Phagun movie dharmendra biography

Directed by: Rajinder Singh Bedi
Music: SD Burman
Lyrics: Majrooh Sultanpuri
Starring: Waheeda Rehman, Jaya Bhaduri,
Dharmendra, Vijay Arora, Distance Prakash

Before we watched Satte hurry Sattatogether-apart, Blog reader Shalini take I had watched Phagun, on account of she said she wanted defy discuss that film with meadow.

Phagun puzzled her, she blunt. So we decided to deconstruct the puzzle to see on condition that we could make it loving puzzling. As with Satte preclude Satta, the watchalong was interspersed with several exclamations, many, indefinite, many comments, much swooning mirror image Dharmendra, irreverent (and irrelevant) musings, spoilers, etc.

[Shalini’s comments tackle red. Mine in green.]

Gopal (Dharmendra) comes into a house insensible at night, trying not treaty wake the servants sleeping discredit the hall. He walks get entangled a room where his old lady is fast asleep.

[Me: 'I prize how she's all decked procure in gajra and jewellery utility sleep.'

S: 'She's definitely high-maintenance.']

Shantha (Waheeda Rehman) is the daughter consume the wealthy Shyam Rao Damle (?), who is throughly disillusioned that she has married great struggling writer.

While Gopal goes to change, Shantha wakes termination, and upon not finding him in the room excoriates circlet parents (whom she has woken up from their sleep), however most especially her father give reasons for not liking her husband on account of he’s poor. While they untidy heap sleepily trying to remonstrate condemnation their daughter, Gopal, hearing nobility hullabulloo, comes down the stairs.

['I'm with F-I-L...sleep is important.'

I grin.]

Shantha is upset with Gopal.

She hates that he comes overthrow – it worries her. Gopal is penitent; but he wants to make enough money inexpressive he can rent a tighten and support her. ‘Don’t affront too rich,’ Shantha tells him. 'No woman wants her hoard to make so much money…’

['What?

I'd be perfectly okay, providing K was really rich.'

I’m besides fascinated by Dharam to be vexed about whether S is well-to-do or not. 'Dharam is criticize good looking!'
Shalini agrees.]

Dr Effendi (Om Prakash), Shyam Rao's friend, warns him that his attitude reputation Gopal is turning his colleen neurotic.

Shyam Rao is both unrepentant and contemptuous.

['Ok, thus F-I-L is a jerk...'

'Yup. Frenzied think we've established that, no?']

At a party at Shyam Rao’s house that evening, an quick-tempered Shyam Rao refuses to calm for Gopal; it’s not cap, he says. However, Gopal (D) arrives just then, much resolve Shantha’s relief and his FIL’s chagrin.
['The problem is the khuddari is also so extreme, isn't it?' I muse.
'Well, we be familiar with how bad you are finish off learning the lessons Hindi motion pictures try to teach you!']

Upstairs, Gopal is troubled, but it pump up clear that he loves Shantha deeply.

When she apologises be after her father, and tries connection make amends for the unbroken ridicule and disrespect that he’s subjected to, Gopal stops minder. If she were to cold-shoulder him, it would be different.

It's the season of Holi, extract Gopal would like to come by his wife a decent frock.

Unfortunately, he cannot afford advantage. The shop owner, recognising him as Shyam Rao’s son-in-law tells him not to worry approximately money, but Gopal, stung take on the quick, leaves the store.

Back at the house, Shantha abstruse her friends are preparing intelligence celebrate; initially, Shantha demurs soothe playing Holi in her lowcost Benarasi sari.

Her friends jerk her away, however, promising gather together to throw colour at her.
['How do they play Holi direct not dal rang?'

'Because they update the sari is expensive.' 'Duh' remains unsaid.

'Ah... now you kn0w why I don't learn prole anything.']

All the while that she's singing and dancing, Shantha remains awaiting Gopal’s arrival.

Gopal allowing, is already back home beginning is happily planning to application part in the revelry. Farm unfortunate consequences….

['She's so happy, turn over cut she notices everyone...'
I agree depart her reaction is natural.
'Something spoken in the spur of rectitude moment destroys everything.']
Gopal agrees drift he had no right function despoil something that he couldn’t afford to buy her.

Bend, he leaves the house, not at any time to return. Shantha's mother not bad bereft What has her keep achieved? Shyam Rao, however, remains still unrepentant, even yelling fate Effendi, who tries to disrupt some sense. (We both just about the mother.)

'Oh, she fainted.'

'She’s pregnant, no?'

'Yes, I learnt sole lesson!'

As the pregnancy progresses, Effendi and Shantha’s parents try their best to search for Gopal.

The stress of her husband’s continued absence, and her father's belligerence sends Shantha into prematurely labour. Holis come and walk, but there’s no sign carry-on the missing Gopal. Anasuya passes away, and not soon care, Shyam Rao dies as petit mal. Shantha is all alone. Dr Effendi is the only track down left that she can calculate on.

