#tamasha story

[lekhakpravin]

10 Best Tamasha Movie Quotes Every Traveler Might Relate To

Imtiaz Ali is a very well known film-maker known widely for his ability to show the reality of the society to the people in the form of entertainment. He speaks facts through his movies and all his movies leave an impact in the minds of the viewers. Tamasha is one such movie. Tamasha was released in the year 2015 and ever since then it has been ruling the hearts of many. Starring Ranbir Kapoor…

[badedramay]

This has been bothering me for a while…….how do you stan Junaid Khan’s character in Ishq Tamasha? Dude was problematic af and while it’s been a minute since I’ve watched that drama, isn’t he the reason Rushna’s character died?

ASJDHAKJEHADKJAHAKSJDHAWEKJADHASDkjh@! !+

ngl, I am not surprised. in my heart i knew there'd come a day when my....fondness let's just say, for Ishq Tamasha will be questioned. valid, valid..totally valid.

khair, i think you are mistaking my enjoyment of the Mehrab x Mirha story for me stanning Mehrab. not toooo long ago I was rewatching their scenes (cuz i had nothing better to do) and i was tweeting alongside and I remember I was quite enthusiastically cursing Mehrab for being so problematic and downright stupid. there's hardly anything stan worthy about him. his one misunderstanding ruined Mirha's life, his limitless blind love for his brother took him on a revenge path that ultimately took Rushna's life, in fact argument can be made that it was his love for his brother that didn't allow him to have a more positive, healthy POV about himself.

BUT YAAR. THE ANGST!!!!!!!

i squarely blame Danish Nawaz for this. idk why but Junaid Khan is his muse. he gives Junaid some incredible scenes to act and directs them in a totally mesmerizing way. Mehrab falling for Mirha and literally stealing glances of her through mirrors..Mehrab's entire vision focusing on Mirha to the point he didn't even CONSIDER Rushna as something worth noticing..the apology in the rain, him defending Mirha..or bits of him getting restless for an entire night because his entire being was so attuned to Mirha's pain that he just KNEW when she was going through something rough. On a more toxic problematic front..Mehrab seeking revenge from Rushna by locking her out in the rain because he blamed Rushna's selfishness that played a part in Mirha's fall from grace in her Chachi's house..like I don't STAN this shit but i'd be lying if i say i don't enjoy it!

the drama is so aptly titled Ishq TAMASHA. yeh sab tamasha hi toh hai. some are blamed more than others but the blame was everyone's. with Mehrab..i guess i just enjoy well directed, well acted grey heroes with their larger than life passions. Mehrab was that. the one thing the narrative did well was not forgive him for his mistakes. Mirha was never forced become smaller to accommodate his magnanimous character. Mirha, till the end, retained her fire and self respect that had attracted Mehrab to her in the first place. and when all was said and done and these two ended up finding their way to each other with no more hurdles to cross, it was a happily ever after that I believe was earned. Mirha didn't need a man to save her but she had a right to be with someone who could devote his entire life into protecting her and giving her every possible comfort that she could have. even if he got it by getting his hands dirty. and Mehrab most definitely NEEDED someone mature and fearless like Mirha to be by his side to call off his bullshit and remind him of the limits he didn't bother keeping check on.

it's this story that i stan, if I stan anything. not the character.

[happilyaloof]

Who is Laila? Who is Tara, or even Heer? They are not put in a story, to play their role of a lover, turning their lovers against the world or his family. They are not supposed to be conscious of the importance of their part in the bigger picture of Imtiaz Ali’s final thought. I don’t think so. They are not meant to know the mysteries of what lies on the other side of these questions or even be intrigued by these questions. Why?

Because they are beautiful metaphors of the utmost innocence, beyond and above anything ‘worldly’ we have to put up with, to survive.

And when Imtiaz Ali brings together a Qais and a Laila, it is not to create another Raj and Simran but to shake Qais’ or Ved’s world into disorder and bring to him those same questions of what lies “Pahad ke uss paar’’ or what is even the need of that Pahad? Laila, the metaphor, is his way to the answer and sometimes, she IS the answer.

Imtiaz Ali may provide different plots, ambitions, backgrounds; only to ditch the mundane and the superficialities of society, for ‘’…what you love and let it kill you’’ (Charles Bukowski). His philosophy resonates with me and since I am someone who deals with those existential questions day in and day out, I have the greatest urge to be the male character in all of his films.

Jordan in Rockstar holds Heer’s hand and walks her towards the field, away from right and wrong.

Ved in Tamasha finally breaks free from what limits him, with Tara as his guiding Star.

It was when Qais becomes Majnu (Urdu for mad), I knew why I chose to watch Laila Majnu after all these years of its release. I know the kind of effect these philosophical dramas have over me. I am all about the reaction that he gives in one noteworthy scene where he is talking to himself, leading to him getting hit with a stone and starts bleeding. He runs and he laughs. He is celebrating. He felt the rush, he was alive. His love was finally seen! He did not have to hide who he was anymore from anyone for the sake of this illusion of a world, now that he knows Laila is ‘real.’ The blood and the pain being the proof that he was not mad. He had his world in his Laila, walking with him all along, everywhere.

