#Garm Hava

[habitual-sadness]

Garm Hava, M. S. Sathyu, 1973

[bollywoodirect]

Remembering character actor #YunusParvez on his 17th death anniversary today (11/02/2007).

He played supporting roles in over 200 films from the late 1960s through the 2000s, and is best remembered for his performances in films such as 'Garm Hava' (1974), 'Deewaar' (1975), 'Trishul' (1978), and 'Mr. India'.

[dweemeister]

Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

[esytes69]

New Post has been published on https://acqro.in/most-controversial-films-in-indian-cinema/

Most Controversial Films in Indian Cinema

Indian cinema has no scarcity of films which either courted major controversy or faced complete ban and were never released in the country. Interestingly, these pictures have garnered rave critical reviews and been well-received at international film festivals. From themes that deal with communal violence to homosexuality and politics, these are some of the most controversial films ever made in India.

Garm Hawa (1973)

Garm Hawa is a film based on an unpublished story by eminent Urdu writer Ismat Chughtai. In 1947, India gained independence from the British colonial rule, but it also came at a heavy price—the division of the country to India and Pakistan. Garm Hawa tells the poignant story of a Muslim businessman who is torn between staying back in India, the land of his forefathers, or joining his relatives in Pakistan. It is one of the best films to showcase the plight of the Muslims in the country in a post-partition era. The film was deferred for eight months, fearing communal violence, before it was released.

Aandhi (1975)

This political drama centres around a woman politician whose appearance was uncannily similar to that of Prime Minister Indira Gandhi. This led the film to face allegations that it was based on her, especially Gandhi’s relationship with her estranged husband. However, the filmmakers had only borrowed the protagonist’s look from the Prime Minister and the rest had nothing to do with her life. Even after its release, the director was asked to remove scenes which showed the lead actress smoking and drinking during an election campaign and the film was completely banned during the national Emergency later that year.

Kissa Kursi Ka (1977)

Directed by Member of Parliament Amrit Nahata, the film is a satire on the administrative regime of Prime Minister Indira Gandhi and her son Sanjay Gandhi. Kissa Kursi Ka was submitted for certification from the Central Board of Film Certification in 1975 but the country was put under Emergency the same year and so the film was banned during that entire period. All movie prints, including the masterprint, were confiscated and destroyed during the time, a move which even landed Sanjay in jail.

Bandit Queen (1994)

The biographical film is based on the life of Phoolan Devi, a feared woman dacoit who led a gang of bandits in northern India. Phoolan belonged to a poor low caste family and was married to a man three times her age. She later took to a life of crime. The film, directed by Bafta-winner Shekhar Kapur, was criticised for its excessive use of abusive language, sexual content and nudity. Despite the backlash, Bandit Queen went on to win the National Film Award for Best Feature Film.

Fire (1996)

Fire is the first instalment in the Elements trilogy directed by acclaimed filmmaker Deepa Mehta. It is considered a pathbreaking film for being the first Indian cinema to explore homosexual relationship. But on its release, it faced adverse reactions with vandals burning posters and destroying cinemas where the film was being screened. Following the scandal, Fire was retracted briefly and Mehta even led a candlelit protest in New Delhi to oppose the move.

Kama Sutra: A Tale of Love (1996)

Kama Sutra: A Tale Of Love, directed by Mira Nair, was banned in India with the officials stating the film’s sexual content was too harsh for Indian sensitivities. An ironic suggestion, considering the book Kama Sutra originated in India and is easily available for purchase. Protesters labelled the film as unethical and immoral, but it received widespread critical acclaim. Kama Sutra: A Tale Of Love explores the relationship of four lovers in 16th-century India.

Paanch (2003)

Anurag Kashyap is a pioneer filmmaker, but also one of the most controversial in the Indian film industry. He has never shied away from broaching bold topics, which may not sit well with many in the Indian community. His directorial debut Paanch, which revolves around the life of five band members entangled in a kidnapping plot gone wrong, remains unreleased to this day. Inspired by true life incidents, the drugs, violence and sex depicted in the film was considered inappropriate for the Indian audience.

Hava Aaney De (2004)

Hava Aney De is an Indo-French film which works with the sensitive subject of India-Pakistan war. The Censor Board of India demanded over 21 cuts in the film, but the director Partho Sen-Gupta would hear nothing of it. Hava Aney De, therefore, was never released in India. It did win multiple awards at film events held abroad including Best Film at Durban International Film Festival and the BBC Audience Award at the Commonwealth Film Festival.

Water (2005)

Water is the third and final instalment in Deepa Mehta’s trilogy of films. It tackles the subject of ostracism and misogyny through the lives of widows at an ashram in Varanasi. Water was believed to show the country in a bad light, and even before filming started, right-wing activists wrecked film sets and issued suicide threats. Mehta was eventually forced to move the filming location to Sri Lanka. Not only that, but she had to change the entire cast and shoot the film under a pseudo title, River Moon.

