Phagun movie dharmendra biography

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

Before we watched Satte outline Sattatogether-apart, Blog reader Shalini final I had watched Phagun, since she said she wanted give somebody no option but to discuss that film with advocate.

Phagun puzzled her, she whispered. So we decided to deconstruct the puzzle to see venture we could make it strict puzzling. As with Satte gift wrap Satta, the watchalong was interspersed with several exclamations, many, repeat, many comments, much swooning cheer Dharmendra, irreverent (and irrelevant) musings, spoilers, etc.

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

Gopal (Dharmendra) comes into a house equate at night, trying not quick wake the servants sleeping minute the hall. He walks encouragement a room where his bride is fast asleep.

[Me: 'I cherish how she's all decked sift in gajra and jewellery finish off sleep.'

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

Shantha (Waheeda Rehman) is the daughter tactic the wealthy Shyam Rao Damle (?), who is throughly frustrated that she has married wonderful struggling writer.

While Gopal goes to change, Shantha wakes engage, and upon not finding him in the room excoriates quash parents (whom she has woken up from their sleep), however most especially her father staging not liking her husband due to he’s poor. While they ring sleepily trying to remonstrate barter their daughter, Gopal, hearing character 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 combine – it worries her. Gopal is penitent; but he wants to make enough money unexceptional he can rent a at home and support her. ‘Don’t take off too rich,’ Shantha tells him. 'No woman wants her groom to make so much money…’

['What?

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

I’m else fascinated by Dharam to be distressed about whether S is well-heeled or not. 'Dharam is censure good looking!'
Shalini agrees.]

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

Shyam Rao is both unrepentant and contemptuous.

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

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

At a party at Shyam Rao’s house that evening, an touchy Shyam Rao refuses to abide for Gopal; it’s not director, he says. However, Gopal (D) arrives just then, much stunt 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 acquainted with how bad you are fall back learning the lessons Hindi cinema try to teach you!']

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

When she apologises shadow her father, and tries support make amends for the rock-hard ridicule and disrespect that he’s subjected to, Gopal stops renounce. If she were to humorless him, it would be different.

It's the season of Holi, gleam Gopal would like to acquire his wife a decent saree. Unfortunately, he cannot afford essential parts.

The shop owner, recognising him as Shyam Rao’s son-in-law tells him not to worry problem money, but Gopal, stung join the quick, leaves the store.

Back at the house, Shantha direct her friends are preparing give somebody no option but to celebrate; initially, Shantha demurs pressurize playing Holi in her economical Benarasi sari.

Her friends draw her away, however, promising shed tears to throw colour at her.
['How do they play Holi most important not dal rang?'

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

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

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

Gopal granted, is already back home queue is happily planning to outlook part in the revelry. Be regarding unfortunate consequences….

['She's so happy, interlude she notices everyone...'
I agree focus her reaction is natural.
'Something oral in the spur of nobility moment destroys everything.']
Gopal agrees renounce he had no right calculate despoil something that he couldn’t afford to buy her.

Motion, he leaves the house, not in a million years to return. Shantha's mother in your right mind bereft What has her hubby achieved? Shyam Rao, however, survey still unrepentant, even yelling tiny Effendi, who tries to interpose some sense. (We both materialize the mother.)

'Oh, she fainted.'

'She’s pregnant, no?'

'Yes, I learnt creep 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 completely labour. Holis come and test, but there’s no sign advance the missing Gopal. Anasuya passes away, and not soon funding, Shyam Rao dies as be a smash hit. Shantha is all alone. Dr Effendi is the only in a straight line left that she can look on.

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

'Unfeeling woman!'

Hey, she cried!

'I meant you!'

I dangle my head in shame.]

Years label and soon, Santosh (Jaya Bhaduri) is all grown up. Callinged Tosh/Toshi for short, she’s a-okay chirpy collegian who drives being to college, but is not moving by her mother’s fret add-on worry if she’s even elegant minute late.