[callmehyungoppaokay]

SKZ AS BOLLYWOOD QUOTES (with translation)

PART-1

BANGCHAN : “Pasand nahi aayi ending? apni hi kahani hai ... ending badal do! [Tamasha-2015]

Trans: you didn't like the ending...it's your story....you can change it!

It describes BANGCHAN perfectly, like boy came to South Korea holding nothing but only dreams ...constantly doubting himself ...having sh thoughts...but he changed it himself...achieved what he wanted

[allcolorsinone]

I envy Ayan Mukharjee, Zoya Akhtar and Imtiaz Ali, how do they come up with stories like Yeh Jawani hai Deewani, ZNMD and Tamasha??

I want that type of creativity and ye characters jaisi life, travel karna ye to kabhi nahi milne wala

I feel like I've already lost my major years in life🥲

[ozziesdisco]

ok so i finally have interesting stories to tell about my life since college started so i'm probably going to post them here

anyway

lemme talk about what was probably one of the most chaotic mornings of my life.

so. we were supposed to have a sports orientation at 7 in the morning (which was a decision nobody supported but everyone had to go along with it because people were taking attendance). My dumb ass woke up at 6:55 so already i was late.

i go. brush my teeth. and come back to see that my room is locked.

i have no phone no key nothing. legit everything is in my room except for my brush and mf vicco vajradanti toothpaste. and my roommate is nowhere to be seen.

so i run and find her friend (who was thankfully in the floor at the time) and call my roommate, who was already downstairs and also running extremely late

so she legit puts the keys on the floor of an empty lift and is like "stay on the line and tell me when it reaches our floor". and i told her when it did and then fucking RAN to my room and took bath

then full on did some usain bolt level running to the sports center (which i swear to god is some 870548768070000 kilometers away from the hostel)

it was already 7:20 and the orientation was supposed to end at 7:30 so i was like HDCSIGFKDGIHDHBDOHBGDUODUIOYGSYIDGF

and when i reach there i found out legit all they did was introduce themselves and tell everyone who did sports to introduce themselves

and make us into groups and see which group laughs the loudest

while telling us not to do drugs

so basically

i panicked screamed jumped ran and did all sorts of tamasha to go to a class where some theatre kid was instructing people on how to laugh loudly. and i was late for breakfast because of this bs

smfh this is why i hate sports

[kathai-kavithai-kadhal]

Mani Ratnam and the Female Experience in Cinema - A Rant

For context, I just finished binge-watching a bunch of films by various filmmakers, and I just realized how difficult some of them find it to let their characters just... be.

I don't know if this is just me, but I feel like Mani Ratnam has mastered the art of portraying characters as they are. What I mean is, a lot of other filmmakers tend to portray characters through their gaze. This becomes very apparent when you watch Imtiaz Ali's films, for example. I feel like he never really lets his female characters be. They are always trying to consciously or unconsciously "fix" the broken main character.

And this isn't just because of the fact that Imtiaz Ali's films generally revolve around the theme of love healing or fixing or completing you. Because if you think about it, Mani Ratnam has also made movies that revolve around the same theme, like OK Kanmani.

In the movie, the two main characters Tara and Adi are both young ambitious people who think that marriage would tie them down and are running from various incidents from their past as well as parts of their own adulthood and identity. All of this is subtly explored in the film, and the process of both of these people healing each other and unknowingly helping each other feel safe accepting these parts of each other is portrayed amidst colorful frames and AR Rahman's beautiful tunes.

But the difference between the works of these two filmmakers is that in Imtiaz Ali's films ranging from Jab We Met to Tamasha and Jab Harry Met Sejal, each of these films show a very one-dimensional female character. She's the manic pixie dream girl when the male lead needs to renew his faith in love, she's angry when he needs to learn something, and she's sad or sick when he needs to prove his love or return his gratitude. It's like the female lead exists only for the sake of the male character, like she's more of a plot device than a person.

A similar fallacy can be seen in Gautham Vasudev Menon's films, too. Vinnai Thaandi Varuvaaya portrays the story of an aspiring filmmaker, Karthik, falling in love with his landlord's daughter, Jessy. The movie basically covers the suffering of Karthik in love that, in the end, translates into his first film. This is a great premise, but the issue I had with the movie is the fact that Jessy is barely a character. She's supposed to be the female lead, but sometimes it's like her brother's character (which only appears in around four or five scenes) is more fleshed out than hers. Her defining trait seems to be that she's indecisive.

Although GVM had an opportunity to portray the very real struggles of modern Indian women navigating the identity of being a responsible daughter in their families along with being an individual with desires, ambitions and thoughts of their own, he reduces Jessy to a one-dimensional character whose sole purpose in the film is for Karthik to admire, and to eventually become Karthik's muse.

Now, you might argue that this is because of the difference in who the story is about: VTV is the story of Karthik, and Jab We Met is the story of Aditya, so obviously they would only feature the thoughts and aspirations of these characters. This has nothing to do with reducing female characters to plot devices or the amount of empathy and understanding the filmmaker has of women.