The Pink Mirror (2006)

The Pink Mirror is the first mainstream film to have two transsexuals as protagonists. While it was a groundbreaking moment in Indian cinema, the Central Board of Film Certification had other opinions, calling the film “’vulgar and offensive”. The Pink Mirror remains banned in India but it went on to win the Jury Award for Best Feature at the New York LGBT Film Festival and the Best Film of the Festival at Question de Genre in Lille, France. You can catch the film on Netflix now.

Black Friday (2007)

Black Friday, another Anurag Kashyap venture, also faced a temporary ban. It deals with the 1993 Mumbai bombings, and the Bombay High Court decided to suspend the release until the trial was over. This meant that Kashyap had to wait for another three years until Black Friday hit cinemas. The film received praise from both international and national media with the New York Times comparing it to Academy Award nominees Salvador and Munich.

Parzania (2007)

Parzania is inspired by the true story of a 10-year-old boy, Azhar Mody who disappeared after the 2002 Gulbarg Society massacre during which 69 people were killed. This is one of the many incidents which led to the Gujarat riots, one of the worst acts of communal violence the country has ever witnessed. Cinema owners in Gujarat were allegedly threatened not to screen Parzania and the film went on to face an unofficial ban in the state.

Inshallah, Football (2010)

Inshallah, Football is a documentary film about a young boy from Kashmir who dreams of becoming a famous footballer. But his ambitions are crushed when he is not allowed to travel abroad because his father is an alleged militant. Critics felt the documentary showcased the reality of violence-afflicted Kashmir, but it failed to get the green light from the authorities for release in India as they felt the film was critical of how the Indian military operated in the politically sensitive region of Kashmir.

India’s Daughter (2015)

India’s Daughter is a documentary by British filmmaker Leslee Udwin and is based on the horrific Delhi gang rape and murder of 23-year-old student Jyoti Singh in 2012. The film includes an interview with Mukesh Singh, one of the four men convicted in the case. India’s Daughter was banned in India because the rapist airs certain views on gender which show the country in a poor light. These incendiary comments were believed to disturb the peace restored after a countrywide protest following news of the rape.

Padmavati (2017)

Padmavati is the latest Hindi film to court serious controversy as some right-wing groups felt that the film misrepresents history and thus tarnishes the reputation of certain communities in Rajasthan. A bounty was also put on the director and the lead actress, who portrays the historical queen Padmavati in the film. The film was scheduled for release in December 2017 but remains shelved so far. Historians, however, have debated the real life existence of the queen, with many saying she was a fictional character in an epic poem.

[jamuura]

Garm Hava – Still Powerful, Still Relevant

0SHARESshare on facebookshare on twitter As seminal a moment as the Partition is in our history and as important and relevant its impact on our collective psyche, the event has barely been commemorated in our cinema. As if an unspoken understanding existed amongst filmmakers in our post-partition history to not depict the horrendous events that followed in its aftermath.…

Garm Hava – Still Powerful, Still Relevant was originally published on Jamuura Blog

[letterboxd]

Photograph.

Ritesh Batra shares his top five Indian dramas of all time, as his newest feature arrives in cinemas.

Filmmaker Ritesh Batra arrived to wide acclaim with his box office smash The Lunchbox, starring Irrfan Khan. Taking away a Cannes prize and a BAFTA nomination, he followed his debut with a one-two punch of English-language films in 2017. Batra directed Robert Redford and Jane Fonda in Netflix film Our Souls at Night and adapted Julian Barnes’ award-winning novel The Sense of an Ending.

Now he returns to his native Mumbai, reuniting with The Lunchbox star Nawazuddin Siddiqui for Photograph, which premiered at the 2019 Sundance Film Festival to warm praise. “This is a real-world romance without the fanfare,” writes festival ticket-holder Mike Bayles on Letterboxd. “It warms the heart from a deeper, more authentic place.”

Nawazuddin Siddiqui, Sanya Malhotra and director Ritesh Batra.

Rafi (played by Siddiqui) is a struggling street photographer who convinces a shy stranger, Molini (Sanya Malhotra), to pose as his fiancée to satisfy his family’s pressure for him to get married. When his elderly grandmother insists on meeting her, the pair develop an unexpected connection in spite of their vast cultural differences.

While the romantic premise was inspired by exuberant Bollywood musicals and Shakespeare’s comedy The Taming of the Shrew, Batra wanted to tell “a very real story about people living in Mumbai today and to have more of a feeling of an independent arthouse film than a Bollywood extravaganza”.

In keeping with the spirit of his roots and style, we asked Batra for his top five Indian dramas of all time. His list—all highly rated by our members—includes a mandatory Satyajit Ray classic and an Ivory Merchant outing. See the list on Letterboxd or read on for more.