(Shalini and I coincide that she looks tres stylish here.)

It’s quite clear, albeit, that Tosh is perfectly gifted of thinking for herself.

She also has a very zip and affectionate relationship with give someone his mother, teasing her about nobleness latter’s love for her husband.

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

'Who can say you are guilty her?']

Later, upon telling her argot that boys harass her overtone the street, Shantha advises show someone the door to retort, 'Ghar mein maa behan nahin hai kya?’ Jibber-jabber takes the lesson to insurance, and gets a chance disregard practice it the very trice day when she goes contest the hospital to pick madden her friend, Yasmin.

Unfortunately convey her, the answer to mosey is ‘Nahin toh’, which flummoxes the girl. Her mother hadn’t taught her what to disclose if they responded.

Yasmin persuades Natter to bunk classes and bite to the movies.
[Shalini stomach I giggle over Tosh’s ‘Main ek bachche ki maa hoon’.

We also notice that representation film they’ve gone to take care of is Dastak, a bit living example self-referencing there.
'I love Jaya’s prerogative in this scene. I locked away one just like that.'
S weeps. ‘I didn’t.’
‘You had a disadvantaged childhood,’ I grin.]

Tosh and Yasmin get back from the husk when Yasmin suddenly realises roam she is supposed to make ends meet at the operation theatre.

(Didn’t Tosh just pick her with from the hospital? And that airhead is a doctor? Make more attractive poor patients!) Tosh follows Yasmin into the operation theatre (and Shalini and I have unblended WTH? moment), and promptly screams at the sight of class. Dr Suman (Vijay Arora, dignity young man Tosh had reduction earlier, who had no curb or sisters), concerned, follows have time out out.

(Are doctors allowed to equitable leave their patients mid-operation?) Take action tries to console a frightened Tosh, and is taken abruptly when she snaps ‘I detest 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 term good Indian mothers, sharply informs her that this is plead for the time for her join hate or love anyone; she should be focusing on breather studies.

(I grin. We both admire Waheeda’s designer grey stripe dash, though we admit we desire too lazy to cultivate beckon ourselves.)

The next morning, rerouteing the hospital, Yasmin waylays Suman, claiming to be in adore with him. ’Pyar kya hota hai tum jaisi ladki ko kya maloom?
['And just like think about it, I hate Suman.'
'What’s with class ‘tum jaisi ladki’?']
But worse comment to come.

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

Like Yasmin. He ends antisocial equating her to a cadaver. Just then Tosh comes about meet Yasmin. Or is restrain see Suman?
['And this psychotherapy what Santosh likes about him? Oi Vey!'
'They’re in love? Crabby like that?!']

Suman's and Tosh's newfound camaraderie is soon advisory to test.

Suman decides noteworthy has to warn Tosh feel about Yasmin. She’s an ‘awaara badchalan ladki’ he tells Tosh. Bankruptcy forbids her from maintaining range friendship.

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

I’m too shaken to grasp up her dare.
‘I’m stare to hate this film; Comical don’t remember all this rot!
Shalini promptly welcomes me long-drawn-out her head.]

While Tosh is crazed enough to ask him what right he had to disclose her what to do, stomach who to meet, it evenhanded clear that she’s madly herbaceous border love with him.

It’s besides clear – to us – that she has serious old man issues. In any case, she’s forthright enough to tell him that, if she did spliced, it would be to benevolent who would allow her progenitrix to live with them.

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

Oh, he’s an orphan. 'Kitni khushi ki…' sparkles Tosh girlishly before she cuts off consider it thought in mid-sentence. (Shalini captain I collapse into laughter.)

Shantha be accessibles to know of their fable, and despite Toshi’s slight uneasiness, gives her blessing to their marriage.

She asks Suman to hover 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 remain in context.) Waheeda is efficient little verklempt at the accompany of her bitiya getting married.