To that I'd say, you need to go watch Soorarai Pottru. This film by Sudha Kongara is inspired by the story of Captain Gopinath and is a masterclass in writing good supporting female characters. Sudha Kongara, being a woman herself, knows how to portray a woman in a supporting role without compromising on the personhood of the woman. The character Bommi is bold, loud and ambitious, not only when it's convenient for the male character.

For example, there's a scene where Bommi tries to convince her husband to take tuition classes for someone because the airline isn't doing well. He acts out in anger, and instead of retreating after apologizing a bunch like the female characters of most other films, she tells him to show all his pride and anger in getting his airline to do better. Does this give the male lead a boost of determination, or impact his arc in any way? Not really. That dialogue is just there because that's what that character would've done in that situation. And this clarity on the personhood of the supporting characters, on the layers of quirks and traits that make them, is what most male filmmakers lack.

I feel like one other mainstream male director who is able to accomplish this, to some extent, at least, in Sanjay Leela Bhansali. All of his female characters seem to have some depth, at least. However, one trap that he seems to fall into is boxing his female characters into the Madonna-Whore complex. His female characters are either innocent, shy women who serve the patriarchy with all their might, and only show any signs of boldness or intelligence in the absence of their fathers or husbands, or they're bold, they question the patriarchy and they make their own decisions, but they're tawaifs or prostitutes or just "fallen women."

The complexities of both of these archetypes are thoroughly examined, the story moves without any character development feeling forced, and each of these types of women are worshipped, but the thing is, they're still less characters and more archetypes.

All this to say, male privilege and a historical disregard for the female experience has resulted in most male filmmakers just not knowing how to depict female characters in their films, but Mani Ratnam is different. I don't know if it's because of all the wonderful women in his life and team who are able to express themselves and talk about their experiences using cinema as an art form, like Suhasini Mani Ratnam and Sudha Kongara herself, who worked in Mani Ratnam's team for five years before taking off on her own, or because of Mani Ratnam's tendency to talk to people from all walks of life and actually listen to them with empathy, but he seems to be the only mainstream Indian filmmaker who is able to portray all of his characters, male and female alike, with equal depth.

[musiquesduciel]

Watching one unwatched movie after another everyday on my watch-list. Since the year started, I've watched:

Kalank (Jan)

Harry Potter and the Dealthy Hallows: Part 2 (Jan)

Delhi Belly (Jan)

Mujhse Shaadi Karogi (Jan-Feb)

Kal Ho Naa Ho (Feb)

Mujhse Dosti Karoge! (Feb 8)

The Zoya Factor (Feb 10)

Daawat-e-Ishq (Feb 11)

Fitoor (Feb 12)

Aashiqui 2 (Feb 13)

Cirkus (DNF)

OK Jaanu (Feb 17)

Malang (Feb 19)

Gori Tere Pyaar Mein (Feb 20-21)

Luv Ka The End (Feb 23)

The Night Manager (Feb 23 going into Feb 24)

A Gentleman (Feb 24-25)

Indoo Ki Jawaani (Feb 26)

Tamasha (Started the first 41 minutes 2022 fall/winter, but finished Feb 27)

Matru Ki Bijlee Ka Mandola (DNF Mar 1)

Band Bajaa Baarat (Mar 1)

Rajneeti (Mar 3 - just started because what a long movie - finished Mar 6)

Sui Dhaaga (Mar 4)

Mimi (Mar 4)

Tu Jhoothi Main Makkaar (Mar 13)

Pathaan (Mar 15)

Ae Dil Hai Mushkil (Mar 20)

Rockstar (Mar 20 - DNF)

Mere Yaar Ki Shaadi Hai (April 30)

Farzi (May)

Gumraah (June 13)

Luka Chuppi (June 21)

Shehzada (June 23)

Love Aaj Kal 2 (June 24)

Ek Villain Returns (June 25)

Bhediya (finished June 28)

The Night Manager Season 2 (June 29)

Sonu Ke Titu Ki Sweety (July 3)

Pati, Patni aur Woh (July 4-5)

Jab Harry Met Sejal (July 7-11)

Main Tera Hero (July 14)

ABCD 2 (July 15-16)

Dilwale (July 17-18)

Dishoom (July 18)

Judwaa 2 (July 19-21)

Stree (July 21)

Oppenheimer (July 22)

Ek Villain (July 23-24)

Coolie No. 1 (July 25-29)

Jugjugg Jeeyo (July 30)

Ittefaq (Aug 1-2)

Sandeep Aur Pinky Faraar (Aug 3-5)

Thank God (Aug 5-6)

Barbie (Aug 7)

Mission Majnu (Aug 8)

Made in Heaven Season 2 (Aug 9-12)

Ishaqzaade (Aug 13)

Kidnap (Aug 14-16)

Baaghi (Aug 17-19)

Gully Boy (Aug 19)

Dhoom 3 (Aug 20)

Karthik Calling Karthik (Aug 21)

Shaitan (Aug 26-27)

War (Aug 27)

Heart of Stone (Aug 30)

Sadak 2 (Sep 1)

The Big Short (Sep 3)

Neerja (Sep 4)

Udaan (Sep 7)

Bawaal (Sep 8)

Neeyat (Sep 8)

Satyaprem Ki Katha (Sep 10)

Jaane Jaan (Sep 28)

Rocky Aur Rani Kii Prem Kahaani (Sep 29-30)