Ritesh Batra Recommends: Five of the Best Indian Films

1. Pyaasa (1957) Directed by Guru Dutt

A classic musical about a struggling poet trying to get his work published in post-independence India. Pyaasa translates to ‘wistful’, which perfectly sums up the tone of Ritesh Batra’s filmmaking. He shares his choice for favorite Indian movie with Bollywood actors Aamir Khan and Shraddha Kapoor and it ranked number 160 on Sight & Sound’s all-time 2002 poll. “It’s not just poetic in itself but it understands the poetry as the fuel of human soul, as something that connects us and makes us who we are,” raves Still Here.

2. Garm Hava (1974) Directed by M.S. Sathyu

After the joy of Pyaasa, Garm Hava is a more serious film that deals with the post-Partition plight of Muslims in 1940s India. Its influence was so impactful that it’s credited with pioneering a new wave in Hindi Cinema. The 2014 restoration is awaiting home distribution, but those who have seen it say it’s a “contender for both the greatest Indian film of all time and greatest performance by an Indian actor [star Balraj Sahni]”. Ritesh Batra agrees.

3. The Big City (1963) Directed by Satyajit Ray

Fortunately for us, Satyajit Ray’s films are well preserved and you can stream The Big City on our favorite new toy The Criterion Channel. His 1963 film makes history with its subversive take on working women challenging the patriarchy. It ranks in Letterboxd’s top 200 of all time and our members discover and decipher it every day. “There’s such a compelling mixture of melodrama and matter-of-factness in The Big City that it feels impossible to nail down,” notes Alex.

4. Shakespeare-Wallah (1965) Directed by James Ivory

Shakespeare-Wallah is only the second of 23 films Oscar-winner James Ivory directed using Ruth Prawer Jhabvala’s scripts, and it made a big impression on Ritesh Batra early on. It follows a troupe of English actors who travel around India performing Shakespeare’s plays, and covers a transitional phase where Bollywood begins to replace theater. Fun fact: Satyajit Ray composed the score. Letterboxd members praise the “incredibly beautiful and effective black-and-white photography”.

5. Salaam Bombay! (1988) Directed by Mira Nair

Bollywood’s second-ever movie nominated for an Oscar, Mira Nair’s drama sticks to the streets of Bombay, viewing life’s struggles through the eyes of twelve-year-old Chaipu. According to Dany, it’s a film “that doesn’t hold back even for a second” and marks a notable achievement for women filmmakers, with a female director/producer, screenwriter and cinematographer.

Distributed by Amazon Studios, ‘Photograph’ is in US cinemas now.

[vastuexperts]

Remembering Faarooq Sheikh Numerology Way

Remembering one of the Gentle and charming actor #FaarooqSheikh(25-3-1948)

A Ruler no 7 with destiny no. 5. He used to govern by no. 3 who made a successful pair with no. 3 ruler legend actress Deepti Naval. Whole life he lived upto his favourable numbers (2,7,3,5 & 6). He debuted in the year 1973 i.e year number 2 when he was in his lucky year number 3 (25+3+1973) & the Movie Name Number “Garm Hava” added to 5 which was his destiny no..

He Played the role of a migrant Bombay taxi driver from Badaun in Uttar Pradesh in movie “Gaman” (added to 5 i.e his destiny number) in 1978(year number 7). Many of his noted movies added upto his favourable dates & Numbers.

He was honored with National Award in the year 2010(Year number 3) for the Movie “Lahore” which released in 2009 (year number 2). Movie “Lahore” added to 23 i.e 5 (His Destiny Number). Happy to see google honored him on his 70th birthday. #Numerologyonline #Numerologist #ChandreshSharmaa

[biplabuniverse-blog]

Top 20 Latest Shayari in Hindi for the friend.

Shayari in Hindi for the friends,shayari in hindi funny,shayari in hindi love,shayari in  hindi download,shayari in hindi attitute, shayari in hindi on life,

1

Itne phool khile is dil main,

Ghar sajana bhool gaye.

Mehfil main wo kiya aaye,

Ham shama jalana bhool gaye.

Haal hamara poochhne wale,

Teri zubaan ne loot liya,

Hamne sab kuch keh dala,

Bas baat batana bhool gaye.

Ik tum hi ko dunya main,

Jisse bohat ummiden hain,

Kiya guzre gi dil per ager,

TumpPyar nibhana bhool gaye.

2

Tu mujhe itane pyar se mat dekh

teri palkon ne narm saye mein

dhup bhi chandani si lagti hai

aur mujhe kitni dur jana hai

ret hai garm, panv ke chale

yun damakate hain jaise angare

pyar ke ye nazar rahe, na rahe

kon dasht-e-vafa mein jata hai

tere dil ko khabar rahe na rahe

tu mujhe itane pyar se mat dekh

3

Jab naam tera pyar se likhati hain ungaliyan

meri taraf zamane ke uthati hain ungaliyan

daman sanam ka hath mein aaya tha ek pal

din raat us ek pal se mahakati hain ungaliyan

jis din se dur ho gaye us din se hi sanam

bas din tumhare aane ke ginati hain ungaliyan

pathar tarash kar na bana taj ek naya

fankar ke zamane mein katati hain ungaliyan

4

Ek Tabassum Hazar

Shikwo'n Ka

Kitna Pyara Jawab

Hota Hy … !!!

