ‘Chu Lene Do Delek Hoon Ko’ got a different popularity. There is a very…

[2015-thelobster]

The storyline is also neatly written for the benefit of heroines. Hence, kajal Aggarwal scored a separate place in the history of the Telugu industry. Many films are being watched online, and you can see heel films online by the words click here. Once you click the link, you can have the treat of watching online films of your favorite heroine and heroes.

Telugu industry has been producing many celebrities who gain nationwide popularity, and hence Telugu films are earning a lot of revenue. There are many Telugu films being dubbed into other languages recently since it had market throughout India. Plenty of top actors' films in the Telugu industry have been very popular in other countries too. The action, sentiment, and comedy genre of films make fans go crazy. Kajal Aggarwal recently got the chance to work with Kamal Hassan in the Indian 2 film, which is expected by the fans a lot. In short, she is one of the famous artists in Tollywood who rules the cinema world. Click here to watch Telugu movies and shows online.

Nene Raju Nene Mantri is a famous Telugu political satire film with Ranas as the hero. The opposite pair of the film is kajal, Aggarwal. The film story is based on a political outline to lure customers. The present political aspects mixed with love and sentiment are available in the film. The film was directed by Teja, and the music was scored by Anoop. The story was written by Teja, and the total running time of the film is 153 minutes. The story of the moneylender and his political entry is portrayed in the film. The film had a good run at the box office.

Seetha is a comedy-action drama released in Telugu in the year 2019. The film was directed by Teja, and the film was done by the leading artist Kajal Aggarwal. The story is dealt with a boy who was left in the monastery and later on sequences. The film's total running time is 162 minutes, and the songs of the film are good to hear. The action scenes and sentiment of the film are eye-catching since the leading artists have done the role superbly. The production company of the film is Ariel studios and the film had a good run at the box office.

Sarocharu is another mega-hit Telugu film directed by Parasuram. The film was produced by Priyanka Dutt, and the music was scored by Devi Sri Prasad. The total length of the film is about 138 minutes. The story is about the love of Kaajal Aggarwal with the Ravi Teja. The romantic film gained a lot of positive reviews on the internet, and the film has been declared mega-hit. The songs and stunts are praiseworthy and brilliant in all aspects. Kajal has done the role very neatly, having understood her task in the film.

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She was the self-anointed tragedy queen of the Indian marquee, what with her roles mirroring her life and vice-versa. Meena was born as Mahjabeen Bano in 1932 to a family of poor theatre artistes. She was made to act as a child artiste and was the sole earner for her family from the age of six. Her first film was Vijay Bhatt’s Leatherface (1939). It was Bhatt again who gave her Baiju Bawra (1952), the film which catapulted her into the limelight. She became the first recipient of the Filmfare Award for Best Actress for her performance. She’s popularly known as the ‘tragedy queen’ after playing a suffering woman in films like Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), Dil Apna Aur Preet Parayi (1960), Dil Ek Mandir (1963) and Kaajal (1965). She created history during this period by being the only nominee for the Filmfare Award in 1962, for her roles in Aarti, Main Chup Rahungi and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Despite the tragedy queen tag, she was also noted for light-hearted comedic roles in films like Azaad (1955), Miss Mary (1957), Shararat (1959) and Kohinoor (1960). Her personal life was fraught with heartburn. She married director Kamaal Amrohi, her senior by 15 years in 1952 when she was just 20. The initial awe she felt towards the intellectual Amrohi soon faded and the couple started having problems. It’s said that Amrohi couldn’t stand his wife’s rising popularity and started mistreating her. The differences led to separation in 1960 and finally to divorce in 1964. The couple did reconcile to finish Pakeezah (1972) (which was started way back in 1956) but the relationship had lost its charm and they separated again. The actress died amidst penury due to complications arising from liver cirrhosis in 1972. Filmfare awards 1954 Filmfare Best Actress Award - Baiju Bawra 1955 Filmfare Best Actress Award - Parineeta 1963 Filmfare Best Actress Award - Sahib Bibi Aur Ghulam 1966 Filmfare Best Actress Award - Kaajal

With Raj Kapoor in Sharda Sharda (1957) This is one of those films where the filmmakers were really ahead of their time. Meena Kumari excelled as Raj Kapoor’s lover forced by circumstances to marry his father (no kidding!). How she reforms the heartbroken and alcoholic stepson might seem a bit melodramatic but is saved from being a farce by forceful acting by both Meena and Raj. Baiju Bawra (1952) Meena Kumari started the martyred woman journey with this musical bonanza of a movie. She was so much in love with Baiju that she even separated from him so that the pain could elevate his music. That’s taking the ‘pain, no gain’ maxim to its limits. A young Meena Kumari played the perfect foil to the debonair Bharat Bhushan and won plaudits for her performance. Parineeta (1953) Move over, Vidya Balan. Meena Kumari was the original Parineeta in the Bimal Roy classic and won her second Filmfare Award for her power packed performance. Her body language, her hurt and anguish when judged wrongly by her fiancée (Ashok Kumar) and the confrontational scenes between the two lead actors formed the crux of the film.