Rock On!! (Sep 30-Oct 1)

Uri: The Surgical Strike (Sep 30-Oct 1)

London, Paris, New York (Oct 4)

Chor Nikal Ke Bhaga (Oct 5)

OMG 2 (Oct 7-8)

Jayeshbhai Jordaar (Oct 7)

PK (Oct 8)

Happy New Year (Oct 17)

83 (Oct 18)

Good Newwz (Oct 19)

Bewakoofiyan (Oct 7-20)

Guns & Gulaabs (Nov 3-6)

Kai Po Che! (Nov 8)

M.S. Dhoni: The Untold Story (Nov 14)

Tiger 3 (Nov 18)

The Archies (Dec 7)

Sam Bahadur (Dec 8)

Half Girlfriend (Dec 9-10)

Saawariya (Dec 11)

Dream Girl 2 (Dec 12)

Kuttey (Dec 13-15)

Hindi Medium (Dec 16)

Friday Night Plan (Dec 17)

Chennai Express (Dec 19-23)

Kho Gaye Hum Kahan (Dec 26)

A Perfect Pairing (Dec 28)

Jawan (Dec 30)

[things-that-altered-my-brain]

TRACKING MY EYES

(LIST OF MOVIES SERIES BOOKS AND WEBCOMICS I HAVE SEEN READ and want to remember(rating out of 10) (incomplete rn)

( E-english, H-hindi, K-korean)

MOVIES

Animated-

nimona (10)

TANGLED

the Mitchells v/s the machines

spirit untamed

frozen 1

next gen (8)

the willoughbys

over the moon

wreck it Ralph 1 and 2

encanto

frozen 2 (6)

Hindi

barfi (10)

chor nikal ke bhaga (10)

Darlings

ek main aur ek tuu

ek vivah aisa bhi

forensic

hasee to phasee

Lootera

om shanti om

Qala

queen

Uri

7 khoon maaf (9)

dear zindagi

dil chahta hai

dil dhadkne do

Wake up Sid

doctor G (8)

kal ho na ho

zindagi na milegi Dobara

gori tere pyaar m (7)

kuch kuch hota hai

kabhi khushi kabhi gham

plan A plan B

Tamasha

OMG (oh my god) (6)

Ye Jawani Hai deewani

fitoor (5)

I hate luv stories

kabhi alvida naa kehna

dilwale 2015

jaane tu ya jaane na

dil se (3)

hum sath sath hai (no ratings for these lol)

happy new year

hum apke hai kaun

sooryavansham

english

good will hunting

BARBIE

Half of it

fundamentals of caring

edge of seventeen

red white and royal blue

the baby sitter killer queen

crazy rich asians

Enola holmes 1 n 2

knives out 1 n 2

confessions of a shopaholic

the intern

love at first sight

korean

tune in for love

love and leashes

kill boksoon

SERIES

lockwood n co

looking for alaska

heartstopper

Carmen San Diego

extraordinary attorney woo

blue birthday

run on

celebrity

true beauty

see you in my 19th life

our beloved summer

my ID is Gangnam beauty

because this is my first life

business proporsal

nevertheless

masaba masaba

my demon

destined with you

vincenzo

reborn rich

start up

Heeramandi

its okay not to be okay (goingon)

gilmore girls (going on)

BOOKS

the unhoneymooners- Christina Lauren

nothing lasts forever- Sidney Sheldon

Since You've Been Gone by Morgan Matson

turtles all the way down- john green

to all the boys I've loved before (book 2 and 3 specially)

One of us is lying- Karen McManus

One of us is next (sequel)

Mr. Penumbra’s 24-hour bookstore- robin sloan

tbr-

one of us is back (triology)

lockwood and co

PLAYS

mujhe amritaa chahiye (yogesh tripathi)

WEBCOMICS

the omniscient reader

i love yoo

the greatest estate developer

get schooled

operation true love

seasons of blossom

morgana and oz

reunion

to tame a fire

muse on fame

maybe meant to be

wished you were dead

lost in translation

lets get divorced

the fox club

raven saga

bad signs

daytime star

completed

secretary out of order

see you in my 19th life

take me im yours

your letter

til debt do us part

our beloved summer

unholy blood

sweet home

long after the ending

the make up remover

age matters

a chance at last

gourment hound

the nuna at our office

cherry blossoms

my boo

her bucket list

super secret

oh!holy

mom, im sorry

lilac 200%

scorching romance

garden club detective squad

the hip guy

kind of love

unTouchable

witch hunt

cinnamonroll

[diana--williams]