5

Tera Pyar Pane Ke Liye Kya Kya Na Bana Mai

Kabhi Tujhse Hara Kabhi Har Batt Per Jita Mai

Mai Har Ker Bhi Hara Jeet Ker Bhi Hara

Tere Pyar Ka Hu Mai Mara

Mila Mai Tujh Se Bar Bar ,

Magar Mil Na Saka Khud Se Dobara,.

6

Tere Pyar Ko Bhula Doon Phir Chale Jana

Teri Yaad Ko Mita Doon Phir Chale Jana

Jana Hi Tha To Pyar Kiya Kyun

Khud Ko Jala Doon Phir Chale Jana

7

Dil Ka Khuda Jinse Rutha Ho

Jinka Jodidar Nikla Jutha Ho

Na Chahiye Pyar M Dhika Tume

To Pyar Unse Karna Jinka Dil Tuta Ho

8

Mere Kamre Ke Parde Ab Puraane Ho Gaye Hain

Jo Apne The Ab Tak,Ab Begaane Ho Gaye Hain

Rahti Thi Jin Galiyon Mein Hamdardon Ki Aavajaahi

Uske Saare Padaao Ab Veeraane Ho Gaye Hain

Jinhe Samjha Tha Humne Daastaan Sachhe Pyaar Ki

Wohi Kisse Ab Bewafaayi Ke Afsaane Ho Gaye Hain

Woh Khwab Woh Ummeeden Woh Jazwa Aur Woh Josh

Lagta Hain Un Sab Se Mile Zamaane Ho Gaye Hain

Khula To Ab Bhi Hai Pyaar Ka Maikhaana

Yeh Aur Baat Hai Ki Khaali Sab Paimaane Ho Gaye Hain

Top 20 Latest Shayari in Hindi for the friend

9

Dooor Hoke Bhi

Hamesha Pass Hi Rahunga

Jo Bass Gaya Hai Dil Pe

Usse Kaise Bhula Paungi

Badalna To Naam Hai Zindagi Ka

Karna Hai Yeh Sweeker

Mere Khyal Se Na Badlega

Insaniyat Aur Pyar

10

Tanha Rehna To Seekh Liya

Par Khush Na Kabhi Reh Payenge

Teri Doori To Seh Leta Dil Mera

Par Tere Pyar Ke Bin Na Jee Payenge.

11

Jis Ki Qurbat Main Karar Bohut Hay

Us Ka Milna Dushwar Bohut Hay

Jo Meray Hathon Ki Lakiron Main Nahin

Us Shakhs Say Mujhey Pyar Bohut Hay

12

Baatein Teri Uttarti Hai Dil Mein Qaraar Banke,

Pyar Tera Barasta Hai Mujh Par Phuwaar Banke,

Duniya Sitam Kare Mujh Par Parwaah Nahi Mujhe,

Pyaar Tera Rehta Hai Mere Paas Hisaar Banke,

Jazbe Sachche The Jo Mil Gaye Hum Dono,

Duniya Laakh Aayi Darmiyaan Dewaar Banke,

Zor Koi Dil Par Apna Ab Chalta Nahi Hai,

Pyar Mein Tere Reh Gaye Be Ikhteyaar Banke..!!!

13

Dil Ye Humara Bekarar Ho Raha Hai

Lagta Hai Hume Aapse Pyar Ho Raha Hai

Aap Aa Jaiye Yahan Jaldi Se

Aapka Besabri Se Intezar Ho Raha Hai.

14

Chand se phul se ya meri zuban se suniye

har taraf aap ka qisa jahan se suniye

sab ko aata hai duniya ko sata kar jina

zindagi kya muhabbat ke dua se suniye

meri aavaz parda mere chehare ka

main hun khamosh jahan mujhako vahan se suniye

kya zaruri hai ki har parda uthaya jaye

mere halat apne apne makan se suniye

15

Kaash K Usay Chahnay Ka Arman Na Hota

Main Hosh Main Hote Howay Anjaan Na Hota

Yeh Pyaar Na Hota Kisi Patthar Dil Se Hamain

Ya Koi Patthar Dil Insan Na Hota

16

Pyar Ne Ye Kaisa Tohfa De Diya

Mujhko Gumo Ne Pathar Bana Diya

Teri Yaadon Main Hi Kat Gayi Ye Umar

Kehta Raha Tujhe Kab Ka Bhula Diya..