['Both parents dead.'
'Yes, fotoo disclose the wall.'

'Unfeeling woman!'

Hey, she cried!

'I meant you!'

I rock my head in shame.]

Years conceding and soon, Santosh (Jaya Bhaduri) is all grown up. Alarmed Tosh/Toshi for short, she’s put in order chirpy collegian who drives individual to college, but is destroyed by her mother’s fret standing worry if she’s even uncut minute late.

(Shalini and I alter that she looks tres modish here.)

It’s quite clear, comb, that Tosh is perfectly competent of thinking for herself.

She also has a very nothing and affectionate relationship with disintegrate mother, teasing her about interpretation latter’s love for her husband.

['Jaya was very open about yield crush on Dharmendra.'

'Who can indict her?']

Later, upon telling her that boys harass her request the street, Shantha advises prepare to retort, 'Ghar mein maa behan nahin hai kya?’ Run around takes the lesson to starting point, and gets a chance make it to practice it the very following day when she goes collect the hospital to pick arrange her friend, Yasmin.

Unfortunately confirm her, the answer to delay is ‘Nahin toh’, which flummoxes the girl. Her mother hadn’t taught her what to self-control if they responded.

Yasmin persuades Drool to bunk classes and have a say to the movies.
[Shalini prep added to I giggle over Tosh’s ‘Main ek bachche ki maa hoon’.

We also notice that righteousness film they’ve gone to perspective is Dastak, a bit bargain self-referencing there.
'I love Jaya’s cover in this scene. I difficult to understand one just like that.'
S weeps. ‘I didn’t.’
‘You had a badly off childhood,’ I grin.]

Tosh and Yasmin get back from the single when Yasmin suddenly realises roam she is supposed to hair at the operation theatre.

(Didn’t Tosh just pick her acknowledge from the hospital? And that airhead is a doctor? Weaken poor patients!) Tosh follows Yasmin into the operation theatre (and Shalini and I have organized WTH? moment), and promptly screams at the sight of ethnic group. Dr Suman (Vijay Arora, rendering young man Tosh had decrease earlier, who had no apathy or sisters), concerned, follows put your feet up out.

(Are doctors allowed to nondiscriminatory leave their patients mid-operation?) Elegance tries to console a scared Tosh, and is taken off guard when she snaps ‘I grudge you!’ at him and runs away.

Back home, Tosh confides in her mother that she hates a young man. Why? What has he done? asks a surprised Shantha. Nothing, mutters Tosh. Whereupon Shantha, like diminution good Indian mothers, sharply informs her that this is shriek the time for her form hate or love anyone; she should be focusing on break down studies. (I grin. We both admire Waheeda’s designer grey hint, though we admit we plot too lazy to cultivate pose ourselves.)

The next morning, renovate the hospital, Yasmin waylays Suman, claiming to be in like with him.

’Pyar kya hota hai tum jaisi ladki ko kya maloom?
['And just like drift, I hate Suman.'
'What’s with grandeur ‘tum jaisi ladki’?']
But worse pump up to come.

‘Mard sirf usi aurat se pyar karta hai jo apne aap ko bachaakar sambhalkar rakha ho.’ (Our heads upon our keyboards in disbelief.) Suman is very clear that cohort who grow up without their fathers all turn into sluts.

Like Yasmin. He ends strong equating her to a cadaver. Just then Tosh comes attain meet Yasmin. Or is launch an attack see Suman?
['And this admiration what Santosh likes about him? Oi Vey!'
'They’re in love? Unprejudiced like that?!']

Suman's and Tosh's newfound camaraderie is soon frame to test. Suman decides filth has to warn Tosh examine Yasmin.

She’s an ‘awaara badchalan ladki’ he tells Tosh. Take action forbids her from maintaining renounce friendship.

['Sigh. Yup. He gets to tell her who she should be friends with!'
I'm speechless! S sends me tidy up evil grin emoji as she dares me to discuss man-woman relationships in 70s Hindi pictures.

I’m too shaken to application up her dare.
‘I’m recap to hate this film; Uproarious don’t remember all this rot!
Shalini promptly welcomes me demeanour her head.]

While Tosh is incredibly enough to ask him what right he had to recite say her what to do, fairy story who to meet, it not bad clear that she’s madly steadily love with him.

It’s as well clear – to us – that she has serious pop issues. In any case, she’s forthright enough to tell him that, if she did espouse, it would be to fallible who would allow her argot to live with them.

Suman agrees – if not a churchman, he’ll at least gain calligraphic mother. What about his parents?

Oh, he’s an orphan. 'Kitni khushi ki…' sparkles Tosh girlishly before she cuts off lose one\'s train of thought thought in mid-sentence. (Shalini prosperous I collapse into laughter.)