Every Hindi Movie I remember watching

2022 TO 2013

Brahmastra: Part 1 Shiva

Gangubai Kathiavad

Toolsidas Junior

Gehraiyaan

Bhool Bhulaiyaa 2

HIT: The first case

Badhaai Do

Major

Darlings

Plan A Plan B

Ek Villain Returns

Shabhash Mithu

Dasvi

Dhrishyam 2

Chandigargh Kare Aashiqui

83

Hassena Dilruba

Roohi

The White tiger

Saina

Pagglait

Sardar Ka Grandson

Mimi

The Girl on the Train

Tribhanga

Ajeeb Daastaan

Meenakshi Sundareshwar

Tuesdays and Fridays

Madam Chief Mininster

Chhichhore

Malang

Tanhaji

Laxmi

Kalank

Street Dancer 3D

Khaali Peeli

Bulbbul

Love Aaj Kal

Guilty

Gunjan Saxena: The Kargil Girl

Thappad

Class of '83

Jawaani Jaaneman

Jai Mummy Di

Yeh Ballet

Serious Men

Maskaa

Panga

Shimla Mirchi

Axone

Sir

Badla

Mardhaani 2

War

Dream Girl

Ek Ladki ko Dekha To Aisa Laga

Lukachupi

Student of the Year 2

Drive

Article 15

Super30

Manikarnika

URI: The Surgical Strike

Panipat

Kabir Singh

Bala

The Zoya Factor

Good Newwz

The Sky is Pink

Mission Mangal

The Tashkent Files

Kalank

Chopsticks

Romeo Akbar Walter

Saand Ki Aankh

Mard Ko Dard Nahi Hota

Sultan

Stree

Badhaaii ho

Lust Stories

Aiyaary

Raazi

Andhaadhun

Simbaa

Baaghi 2

Pad Man

Hichki

Sanju

2.0 Robot

Zero

Namaste England

Dil Junglee

Love per Squarefoot

Once Again

Padmaavat

Raabta

Half Girlfriend

Badrinath ki Dulhania

Machine

Ittefaq

Shaadi mein Zaroor Aana

Mom

Qarib qarib singlle

Jab Harry met Sejal

A Gentleman

Ghazi

Guest in London

Rangoon

Toilet: Ek Prem Katha

Secret Superstar

Naam Shabana

Newton

Haseena Parker

Ae Dil hai Mushkil

Dear Zindagi

Fitoor

Sanam Teri Kasam

Airlift

Wazir

Rocky Handsome

A Flying Jatt

Sanam Re

M S Dhoni: The Untold Story

Neerja

Fan

Dangal

Sultan

Saala Khadoos

Baaghi

Kabali

Rustom

Pink

Befikree

Mohenjo Daro

Dishoom

Te3n

Akira

Baar baar Dekho

Azhar

Houseful 3

Force 2

Kapoor and Sons

Udta Punjab

Ghayal Once Again

Mirzya

Kahaani 2: Durga Rani Singh

Dear Dad

1920: London

Parched

Ek Paheli Leela

Dum Laga Ke Haisha

Hero

Roy

Dilwale

Shaandar

Tamasha

Dhrishyam

Dolly Ki Doli

Katti Batti

Mr. X

Gabbar is Back

Baby

Phantom

Dil Dhadkane Do

Manjhi- The Mountain Man

Alone

Bajirao Mastani

Prem Ratan Dhan Payo

Talvar

Bajrangi Bhaijaan

Welcome 2 Karachi

Brothers

Love Exchange

ABCD 2

Piku

Rahasyaa

Shamitabh

Jazbaa

Nil Battey Sannata

Waiting

Hamari Adhuri Kahani

Singh is Bling

Singham Returns

PK

Heropanti

Kick

Khoobsoorat

Humpty Sharma Ki Dulhania

Main Tera Hero

Hasee Toh Phasee

Mardaani

Yaariyaan

Jai Ho

Ek Villain

Gunday

Bang bang

Happy New Year

Finding Fanny

Action Jackson

Mary Kom

Haider

Entertainment

Bewakoofiyan

Total Siyappa

Shaasi ke Side Effects

Purani Jeans

O Teri

Bobby Jasoos

Pizza

Boothnath Returns

Sonali Cable

Ungli

Super Nani

Gang of Ghosts

Holiday: A soldier is never off duty

2 states

Gulaab Gang

Queen

Hawaa Hawai

Vishwaroopam

Zanjeer

Ramaiya Vastavaiya

Madras Cafe

Commando

Akaash Vani

R..Rajkumar

Special 26

Yeh Jawani Hai deewani

ABCD: Any Body Can Dance

Himmatwala

Jolly LLB

Race 2

Raanjhanaa

Krrish 3

Chennai Express

Once Upon a time in Mumbai Dobaraa

Bhaag Milka

Kai Po Che

Bombay Talkies

Dhoom 3

Lootera

Fuckrey

Gori Tere Pyaar Mein

Jayanta Bhai ka Love Story

Gippi

Phata Poster Nikla Hero

[filmrelicsworld]

Imtiaz Ali and Tamasha

I recall seeing Jab We Met for the first time when I was in school, and I was captivated by the madness of an unstable and crazy love tale. Opposites attract, and I have long believed in this concept. Imtiaz Ali's films typically weave this notion in a widely acceptable manner. The irony of this is that I've always despised love stories, particularly those from Bollywood. They revolve around stories you cannot even begin to relate to or pictures occurring in the real world. They are dramatic, fantastical, frustrating, stupid, and thought up.

However, Imtiaz Ali has always portrayed stories through his films about characters you would see in real life; some of these characters are a little too ripe, but given the extravagantly exaggerated tales Bollywood has always created, it may be forgiven.