Top 20 Latest Shayari in Hindi for the friend

17

Taman umr azabon ka silasila to raha

ye kam nahi hamen jine ka hausla to raha

guzar hi aaye kisi tarah tere divane

qadam qadam pe koi sakht marhala to raha

chalo na ishq hi jeeta na aql har saki

tamam waqt maze ka muqabala to raha

main teri zat mein gum ho saka na tu mujh mein

bahut qarib the hum phir bhi fasala to raha

ye aur baat ki har ched laubali thi

teri nazar ka dilon se muamala to raha

bahut hasin sahi wazae-ehatiyat teri

meri havas ko tere pyar se gila to raha

18

Tujhe Pyar Sikhane Mein Nakaam Rahe Hum

Jo Chhalka Kabhi Na Paymane Se Wo Jaam Rahe Hum

Na Puch Kya Gujri Mere Dil Per

Jab Wafa Nibha Ke Bhi Badnaam Rahe Hum.

19

Apke Pyar Ki Inayat Cahiye

Dil Hai Beghar Usse Ek Ghar Cahiye

Bas Yuhi Sath Chalte Raho E-Dost

Ye Sath Hume Umar Bhar Cahiye

20

Hum Ne Dekhe Hai In Aakhon Ke Mahekte Khusboo

Haath Chooke Issay Rishton Ka Ilzaam Na Do

Sirf Ehsas Hai Yeh Rooh Se Mehsoos Karo

Pyar Ko Pyar Hi Rehna Do Koi Naam Na Do

[habitual-sadness]

Garm Hava, M. S. Sathyu, 1973

[bollywoodirect]

Remembering yesterdays character actor #YunusParvez on his 15th death anniversary (11/02).

He played supporting roles in over 200 films from the late 1960s to the 2000s. He is best known for his roles in films like Garm Hava (1974), Deewaar (1975), Trishul (1978) and Mr. India.

[srpntspth]

garm hava (1973, m.s. sathyu)

[fulltimereviewer]

39 Best Badmashi Status on the internet 2020

 Top 39 Badmashi status in Hindi 2020

Hello, everyone, we are back online again, today we have Badmashi Status for you guys, point to be noted is that we have all these Badmashi Status in Hindi language and we have also done the Badmash Status in Hinglish, we hope you guys liked this post, and stay tuned with us. There are people who are searching for Badmashi status in Hindi and if we are not wrong these people who are searching for these Badmashi wale status are very badmash, we have such a st of naughty status here in our article.   मैं प्यार और शादी में विश्वास करता हूं लेकिन जरूरी नहीं कि एक ही व्यक्ति के साथ हो। main pyaar aur shaadee mein vishvaas karata hoon lekin jarooree nahin ki ek hee vyakti ke saath ho.   अच्छी लड़कियाँ स्वर्ग में जाती हैं, बुरी लड़कियाँ हर जगह जाती हैं achchhee ladakiyaan svarg mein jaatee hain, buree ladakiyaan har jagah jaatee hain.   सिर्फ इसलिए कि मैं रोलिंग स्टोन के कवर पर सेक्सी दिखती हूं इसका मतलब यह नहीं है कि मैं शरारती हूं sirph isalie ki main roling ston ke kavar par seksee dikhatee hoon isaka matalab yah nahin hai ki main sharaaratee hoon

क्या आपकी जेब में बंदूक है, या आप मुझे देखकर खुश हैं? kya aapakee jeb mein bandook hai, ya aap mujhe dekhakar khush hain?   सामान्य तौर पर लोग मुझे शरारती लड़की के रूप में देखने के आदी हैं क्योंकि यही उन्होंने हमेशा मुझे कास्ट किया है saamaany taur par log mujhe sharaaratee ladakee ke roop mein dekhane ke aadee hain kyonki yahee unhonne hamesha mujhe kaast kiya hai   जब महिलाएं गलत हो जाती हैं, तो पुरुष उनके पीछे जाते हैं jab mahilaen galat ho jaatee hain, to purush unake peechhe jaate hain   यदि आपने अपने कपड़े उतार दिए हैं, तो निश्चित रूप से आप तेजी से गर्म होंगे yadi aapane apane kapade utaar die hain, to nishchit roop se aap tejee se garm honge   एक बार जब आप नटखट होने लगते हैं, तो जाना आसान होता है और आगे और जल्दी, या बाद में कुछ भयानक होता है। ek baar jab aap natakhat hone lagate hain, to jaana aasaan hota hai aur aage aur jaldee, ya baad mein kuchh bhayaanak hota hai.   हमारे पास यह विश्वास करने का कारण है कि सबसे पहले आदमी हस्तमैथुन के लिए अपने हाथों को मुक्त करने के लिए सीधा चला था hamaare paas yah vishvaas karane ka kaaran hai ki sabase pahale aadamee hastamaithun ke lie apane haathon ko mukt karane ke lie seedha chala tha Badmashi status Download for Eveyone We are very sure that you people who are searching for this Badmashi status in Hindi are very fond of WhatsApp quotes and we are happy to inform you that we provide all kinds of status on this blog on WhatsApp quotes for status, we know that we people search and publish these Badmashi status for fb on publishing them on their social media services. मैं अब काफी शरारती चीजें करता हूं। मुझे थोड़ा सेक्सी बनना पसंद है main ab kaaphee sharaaratee cheejen karata hoon. mujhe thoda seksee banana pasand hai "यहाँ हमारी पत्नियाँ और गर्लफ्रेंड हैं ... वे कभी नहीं मिल सकतीं! yahaan hamaaree patniyaan aur garlaphrend hain ... ve kabhee nahin mil sakateen! "मुझे याद है कि जब हवा साफ थी और सेक्स गंदा था। mujhe yaad hai ki jab hava saaph thee aur seks ganda tha.

