This is the story of a eccentric young man, Ashok (Dharmendra) who believes in doing good without worrying about the consequences. This does not find any favor with his sister-in-law Sarla (Sulochana), and she decides to leave him. But he persuades her to come back, and he decides to relocate and not cause any more trouble for Sarla. On his way he has a skirmish with the a princess Rajkumari Seema (Hema Malini) who he teaches a lesson to respect the poor and food grown in the fields. When he arrives in the city, due to his misfortune, he lands a job at a factory run by the Rajkumari, and immediately gets in to the bad books of Prem (Prem Chopra) to whom the Rajkumari is engaged to be married.
This is the story of a eccentric young man, Ashok (Dharmendra) who believes in doing good without worrying about the consequences. This does not find any favor with his sister-in-law Sarla ... . You can read more in Google, Youtube, Wiki
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Jacob D (ag) wrote: Sweet Jesus what have you done!
Noah S (nl) wrote: So many DCOM's, so little time. Holt is starting to break out in Disney, but this movie with a ridiculous storyline showed why Disney Channel movies should not be made.
Marc L (mx) wrote: Je suis perplexe. J'aime les concepts qui sortent de l'ordinaire. J'aime l'humour noir et le cynisme. Je crois qu'on peut rire de tout, mme des trucs les plus malsains. Pourtant, en ce qui me concerne, "Le bruit des glaons" est l'une des plus grandes dceptions de ces derniers mois. Une fois qu'on a pris la mesure du concept (OK, le cancer de Jean Dujardin s'est incarn et il a la sale trogne d'Albert Dupontel), l'amusement qu'il suscite s'estompe rapidement et partir de l, on ne saisit plus tout fait quels sont les enjeux et les ambitions du film. Faut-il saluer ces rparties l'ancienne, qu'on croirait tires d'un film d'Audiard, mais qui ne font jamais mouche ? Admirer cet environnement en suspens, qui semble s'tre extrait du temps rel, et qui me rebutait dj au temps de "Trop belle pour toi" ? Doit-on s'mouvoir du regard mlancolique port sur une vie gche, de la romance totalement imprvue qui se noue dans cette atmosphre de dliquescence, du subterfuge potique qui permettra la conclusion de se jouer de la fatalit ? Tout cela est trop calcul, trop sentencieux, trop dpourvu de spontanit pour me sduire, tandis que l'irralit du cadre, le formalisme fig des dialogues et cette subversion de pacotille la signification obscure ne me rendent pas vraiment le film plus sympathique.
Facebook U (ag) wrote: Expertly edited and directed, plus being overall well made, Brett Gaylor's RIP!: A Remix Manifesto is truly a supremely fascinating documentary whose ideas are expressed honestly and will surely connect with many younger people in this day and age of copyright regulations, even if it's already somewhat dated in aspects.
Beata I (br) wrote: I could be alone, but to me there wasn't enough politics in this movie xD it started promisinly but ended up being just a cute boy-meets-girl movie. Lastly I don't think this movie flatters U.S. Americans or Canadians at all makes them both look pretty bad and stupid.
ven p (kr) wrote: A classic that does not need to rely on F-bombs or crude humor to get laughs.
laurie e (nl) wrote: interesting character study showing how we are all connected in some way.
Kaci N (ca) wrote: Quirky & hilarious! It's a film that's kind of hard to describe. Try it, you'll either love it or hate it.
William C (au) wrote: Before Neil Jordan gave us a new take on the song "stand by Your Man" in "The Crying Game," he directed this strangely tinted story of ex-con George (Hoskins) trying to re-establish himself in teh criminal world at the same time he tries to connect with his estranged daughter. Micahel Caine gives a great performance as the quietly scary mobster helping George by having him drive one of his "girls" (Tyson) to her "dates." Still, perhaps the most fun here is to watch Robbie Coltrane play George's friend, a guy who's convinced he's one big idea away from striking it rich with some of the strangest merchandise concocted.The payoff to this movie is that, in the end, everyone gets what they either want or deserve although it may not be what we think it is at the start.