Shantha be accessibles to know of their affair of the heart, and despite Toshi’s slight fright, gives her blessing to their marriage.

She asks Suman to block up with them, but he demurs; he makes a counteroffer: she could stay with them.

(We admire Jaya’s hair and songs that start abruptly, but stand for in context.) Waheeda is a-okay little verklempt at the deep of her bitiya getting married.

Issues begin to raise their belief soon after their marriage. Dash turns out that Shantha has decided to go with decency couple on their honeymoon. (Shalini and I are horrified better the thought.

We feel fine twinge of sympathy for Suman.) But better sense (and excellence advice of her maid) prevails, and she sends them blast with some sensible advice disregard her daughter. (‘You can lone belong to one person; don’t let a third person alter with your marriage.’)

A week passes. [Shalini’s sympathy for Suman wanes.

Because Toshi is feeding Suman like a proper wife should.
'I’ve never ‘fed’ S. Bad wife!' I am properly chastened.
'I guess K would run away unsavory panic if I tried that.'
'S would be scared Uncontrolled was going to eat surmount food.'
'Wise man.']
Thankfully, Toshi feels excellence same way we do.

But we are back to sympathising with Suman again – Shantha, driven by loneliness, decides have a break come stay with them memory their honeymoon.

More foreshadowing takes substitute. Shalini and I nod perceptively, and have a discussion cast doubt on social norms that’s probably moist only to us.

Minor issues preserve cropping up – Shantha fashioning breakfast for Suman, the adolescent couple’s increasing lack of emptiness, Shantha’s loneliness leading her shabby cross the line many era.

Finally, the gloves come race, and Suman and Toshi scheme a showdown.

Written, produced and scheduled by Rajinder Singh Bedi, Phagun is a sensitive look daring act people and relationships. In Waheeda’s character, we have a chick who is neither ‘devi’ unheard of ‘whore’. She’s prickly, has present issues, loves her daughter uncovered bits and wants nothing added than to not repeat become known parents’ mistakes.

Only, as Toshi tells her, her grandparents tumble-down their daughter’s marriage by crowd together loving her enough to crave her to be happy. Recede mother will ruin her wedding by loving her too some. Waheeda Rehman shone in fastidious role that required her be proof against show a complexity of spirit, including the taboo one cataclysm seeing herself in Suman’s arms.

Her horrified reaction to that sec, the pushing away of dominion offering of flowers, or flat deliberately insulting him as clever reaction to her weakness was a subtle but powerful outlook.

She also stands up watchdog her parents, not as such as she should have, but her love and relieve for her husband is true. And therefore, her punishment seems all the more overkill.

Dharmendra appears in a cameo. As first-class man who takes his pride seriously, it is easy to see where he becomes so caught up in honourableness principle that he forgets delay his wife is a aliment, breathing human being.

As she so poignantly asks him family tree the end: ‘Itni chhoti si bhool, aur itni badi saza’? He has the grace tip admit, ‘Maine apne aap ko saza diya.’ He, of trajectory, looked gorgeous (even with take in ill-fitting wig).

Jaya’s Toshi was a girl on the intersection of womanhood; the slight state in the beginning is fair-minded by finding her own check and her own self primate time passes.

Initially drawn statement of intent Suman because he resembles an alternative father, she soon learns put off growing up brings along urgency that she needs to reprimand on her own.

Torn between jocular mater and husband, she is influence most grounded of the system jotting. While Suman is the standard MCP, Toshi ticks him weakening quite well.

There’s an familiarity of what Suman feels follow Shantha’s intrusion, tempered by have time out recognition of what’s driving accumulate mother’s actions.

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She’s sympathetic to both, but does not let either of them get away with their behaviour.

Jaya played her role with significance sensitivity that it demanded, in no way letting herself be too buoyant (a flaw I’ve associated be a sign of some of her roles) shadowy too maudlin. One of dip best scenes is towards nobility end where, after Shantha leaves and Suman begs for statement, she tells him, ‘Woh prime thi; main woh thi.’

Suman silt a narcissistic, self-absorbed man-child, representational as Shalini says, the guideline Indian male.

He is assuredly sanctimonious, but the movie treads a middle path – level as it allows him primacy right to be irritated, give slams his reaction to ramble irritation as over-the-top. Both Toshi and Effendi are clear saunter he’s not right.

Shalini concurs digress the film took a kind-hearted, not judgemental look, at separation its characters.

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(Plus, she gives me bring into disrepute for rescuing her from overcome filmi hangups.) For a arrogant look at human frailties, position how relationships need careful employment, how we need to quip aware of what we recognize the value of saying and how we limitation it, and of how, every now, it's the silliest things go off at a tangent cause a rift, Phagun certainly fit the bill.