एकमात्र समुद्र जो मैंने देखा था, वह दृश्य देखा समुद्र आप पर सवार था। लेट जाओ, आसान झूठ बोलो। मुझे अपनी जाँघों में जहाज़ चलाने दो ekamaatr samudr jo mainne dekha tha, vah drshy dekha samudr aap par savaar tha. let jao, aasaan jhooth bolo. mujhe apanee jaanghon mein jahaaz chalaane do मुझे उन लड़कियों से प्यार है जो बुरे और शरारती और बदमाश हैं, और थोड़े स्वार्थी हैं, लेकिन मुझे सम्मानजनक दूरी से देखना पसंद है! mujhe un ladakiyon se pyaar hai jo bure aur sharaaratee aur badamaash hain, aur thode svaarthee hain, lekin mujhe sammaanajanak dooree se dekhana pasand hai क्षमा करें, लेकिन एक संपूर्ण क्रश ऑनलाइन प्रेम परीक्षण का पता लगाने और व्हाट्सएप स्थिति पर अंतिम परिणाम पोस्ट करने के बारे में आप मिनटों का लाभ उठाते हैं, यह स्पष्ट रूप से आपको एक बेवकूफ दिखाता है। kshama karen, lekin ek sampoorn krash onalain prem pareekshan ka pata lagaane aur vhaatsep sthiti par antim parinaam post karane ke baare mein aap minaton ka laabh uthaate hain, yah spasht roop se aapako ek bevakooph dikhaata hai. पुरुष मेरे शौक हैं, अगर मैंने कभी शादी की है तो मुझे इसे देना होगा purush mere shauk hain, agar mainne kabhee shaadee kee hai to mujhe ise dena hoga मुझे सिद्धांतों से बेहतर व्यक्ति पसंद हैं, और मुझे दुनिया में किसी भी चीज़ से बेहतर कोई सिद्धांत नहीं हैं। mujhe siddhaanton se behatar vyakti pasand hain, aur mujhe duniya mein kisee bhee cheez se behatar koee siddhaant nahin hain.

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By posting these badmashi status in Hindi on facebook or any other social media platforms like whatsapp, instagram, flicker, etc we cna share this with our friends and family, you will find many website who are providing these badmashi status in Hindi, but we provide the best Badmashi status in Hindi on the whole internet. जिस मोड को मैंने अपनी पूर्व प्रेमिका को पार्क में आज गले लगाया था वह निश्चित रूप से मेरी गिरफ्तारी का रास्ता दिखाने वाला है jis mod ko mainne apanee poorv premika ko paark mein aaj gale lagaaya tha vah nishchit roop se meree giraphtaaree ka raasta dikhaane vaala hai मैं अपने पैरों को मेरे सिर के चारों ओर लपेटना चाहता हूं और आपको एक फीड बैग की तरह पहनना चाहिए main apane pairon ko mere sir ke chaaron or lapetana chaahata hoon aur aapako ek pheed baig kee tarah pahanana chaahie हम शेर और शेर के बारे में कैसे खेलते हैं? आप अपना मुंह खुला रखें, और मैं अपना सिर अंदर डालूंगा ham sher aur sher ke baare mein kaise khelate hain? aap apana munh khula rakhen, aur main apana sir andar daaloonga काश तुम एक दरवाजा होते तो मैं तुम्हें दिन भर पटक सकता था kaash tum ek daravaaja hote to main tumhen din bhar patak sakata tha वह ड्रेस आप पर बहुत जंचती है। बेशक, अगर मैं तुम पर था, भी बन रहा है! vah dres aap par bahut janchatee hai. beshak, agar main tum par tha, bhee ban raha hai! रक्त मेरे शरीर के उन हिस्सों में चला गया, जिन्हें मैंने शून्यता के साथ जोड़ा था, और मैं इसे रोकने के लिए शक्तिहीन था। rakt mere shareer ke un hisson mein chala gaya, jinhen mainne shoonyata ke saath joda tha, aur main ise rokane ke lie shaktiheen tha. मैंने हमेशा फोटोग्राफी को एक शरारती चीज़ के रूप में सोचा था - वह इसके बारे में मेरी पसंदीदा चीजों में से एक थी, और जब मैंने पहली बार ऐसा किया, तो मुझे बहुत बुरा लगा। mainne hamesha photograaphee ko ek sharaaratee cheez ke roop mein socha tha - vah isake baare mein meree pasandeeda cheejon mein se ek thee, aur jab mainne pahalee baar aisa kiya, to mujhe bahut bura laga.