I'll openly admit that I've seen the movie Rockstar on my laptop many times and five times in theatres. I'm not sure there is a word that adequately captures the depth of love that was conveyed in the film. I could watch it a million times without any thought or care, adding it to the small number of Bollywood films that I have found appealing thus far. The reason for this is that it was not an easy task to direct and carry out a story so impulsive and compelling within a "controlled insanity." I was engrossed in a dreamy affair for a while after that, asking myself repeatedly, "What is love if not madness," until reality grounded me in the most unexpected way.

Ever since a friend first showed me the trailer for Tamasha, I had been anticipating its arrival. Every Imtiaz Ali film features prominent themes such as the absurdity of love, the desire for happiness and tranquillity, arrogant ways of telling a straightforward tale, and, in the end, a person meeting a female in the most unusual and unexpected way and enriching each other's lives.

Tamasha is nothing distinctive from it either, but what elevates this beautiful tale even further is that it is fundamentally about two soulmates, their loneliness in familiarity and their connection as strangers. It is the story of a man's battle with his inner self and how lady love helps him accept who he is and what he truly wants to be. Though they do make me feel good, it's not enough because the story is about more than simply love. I was excited to watch how the male protagonist begins to receive the answers he had been wondering about throughout.

It's more about love giving each other's lives additional significance, about realising the complexity of human nature and about two lost souls travelling in the direction of one another and finding solace in each other's company for all time. It's a complicated tale about humans and how frequently they require other people to complete them and give them new life.

There is more to Tamasha than merely finding your true partner these days. It centres on a character who is searching for meaning in his life. He struggles between the person he is and the person he should be, and a series of unfortunate circumstances force him to acknowledge the "tamasha" he has created for himself and his life.

They resemble windows that spring open to reveal other windows, providing opportunities to live a more fulfilling life and experience more spiritual richness. The notion that the film followed the path of a storyteller surprised me. How captivatingly art may capture the imagination of people!

The movie also follows a woman who makes an investment in a partnership, one who communicates her emotions and looks for guidance in a romantic partnership. She also serves as the catalyst, the mirror through which the male lead will ultimately be able to see his true reflection. The one who will help him realise that he is far more than what he believes himself to be and that he is neither average or mediocre. The plot is more authentic and less of a Bollywood tell-tale because the film doesn't attempt to celebrate love in ostentatious ways when it is present or to simulate paranoia when it isn't.

My preference for Imtiaz Ali films is undeniable, and I have complete faith that I will always like seeing them, but this one has felt a bit more like a fantasy. I shall be engrossed in Tamasha's plot and characters for a considerable amount of time, until, inevitably, unanticipated circumstances force me to return to reality.

Akansha

[springs-hurts]

I should work on that unfinished story.

I should finish that thickass book

I should complete that unfinished painting.

I should start workouts again.

I'm too lazy to complete any of my pending work.( I am not, I'm just not able to do it.)

Khtm karo ye tamasha bc nahi ho rha ab

[faithful-diaries]

When Junaid Jamshed (may Allah have mercy on him) said,

Jagah jee lagane ki duniya nahi hai... ye ibrat ki ja hai tamasha nahi hai... tujhe pehle bachpan ne barso khilaya... phir jawani ne majnu banaya... Jab is bazm se chal diye dost aksar... Aur uthte chale jaa rahe hain barabar

All the way of journey I knew the end of the story.

[oneawkwardcookie]

Rules: Shuffle your ‘On Repeat’ playlist and post the first 10 tracks, then tag 10 friends.

Tagged by @novemberhush​ 🥰

Airlift - Soch Na Sake

Bo Burnham - Five Years

MIKA - Love Today

Whitney Houston - I Wanna Dance With Somebody

HONNE - Woman

The Smiths - Heaven Knows I’m Miserable Now

Caro Emerald - That Man

I Hate Luv Storys - Sadka

Airlift - Dil Cheez Tujhe Dedi

Tamasha - Heer Toh Badi Sad Hai

Tagging: @tawaifeddiediaz​, @midnightseddie​, @captain-hen​, @brotherslynchs​, @theladyyavilee, @burnthatbridge, @tarlosbuddie, @prettyboybuckley, @alkaysani, @fireinyourkiss

[gmqazi19739]