Jeff L (es) wrote: One cannot watch Yojimbo without perceiving the tremendous impact the film had upon the Western genre. It dichotomously pays homage to the genre it so immediately influences. Further, Kurosawa is the master of simplicity, epitomizing the notion that less is more. Driven by a singularly focused plot, Yojimbo excels in its restraint. There are no real flourishes or excesses, just pure machismo--calm and collected. The story is guided by Kurosawa's technical mastery, providing a study in how to utilize the moving camera to create perfectly framed shots, as well as staging a variety of scenes within a single frame; the depth of each image frequently captures the foreground, a mid-ground scene, and an additional layer of background. These shots, like the story, are subtle, but reward viewers who get a kick out of that sort of stuff. For all it's simplicity, Yojimbo is a masterpiece both in its own right and as a point of reference.
Blake P (us) wrote: It's a shame that a comedy as splendid as "I Was a Male War Bride" is so overlooked these days when compared to other Howard Hawks or Cary Grant endeavors. Truly, this is a film full of bitingly funny writing and pitch-perfect comic performances, and is enjoyable from the first reel to the last. Is it as good as "Bringing Up Baby," another Hawks/Grant collaboration? Heavens no, but it's surprising how close. From the start, you'd expect a one-joke movie, thanks to the title. But that truly isn't the case. Instead, the first 75 minutes or so follows Captain Henri Rochard (Grant) and Lt. Catherine Gates (Ann Sheridan) in their attempts to foil a black market operation in Germany. If Catherine was played by a different Hollywood actress, she might come across a little flimsy, but thanks to Sheridan's deep voice and fearless approach of playing a somewhat masculine woman, she's a terrific character. Alas, Henri and Catherine don't get along very well at first. But they're both attractive, and they most likely know it. So eventually, they fall in love, and get married. But it isn't an atypical Golden Age Hollywood hook-up: it takes nearly half the film to get there. In the meantime though, the twosome's honeymoon is ruined when Catherine is called to duty. Henri wants to come with her. Yet, the army messes it all up with their "no co-ed" rule, so, Henri is forced to dress up as a male war bride, hence the title. "I Was a Male War Bride" isn't necessarily a screwball comedy, but it isn't just a basic one either. It has a joyously witty script with finely tuned characters, and features quick glimmers of fabulous one-liners and physical comedy. As a comedy, it has its clichs of course, yetthe plot is so unique (and ahead of its time, considering how powerful many of the female characters are) and each scene is so hilarious that there isn't a lot to complain about. Grant certainly isn't believable as a Frenchman, but yet again, he isn't believable as a woman either. But it's hard to criticize his performance, as it is one of his best comedically-wise. He has never been more cynical, deadpan, or gloriously hopeless-- he's perfect for the role because after all, Henri is often times forced to go through some miserable outings. In the meantime, Sheridan, a surprisingly sharp comedic foil, trades her hot "oomph girl" roots for a Ninotchka-esque (but WITH the humor and sex appeal), independent woman. She is very funny, often times even more so than Grant, because she is able to deliver zingers with the straightest of a face. The film proves once again that Hawks can do any genre. After all, he's made movies that range from "Monkey Business" to "Rio Bravo," and he almost always gets great results. Hemay often be ignored in comparison toAlfred Hitchcock, who without a doubt is one of films best contributors, but Hawks could always managed to please the crowd and master the genre. "I Was a Male War Bride" shows us just how spectacular he is at creating comedies. So here we have it. A gem of a comedy, slightly erased in the sands of time but still as magnificent as it was in 1949. There isn't a reason in the world not to sit back and enjoy it.
Camille L (gb) wrote: Jingle All The Way est probablement la meilleure comdie avec Arnold Schwarzenegger. Elle parvient tirer le meilleur de l'ex-bodybuilder autrichien en le rendant normal, mdiocre, veule et pourtant minemment sympathique et en lui attachant des seconds rles parfaits comme Sinbad (entre le trs agaant et le trs hilarant), Rita Wilson (excellent contrepoids), Jake Lloyd pr-Anakin, Phil Hartman son meilleur et Jim Belushi (dont la squence musicale confine au chef d'oeuvre post-moderne). Frntique, satirique et prcis, furieusement drle, Jingle All The Way nous offre un Schwarzenegger qui s'abaisse au point de cogner un renne avant de partager une bire avec lui. Que demande le peuple?