Ek Hi Raasta (1956) Made by the progressive director BR Chopra, the film dealt with the sensitive issue of widow-remarriage, quite a bold theme at the time. The complications that arise when Meena goes into a new relationship with Ashok Kumar are thoughtfully portrayed. The actress’ interactive scenes with her young son (played by Daisy Irani) are a delight.

Miss Mary (1957) People who perceive that Meena Kumari is just a tragedienne will do a rethink when they see Miss Mary. She was paired opposite Rekha’s father Gemini Ganesan and Kishore Kumar also played an important role in the film. It centered around the lost-child-found-again formula and it’s good to see Meena doing a happy-go-lucky role. Her comic timing is impeccable.

Dil Apna Aur Preet Parayi (1960) Doctor-nurse romance anybody? This film was straight out of some Mills and Boon novelette. Meena Kumari played a nurse who suffers unrequited love. Raaj Kumar plays a hard working doctor who marries Nadira for the love of money. And Nadira plays a scorned wife who makes everyone’s life a merry hell. It’s what we call a 12 hanky film. Ajeeb daasatan hai yeh from the film still rules the air waves. Main Chup Rahungi (1962) It’s another of those unwed mother dramas. Sunil Dutt plays her paramour who later suspects her of being a woman of loose character. How the misconception is cleared and the lovers reunite and the child gets a fresh pair of parents forms the crux of this overemotional film.

Kohinoor (1960) It’s a regular Errol Flynn swashbuckler set in India. Dilip Kumar was advised to play light-hearted roles by Harley Street shrinks and Kohinoor was the answer. Both Meena and Dilip had a glad time letting their hair down and it shows. The film confirmed that the tragedy queen and king can act better than anybody else against the type too.

Aarti (1962) If Dil Apna Aur Preet Parayi was about a scorned wife raising hell, then Aarti is about a jilted lover creating misery for his ex. Ashok Kumar brought his villainous side to the fore and Pradeep Kumar played the suffering husband. Meena Kumari played the emotional punching bag which both men abused with much gusto. It’s a weepy to end all weepies.

Sahib Bibi Aur Ghulam (1962) This film came close to mimic Meena Kumari’s real-life trauma. The attraction to younger men, the apathy of the husband, rampant alcoholism – you couldn’t decide where Choti Bahu ended and Meena Kumari began. It gives one goosebumps every time one watches a rerun on TV. It’s considered her best performance till date. She won a well-deserved Filmfare Award for it.

Phool Aur Patthar (1966) He removed his shirt and a nation sighed. Dharmendra’s licence as a sex-symbol got stamped anew in the scene where we think we might get to see some hanky-panky between Meena and him. There were rumours that there was real-life romance going on between the actors during the making of the film. Dil Ek Mandir (1963) Meena Kumari seems to revel in doctor dramas. Here, Rajendra Kumar plays a conscience-stricken doctor who is in a dilemma of whether or not to save the life of his ex-flame’s husband. Watch the scene where Raaj Kumar wants to reenact the suhagraat on his hospital bed. Meena Kumari’s face is a canvass of emotions. The film also has an interesting ham heart attack scene by Rajendra Kumar, but that’s another story. Kaajal (1965) After Sahib Bibi Aur Ghulam, Meena Kumari again falls prey to a debauched husband. This is mostly a reprise of the earlier film and this time the platonic relationship with a younger man more pronounced in the sense that Dharmendra plays her raakhi brother. Choo lene do naazuk hothon ko, where Raaj Kumar extols the virtues of alcohol to his horror-struck wife remains glued to the memory. She won a Filmfare Best Actress Award for her performance. Mere Apne (1971) Meena Kumari plays an old woman who is shunned by her family. She becomes a foster-mother of sorts to two factions of warring local youths. Her death makes them realise that violence doesn’t pay. Meena wasn’t yet 40 when she did the film but yet shone as s septuagenarian. She came up with a strong portrayal of an old woman caught between two street gangs of frustrated, unemployed youth, whose killing finally makes them realise the futility of violence in Gulzar's directorial debut.