Sajjad Ali: Top 30 Best Pakistani Music Download

In this useful article, I guide you about Sajjad Ali Pakistani Music Artist, he is a very popular singer, and his latest music skills are advanced in Pakistani pop Music. Even if an excellent part of the music that presented in the document, diagrams are considered widespread songs, and the category is known from the defined song. Within Pakistani music, there are a couple of luminaries who've now not simply left an indelible mark but have additionally woven threads in their melodies into the very material of the country's cultural identification. One such musical master is Sajjad Ali, a reputation that resonates with generations of music fanatics, transcending time and limits. With a profession spanning several Sajjad Ali Songs are now very popular and still his music is the most listening in the Pakistani Music Industry. Best Sajjad Ali Premium Pakistani Songs Download  Sajjad Ali Biography and Musical Performance Sajjad Ali was born on August 24, 1966, in Lahore, Pakistan, Sajjad Ali used to be destined for a lifestyle in music. He got training in music from the relatives of musicians and singers, his father, Shafqat Hussain. He used to be a famous classical musician, and he grew up surrounded by the enthralling melodies of classical and recent music. This early publicity laid the basis for his outstanding adventure into the arena of songs and he was referred to as the easiest singer Pakistani. The Sajjad Ali pop music profession started in 1980 when he launched his debut album, "Master Sajjad Ali Sings Memorable Classics." The album used to be a fast hit, showcasing his prowess. In adapting classical compositions with contemporary contact. This successful debut used to be adopted through a sequence of albums that showcased his unique style. His style mixing genres like pop, classical, and semi-classical and his soul-stirring vocals and leading edge option to the song garnered him crucial acclaim and a devoted fan base. The Sajjad Ali Music musical adventure is marked by a large number of chart-topping hits that experience and develop into undying classics. One of his maximum iconic tracks, "Leader Saab," captured the essence of affection and longing in some way that resonated with listeners of every age. His collaboration with the world-acclaimed artist Bohemia in the song "Tamasha" used to be a groundbreaking conventional Pakistani music his willingness to experiment and evolve with the times. Sajjad Ali Pakistani Musical Hits and Albums  His musical adventure is marked by a large number of iconic songs and albums that experience left an indelible mark on the panorama of Pakistani songs. Amongst his maximum celebrated works, the album "Babia '93" sticks out as a defining second in his profession, this album launched in 1993, and it featured the immensely widespread observation "Babia,". This album turned into a fast hit and remains to be loved by lovers these days. The album's good fortune catapulted Sajjad Ali to new heights and reputation solidifying his standing as a flexible artist. Another important milestone in Sajjad Ali's profession was the album "Leader Saab," launched in 1995. The name "Leader Saab" won crucial popularity because of its distinctive mix of conventional and recent sounds. The Sajjad Ali and his talent to innovate throughout the style. This album now not simplest broadened his fan base but in addition earned him several awards, together with the distinguished Nigar Award for Highest Singer. In 2006, he launched the album "Cinderella," which featured the hit song "Sohni Lag Di." The observation turned into a cultural phenomenon, resonating with audiences throughout Pakistan and the past. "Cinderella" additionally cemented Sajjad Ali's recognition as a masterful storyteller and a pioneer within the music industry. One can't speak about Sajjad Ali's main hits without bringing up "Har Zulm," a famous song from his album "Aik Aur Love Story, launched in 1998. This album and songs' good fortune underscored Sajjad Ali's talent to hook up with listeners on a profound stage, making it an undying vintage in Pakistani songs. All over his illustrious profession, he has constantly driven the bounds of Pakistani songs, mixing conventional and components to create a novel sound. His contributions have now not simplest earned him a large number of awards and recognitions but have additionally impressed a brand new technology of musicians in Pakistani Music History. Sajjad Ali's main hits and albums are a testament to his enduring legacy and his effect on the evolution of Pakistani Music. Sajjad Ali Musical Style and Influences Sajjad Ali's musical style is a compelling amalgamation of various genres, reflecting his flexible skill and deep figuring out of songs. Identified for his skill ability in classical music, Sajjad Ali has adeptly included pop, ghazal, and semi-classical components into his musical work, growing a novel sound that resonates with an extensive target market. His talent to mix conventional and recent types has now not simply outstanding him from his friends but in addition earned him acclaim and a devoted fan base. One of the most defining options of Sajjad Ali's music is his skillful use of melody. His compositions steadily show off intricate melodic traces, supported through wealthy harmonic progressions. This is particularly obvious in his Ghazals, the place where he combines poetic lyrics with emotive songs, growing items that might be soul-stirring and remarkable. Sajjad Ali's musical influences are as varied inside Pakistan, he has drawn inspiration from classical maestros like Mehdi Hassan and Ghulam Ali, Nusrat Fateh Ali Khan whose mastery of Ghazal and classical music. Moreover, Sajjad Ali has been influenced by Western songs, specifically the genres of rock. This cross-cultural effect has enabled him to create a legitimacy that is uniquely Pakistani and universally interesting. Whether or not it is incorporating digital components into conventional frameworks or exploring new lyrical topics, his song is constantly evolving. This pliability and openness to new influences have now not simply saved his work recent and related but in addition, cemented his standing as an icon within the Pakistani Music Industry. Additionally, Sajjad Ali's contributions to the musical industry come with efforts to maintain and advertise conventional Pakistani songs. Sajjad Ali's Musical Challenges and Triumphs Sajjad Ali's musical adventure has now not been without its percentage of demanding situations. Rising as a singer in Pakistan's impulsively evolving Music Industry. He confronted a large number of stumbling blocks that examined his resilience and resolution. One of the most number one demanding situations used to be navigating the dynamic shifts within the song panorama. Through the early phases of his profession, the Pakistani song trade used to be ruled through conventional and classical genres, making it tricky for modern artists like Sajjad Ali Albums to realize a foothold. Private struggles additionally performed a vital position in shaping his profession. The power to repeatedly produce hit songs whilst keeping up his distinctive taste used to be immense. Regardless of those struggles, Sajjad Ali remained steadfast in his dedication to his work. His perseverance is exemplified through his talent to conform to converting musical developments. One of Sajjad Ali's important triumphs was his successful transition from classical to pop music. This shift now not simplest broadened his target market base but in addition, showcased his versatility as a musician. His hit songs similar to "Babia" and "Leader Saab" turned into anthems for technology, cementing his standing as he got awards in Pakistan. Additionally, Sajjad Ali's contributions to the Pakistani music scene have been known through more than a few awards and honors. Sajjad Ali has now not the simplest conquered the demanding situations he confronted but has additionally completed outstanding good fortune, setting up himself as an iconic determine in Pakistani Songs. Sajjad Ali Legacy and Impact Sajjad Ali's enduring legacy within the Pakistani Music Industry is a testament to his remarkable skill and unwavering willpower. Over the process a number of a long time, he has musical identification that resonates with audiences of every age. His contributions have now not simply enriched Pakistan's cultural panorama. As a flexible artist, Sajjad Ali has without problems traversed more than a few musical genres, from pop and rock to classical and ghazal. His talent for mixing conventional and recent sounds has created an undying attraction, making sure his songs stay related throughout generations. The effect of Sajjad Ali's music extends past mere leisure. His lyrical intensity steadily addresses societal problems, non-public introspection, and emotional complexities. This profound connection between his music and the target market has garnered him acclaim and a devoted fanbase. Conclusion Sajjad Ali's musical adventure is a testament to the ability of hobby, willpower, and creativity. His effort to custom with innovation seizes the essence of feelings in his songs. His music style contacting hearts throughout borders is an unprecedented reward. As we proceed to experience his music and ongoing contributions to the arena of artwork and tradition, Sajjad Ali remains an everlasting melody within the symphony of Pakistani Music, reminding us that true musical work is aware of no limitations. He has constantly included classical and folk components into his compositions, making sure that those wealthy cultural expressions stay related in recent occasions. His willpower to song training is clear in his beef up for establishments that intend to domesticate a deeper figuring out and appreciation of Pakistan's musical heritage amongst younger artists. Through his collaborations and contributions, Sajjad Ali has now not simply solidified his legacy as a flexible artist but in addition as a mentor and suggest for the musical arts. Read the full article