वे आँकड़े मुझे बीमार करते हैं। हालाँकि, मैं इस सामान को महीनों से कह रहा हूँ। मैंने फेस बुक को काट दिया और इसे व्हाट्सएप से बदल दिया और मुझे बहुत अच्छा लग रहा है। ve aankade mujhe beemaar karate hain. haalaanki, main is saamaan ko maheenon se kah raha hoon. mainne phes buk ko kaat diya aur ise vhaatsep se badal diya aur mujhe bahut achchha lag raha hai. आप एक ऑस्ट्रेलियाई चुंबन की कोशिश करना चाहते हैं? यह सिर्फ एक फ्रेंच चुंबन की तरह है, लेकिन नीचे aap ek ostreliyaee chumban kee koshish karana chaahate hain? yah sirph ek phrench chumban kee tarah hai, lekin neeche Badmash Status in Hindi 2020 So these Badmash status for whatsapp in hindi or people may also call it badmashi status in hindi are also called as Naughty status we also provide such naughty status in hindi. these badmashi status are hand written are people who write such badmsh status focus on very short lines. so that these badmashi status in Hindi can be easily shared across the internet. आप एक पुरस्कार विजेता मछली की तरह हैं। मुझे नहीं पता कि आपको खाना चाहिए या आपको माउंट करना चाहिए। क्या मैं आपके पेट के बटन को अंदर से छू सकता था? आइए शरारती हों और सांता की यात्रा को बचाएं। “सेक्स करना पुल की तरह है। यदि आपके पास एक अच्छा साथी नहीं है, तो आपके पास एक अच्छा हाथ है। " बच्चों को शरारती होना चाहिए और उस विद्रोही चरण से गुजरना चाहिए जो मेरे पास नहीं है। यदि आपने अपने कपड़े उतार दिए हैं, तो निश्चित रूप से आप तेजी से गर्म होंगे। यदि आप दाहिने पैर को धन्यवाद दे रहे थे और आपका बायाँ पैर क्रिसमस था, तो क्या मैं आपसे छुट्टियों के बीच मिल सकता था? अच्छी लड़कियाँ स्वर्ग में जाती हैं, बुरी लड़कियाँ हर जगह जाती हैं। एक बार जब आप नटखट होने लगते हैं, तो जाना आसान होता है और आगे और जल्दी, या बाद में कुछ भयानक होता है। आपके माता-पिता को मंदबुद्धि होना चाहिए, क्योंकि आप विशेष हैं।

Badmashi status for Fb || Badmash status in 2020 These Badmashi status in Hindi can bring a dirty smile on people face, this is because we are surrounded by dirty-minded people. By reading such Badmash status in hindi we too got one. Facebook isthe leading social media platform consisting more than 1 billion active users, we have also shared Badmasi status for FB. मुझे यह कहते हुए खेद है, लेकिन आप मूर्ख स्वार्थी हैं, जो लेडी गागा मेम की तरह दिखता है, जो व्हाट्सएप पर सभी को असहज कर रहा है। वे कपड़े मेरे बेडरूम के फर्श पर टूटे हुए ढेर में बहुत अच्छे लगते। अगर यह सच है कि हम वही हैं जो हम खाते हैं, मैं सुबह तक आप हो सकता है! मैं कभी भी वह प्यारा बच्चा नहीं था जिसे शरारती होने के लिए माफ कर दिया गया था। अच्छा पैर ... वे किस समय खोलते हैं? एक बिल्ली पानी में गिर जाती है और मुर्गा हंसता है। कहानी का नैतिक क्या है ??? गीली चूत हमेशा एक मस्त लंड बनाती है। सिर्फ इसलिए कि मैं रोलिंग स्टोन के कवर पर सेक्सी दिखती हूं, इसका मतलब यह नहीं है कि मैं शरारती हूं। "मुझे वह डी दे दो जो आप जानते हैं कि आप चाहते हैं।" WE hope you guys liked these Badmashi status in hindi that we have provided for you people, make sure you people share this on social media and be naughy as these badmash status, we will take our leave. Thank you Also,Read Corruption essay in Hindi Read the full article

[bigyack-com]

Shabana Azmi’s mother Shaukat Kaifi dies, Javed Akhtar says ‘She wanted to come back to her own room where she stayed for a day or two’ - bollywood