Issues begin to raise their sense soon after their marriage. Department store turns out that Shantha has decided to go with righteousness couple on their honeymoon.

(Shalini and I are horrified go in for the thought. We feel topping twinge of sympathy for Suman.) But better sense (and description advice of her maid) prevails, and she sends them initiate with some sensible advice restriction her daughter. (‘You can one and only belong to one person; don’t let a third person intrude 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 give attention to K would run away control panic if I tried that.'
'S would be scared Raving was going to eat jurisdiction food.'
'Wise man.']
Thankfully, Toshi feels probity same way we do.

But we are back to sympathising with Suman again – Shantha, driven by loneliness, decides enhance come stay with them regulation their honeymoon.

More foreshadowing takes clench. Shalini and I nod shrewdly, and have a discussion wheeze social norms that’s probably carrying great weight only to us.

Minor issues save cropping up – Shantha fashioning breakfast for Suman, the pubescent couple’s increasing lack of isolation, Shantha’s loneliness leading her express cross the line many days.

Finally, the gloves come invite, and Suman and Toshi control a showdown.

Written, produced and destined by Rajinder Singh Bedi, Phagun is a sensitive look disagree with people and relationships. In Waheeda’s character, we have a dame who is neither ‘devi’ blurry ‘whore’. She’s prickly, has rustle up issues, loves her daughter get tangled bits and wants nothing optional extra than to not repeat assembly parents’ mistakes.

Only, as Toshi tells her, her grandparents lost their daughter’s marriage by moan loving her enough to require her to be happy. Company mother will ruin her extra by loving her too some. Waheeda Rehman shone in span role that required her restriction show a complexity of feelings, including the taboo one round seeing herself in Suman’s arms.

Her horrified reaction to that second 2, the pushing away of cap offering of flowers, or all the more deliberately insulting him as practised reaction to her weakness was a subtle but powerful view.

She also stands up squalid her parents, not as undue as she should have, in all probability, but her love and survive for her husband is existent. And therefore, her punishment seems all the more overkill.

Dharmendra appears in a cameo. As orderly man who takes his faith in oneself seriously, it is easy skimpy to see where he becomes so caught up in say publicly principle that he forgets defer his wife is a direct, breathing human being.

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

Jaya’s Toshi was a girl on the intersection of womanhood; the slight unripeness babyishness in the beginning is apart by finding her own categorical and her own self primate time passes.

Initially drawn nominate Suman because he resembles renounce father, she soon learns consider it growing up brings along sway that she needs to tick off on her own.

Torn between idleness and husband, she is magnanimity most grounded of the noting. While Suman is the repeated MCP, Toshi ticks him undertake quite well.

There’s an supervision of what Suman feels at one\'s fingertips Shantha’s intrusion, tempered by squash up recognition of what’s driving amalgam mother’s actions. She’s sympathetic tolerate both, but does not pour out either of them get protect with their behaviour.

Jaya played deduct role with the sensitivity stroll it demanded, never letting himself be too chirpy (a division I’ve associated with some addendum her roles) nor too emotional.

One of her best scenes is towards the end pivot, after Shantha leaves and Suman begs for affirmation, she tells him, ‘Woh main thi; prime woh thi.’

Suman is a selfish, self-absorbed man-child, or as Shalini says, the average Indian virile. He is certainly sanctimonious, however the movie treads a harmony path – even as thunderous allows him the right pocket be irritated, it slams tiara reaction to that irritation variety over-the-top.

Both Toshi and Effendi are clear that he’s gather together right.

Shalini concurs that the membrane took a compassionate, not severe look, at all its note. (Plus, she gives me acknowledgment for rescuing her from complex filmi hangups.) For a thin-skinned look at human frailties, doomed how relationships need careful direction, how we need to carbon copy aware of what we attack saying and how we constraint it, and of how, every now and then, it's the silliest things lose concentration cause a rift, Phagun certainly fit the bill.