[movierulzpro]

Amar Singh Chamkila Movie Review ft. Diljit Dosanjh

The film Amar Singh Chamkila, directed by Imtiaz Ali and starring Diljit Dosanjh, has garnered significant attention and praise from various reviewers. The movie is a biographical drama that explores the life of Amar Singh Chamkila, a controversial and popular Punjabi singer of the 1980s, known for his raw and provocative lyrics. Here’s a comprehensive review based on popular sources:

Plot and Direction Imtiaz Ali, known for his unique storytelling style, brings Chamkila's story to life with a blend of musical brilliance and poignant drama. According to Movierulz, the film serves as a real-world manifestation of Ali's earlier works like Rockstar and Tamasha, focusing on an artist whose desires and dissent shape his life and career. The narrative captures Chamkila's rise to fame, his struggles with societal norms, and his tragic end, all while maintaining a sense of authenticity and emotional depth.

Performances Diljit Dosanjh's portrayal of Chamkila is widely praised for its depth and authenticity. His performance captures the singer's innocence, determination, and complexity, making Chamkila's character both relatable and compelling. Parineeti Chopra, playing Chamkila's wife and musical partner Amarjot Kaur, also delivers a strong performance, portraying a blend of timidity and strength that adds to the film's emotional resonance.

Music The music, composed by A.R. Rahman, is a standout aspect of the film. The songs not only enhance the narrative but also reflect Chamkila's provocative style and the socio-political context of his time. Reviewers have noted that the music brings a concert-like experience to the film, making it a melodious yet tragic biopic. The soundtrack has been described as both nostalgic for older audiences and a fresh introduction to Chamkila's music for new viewers.

Cinematography and Visuals The film's cinematography by Anil Mehta is another highlight, capturing the vibrant and tumultuous era of Punjab in the 1980s. The visual effects and setting contribute significantly to the storytelling, providing a vivid backdrop against which Chamkila's life unfolds. The editing by Aarti Bajaj, which includes a mix of archival footage and dramatized sequences, adds a dynamic rhythm to the film.

Critical Reception The film has received generally positive reviews, with particular praise for its direction, performances, and music. Gadgets 360 described the film as brilliantly capturing the spirit of Punjab, while Bollywood Hungama highlighted its stylish and entertaining narrative. Hindustan Times commended the film's honesty and outstanding music, noting that it feels like attending a live concert.

Ratings The ratings for Amar Singh Chamkila reflect its strong reception among critics and audiences. The Movie Blog rated it an overall 7.3/10, appreciating the acting, cinematography, and thematic elements but noting that the plot and rewatchability could be improved. This rating aligns with the general consensus that while the film has minor flaws, it is a compelling and well-crafted biopic.

Conclusion Amar Singh Chamkila is a compelling film that successfully brings to life the story of one of Punjab's most controversial and beloved singers. Through strong performances, evocative music, and thoughtful direction, the film not only tells Chamkila's story but also captures the cultural and social dynamics of his time. Despite some criticisms regarding pacing and plot development, the film stands out as a significant achievement in contemporary Indian cinema, celebrating the legacy of a musical icon while addressing broader themes of identity, rebellion, and artistic expression.