Kalyug Aur Ramayan
Bhagwan Shri Ram would like his param-bhakt (Chief Devotee) Shri Hanuman to tour Kalyugic (Dark-aged) Hindustan, and himself witness the regression that has taken over this once peaceful, orderly, and religious country. Upon arrival in his present heavenly form, Shri Hanuman is mistaken by Police Inspector Thakur Hanuman Singh, to be a spy from a foreign country, and he gets on the run until Shri Ram changes his appearance to a wealthy man named Pavan Kumar, thus making him elude the police. Pavan meets with a man named Dashrath, who has two sons Raman and Dhaman.
- Stars:Manoj Kumar, Rajiv Goswami, Madhavi, Prem Chopra, Om Prakash, Bindu, Satish Shah, Parikshat Sahni, Huma Khan, Urmila Bhatt, Abhi Bhattacharya, Birbal, Mohan Choti, C.S. Dubey, Amrit Patel,
- Director:Babubhai Mistri,
- Writer:Dawood Kashmiri (dialogue director), Manoj Kumar
Bhagwan Shri Ram would like his param-bhakt (Chief Devotee) Shri Hanuman to tour Kalyugic (Dark-aged) Hindustan, and himself witness the regression that has taken over this once peaceful, ... . You can read more in Google, Youtube, Wiki
Kalyug Aur Ramayan torrent reviews
(fr) wrote: Some interesting action, but it was let down by a distracting plot. There was also a lot of unnecessary profanity.
(jp) wrote: Sep 14th, 2014 Sunday.Ages of customers: The most is around 35-50Man:Woman 3:7
(ca) wrote: Come out to the movies... We'll get together... Have a few laughs...
(gb) wrote: A too cute parody of 60s coupling comedies; maybe if I was familiar with the genre than I would A) Love It or B) Hate It but as is I really just like Ewan McGregor's smile and Renee Zellweger tries real hard to match his ease with the charm. Fun, slight, disposable. Matt eats up this nostalgia porn, but this era works best for me when its unmasked rather than layered with window dressing. VF.
(nl) wrote: The war-weary attitude and the subplot with the wife are interesting, but big plotting issues keep this western from taking off. You know something's off when the biggest gunfight in your movie happens over a misunderstanding that gets corrected five minutes later.
(jp) wrote: sometimes, i wish i were young only because i would have nothing to compare this film with or be able to set it in a context. when it was just about diana ross looking fabulous and singing an oscar nominated song, it was more than enough. now that i know about tony perkins' and his misuse of his genius, berry gordy's abuse of his power and the non-use of tony richardson, i can only think of what this film could have been. shame on me.
(de) wrote: Another classic kaiju movie. Both the Japanese and American cuts are great in their own rights. Ishiro Honda, along with Akira Kurosawa, really represent all that is great about Japanese Cinema.
(mx) wrote: Wow was I surprised by this movie. I had never heard of it and watched it only on a fluck. Who has ever heard of Deanna Durbin? (well I never did.) Maybe that's why this movie is such a secret. But this stands up there with the best of the 30's and 40's screw ball comedies and is much better than other more well known ones like Philadelphia Story. The acting is great and the situations truly funny. It had me laughing from the gut more than once. It's not so different from the norm as to be a revelation, but does what it does exceedingly well. For those who like screw ball comedies I highly recommend this movie.
(it) wrote: A true American film classic if there ever was one. Never mind the historical inaccuracies, that's not what John Ford film are about. To quote from another Ford classic, "When the legend becomes fact, print the legend." That's what Ford films were about and that's why "The Man Who Shot Liberty Valance" can be viewed as a perfect coda to Ford's film legacy (though he did have several subsequent films). I'm really not sure what I can say in a review that hasn't already been written before about this film, but it's a staggeringly beautiful western. Henry Fonda as Wyatt Earp coming to the town of Tombstone is at his laid back all-American best here. Fonda's performance, which ranges from comic to dramatic to staggeringly violent, is certainly one of his best. While Earp has an easy going manner, there's a simmering violence just below the surface that the audience knows could come out if it's called for. The story is really a revenge picture, with Earp out to avenge his murdered brother on the despicable Clanton family, led by Walter Brennan as Old Man Clanton. But this isn't really a revenge film. This is a film about the settling of the west. The town of Tombstone is in the process of being built. Earp brings order to a town that has drunks shooting up the town when he first comes to town, criminal elements control the town and decent folks don't have a place to turn. In Ford's cannon of films, I think this film stands apart from a lot of his film in how suspenseful it is at times. There are some terrific tough guy face-offs that rival the best of Quentin Tarantino; Earp and Old Man Clanton when Earp introduces himself in the hotel lobby, Earp when he first meets Doc Holliday, Earp and Holliday rescuing an actor from the drunken Clanton brothers, and not to mention the most memorable of all film versions of the gunfight at the OK Coral. And that's not even getting into the romantic suspense and tension between Earp and Clementine. But at it's heart, this film isn't an action film. The quiet moments are just as memorable. Linda Darnell as Chihuahua singing "10,000 Cattle Gone Astray" and taunting Earp about his rustled cattle, Earp tipping back in his chair as the stagecoaches come to town (particularly the time he does his insultingly best to ignore Chihuahua as she chews him out), and the church social scene is a classic (it's not a John Ford western without at least one dance scene). Although Ford claimed that this was the most accurate film version of the gunfight at the OK Coral, having listened to first hand accounts of the famous gunfight from Wyatt Earp himself who lived to see himself portrayed in silent films. In reality, the gunfight was two groups of people at opposite ends of a horse coral blasting away at each other and Earp was the only one left unscathed. I'll also mention Victor Mature, who I've never been a fan of, but who is is excellent here as the dying and self destructive Doc Holliday. This is one of my all-time favorite films and just gets better each time I see it. I will say that I'm not sure this is one that will appeal to modern audiences or non-classic film lovers. Some films, like those by Samuel Fuller or Orson Wells, manage to have a pretty modern sensibility to them, but Ford films have a dated quality that is a treasure to classic film lovers, but would probably feel old fashioned to others.
(mx) wrote: Very solid thriller, but on a small scale, and featuring characters working in drab unremarkable jobs, forced to do less than desirable things to get by, that have had to work hard their whole lives and are now forced to use their smarts/resources when a crisis strikes, one of Ejiofor's earlier roles and he shows here why he's a great leading man, Lopez is great as the smarmy villain, and even the Russian guy provides the film's few laughs, it's another hit from director Stephen Frears, def recommend