Pakeezah (1972) Pakeezah started out way back in 1956. Then differences emerged between Kamal Amrohi and wife Meena. Even then, after all those years, the magic of the story didn’t fade. Everyone loves a golden-hearted courtesan, so you can only nod in sympathy when Raaj Kumar fell for her. And claps again when the besotted lover wants to marry her. The great music by Ghulam Mohammed is still remembered today. And so is the line, ‘Aapke paon dekhe. Bahut haseen hain. Inhe zameen par nahin utariyega. Maile ho jaayenge.’ Sigh! They don’t make such films any more. from filmfares https://ift.tt/2vyf8L1

[soorasaab]

SPOILERS AHEAD

There is a college somewhere in Himachal Pradesh. It is called Woodstock. It seems to have only one active teacher. This lady is anyways a class apart. When she decides to stage William Shakespeare's Romeo and Juliet with her students, she not only disembowels the timeless tragedy of the Bard's language - "we are doing a musical, we don't need words," she announces to her wards - she also appends a scene to the play and names it 'the Heaven Act'. The nerve of the blissfully ignorant! Needless to say, the performance is hell, a full-on travesty. That is a malaise that afflicts Abbas-Mustan's Machine as a whole. This machine is neither mean nor lean. The racket that it makes is deafening and brain-numbing. The ideas that it rolls out consistently fly in the face of logic and common sense.

Machine is an unmitigated disaster. It is cranked with such a heavy hand that its hastily cobbled-up parts come off their sockets even before the rough-hewn contraption can heave itself to any sort of life. Broadly, it tells the story of a man obsessed with money, a boy obsessed with his dad, and a girl obsessed with a lover/husband who has wronged her and hanged her out to dry. Fast cars, terrible songs, including two remixed retro numbers, and corny dialogues worsen matters to such an extent that even at its least trashy Machine is insufferable.

Abbas and Mustan are clearly caught in a time warp. Time was when they could do no wrong. The filmmaking pair who built their career around plots filched from Hollywood set the likes of Shah Rukh Khan and Akshay Kumar on the path to superstardom. But that was a quarter of a century ago. Back then, the world was a markedly different place. And so was Bollywood. Machine, a launch pad for Abbas' son Mustafa, has come many years too late. It is a creaky, outdated concoction that proffers an awkward mix of car racing, music, romance, crime and retribution.

Machine retreads formula tropes that, by all reckoning, went out of vogue in the last millennium. They look completely out of place in a film that aspires to give Bollywood a male star of the future. Mustafa plays an anti-hero who is accused by the heroine of being a machine - heartless. This charge is levelled against him in the dying minutes of the film. But it doesn't take the audience that long to figure out that Machine is pure drivel - mindless and pointless.

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The hero Ransh and the heroine Sarah (Kiara Advani) get married less than an hour into the film. So it becomes amply clear that Machine is not going to hinge on the culmination of young love. It is the passion that they share for car racing that brings Ransh and Sarah together. But before the two can tie the nuptial knot, Ransh has to address the small business of dealing with two rival suitors, one of whom is the feeble Aditya (Ehsan Shanker, also making his debut). That apart, the boy has to convince the girl's dad (Ronit Roy) that he is the right man for his daughter. "I love your attitude, my boy," the old man rules.

In the lead-up to the wedding, Ransh swears undying love to Sarah. Amid an exchange of puerile lines like 'I have nothing to lose', 'I love surprises' and 'first love burns the brightest', the hero comes up with the mightily flighty "Main tumhare hothon ke lipstick ko zaroor kharaab karoonga, par aankhon ke kaajal ko kabhi nahin (I will mess up your lipstick all right, but never the kohl around your eyes)." But the eyes, lips and the brain quickly take a backseat as Ransh proceeds to do the sort of things that bring Baazigar darting back to mind.

The plot does spring a few mild surprises but is unable to create any real tension or suspense. One thing follows another ending up in a bizarre climactic heap. Machine is purportedly a thriller about jealousy, obsession, greed and betrayal, but given the slapdash manner in which the film plays out (parts of it unfolds in Batumi, Georgia), it is a complete washout.

The cast of the film includes veterans like Dalip Tahil and Johnny Lever (in a comic cameo as a policeman) as well as Cape Town model and former Kingfisher calendar girl Carla Dennis. Lever hams it up unabashedly while the rest of the actors, including the lead pair, look completely out of sorts. Kiara Advani has had a few shots already at stardom - there is no way that Machine will hasten her climb up the ladder. If Mustafa is to have a realistic chance of breaking into the Bollywood big league, he would need much more than this scattershot effort to make headway.

Even if you were to walk in with zero expectation, the two-and-a-half-hour Machine would still be a massive letdown. It's a non-starter best left alone.  

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