Veteran theatre and film actor Shaukat Kaifi passed away on Friday evening after suffering a cardiac arrest at her Mumbai residence. The 93-year-old had been unwell for a while due to age-related illnesses. She is survived by her children -- actor Shabana Azmi and cinematographer Baba Azmi.The thespian was married to renowned Urdu poet and lyricist Kaifi Azmi who passed away in the year 2002. Shaukat had also penned a memoir titled Kaifi and I.Also read: Happy Birthday Naga Chaitanya: 5 best films that unleashed the actor in himKaifi’s son-in-law, veteran writer-lyricist Javed Akhtar, confirmed the news of the death of the theatre and film actor. “She was 93 and was having one problem after another. She was admitted to Kokilaben Dhirubhai Ambani Hospital. For certain days she was in the ICU and then she was out of ICU. It was all age related,” he said.“Ultimately they brought her home. She wanted to come back to her own room where she stayed for a day or two and then passed away. Shabana is in Mumbai,” Akhtar, who is in the US, told PTI. Twitter came out in all support of the family, pouring out hearts in paying tributes to the late actor. Check out some of the tweets: #ShaukatKaifi admonishing in Dakhani is ❤️❤️❤️Farewell, ma’am. pic.twitter.com/yqQNP3hIok— Pragyan Mohanty (@PragyanM) November 22, 2019  Rest In Peace #ShaukatKaifi aapa 🙏 The old world of poetry,theatre and integrity coming to a closure bit by bit. pic.twitter.com/ak3Q38kEMh— Rajiv B Menon (@crypticrajiv) November 23, 2019  #ShaukatKaifi (21-10-1928 to 22-11-2019) in 1973 movie Garam Hawa with legendary Balraj Sahni. Such actors are rare now in Bollywood industry. RIP pic.twitter.com/XIqFHozA0u— Sammy (@QaziSami) November 23, 2019  Love conquers all ❤#ShaukatKaifi 🌸 pic.twitter.com/4ASZ86jrle— Sheba Ghildyal(शैबा) (@ShebaGhildyal) November 23, 2019 Muzaffar Ali’s Umrao Jaan (1981) and Sagar Sarhadi’s Bazaar (1982) are some of Shaukat’s most noted films. However, her first major appearance was in MS Sathyu’s Garm Hava in 1974. Her last film was Shaadi Ali’s Saathiya.The burial will take place on Saturday at around 3 pm. (This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.)Follow @htshowbiz for more Source link Read the full article

[dhrupad]

Director M.S. Sathyu and screenwriter Shama Zaidi on the set of Garm Hava (1974). 

[wwfilmitekparcaizlecom]

Sitemize "Garm Savaşları Son Druid – Garm Wars The Last Druid 2014" Adlı Film/Dizi/Haber Eklenmiştir Detaylar için ziyaret ediniz... İlgili Film/Dizi/Haber = https://www.filmitekparcaizle.com/garm-savaslari-son-druid-garm-wars-the-last-druid-2014/ ---- Açıklama; IMDB: 4.8 Üç farklı kabilenin Klon askerleri amansız bir savaşın içindedir. Toprak, teknoloji hatta soludukları hava bile bu savaşın sebebidir. İyi seyirler ---- Etiketler; reviews,showtimes,dvds,photos,message boards

[esytes69]

Most Controversial Films in Indian Cinema

Indian cinema has no scarcity of films which either courted major controversy or faced complete ban and were never released in the country. Interestingly, these pictures have garnered rave critical reviews and been well-received at international film festivals. From themes that deal with communal violence to homosexuality and politics, these are some of the most controversial films ever made in India. Garm Hawa (1973)

Garm Hawa is a film based on an unpublished story by eminent Urdu writer Ismat Chughtai. In 1947, India gained independence from the British colonial rule, but it also came at a heavy price—the division of the country to India and Pakistan. Garm Hawa tells the poignant story of a Muslim businessman who is torn between staying back in India, the land of his forefathers, or joining his relatives in Pakistan. It is one of the best films to showcase the plight of the Muslims in the country in a post-partition era. The film was deferred for eight months, fearing communal violence, before it was released. Aandhi (1975)

This political drama centres around a woman politician whose appearance was uncannily similar to that of Prime Minister Indira Gandhi. This led the film to face allegations that it was based on her, especially Gandhi’s relationship with her estranged husband. However, the filmmakers had only borrowed the protagonist’s look from the Prime Minister and the rest had nothing to do with her life. Even after its release, the director was asked to remove scenes which showed the lead actress smoking and drinking during an election campaign and the film was completely banned during the national Emergency later that year. Kissa Kursi Ka (1977)

Directed by Member of Parliament Amrit Nahata, the film is a satire on the administrative regime of Prime Minister Indira Gandhi and her son Sanjay Gandhi. Kissa Kursi Ka was submitted for certification from the Central Board of Film Certification in 1975 but the country was put under Emergency the same year and so the film was banned during that entire period. All movie prints, including the masterprint, were confiscated and destroyed during the time, a move which even landed Sanjay in jail. Bandit Queen (1994)

The biographical film is based on the life of Phoolan Devi, a feared woman dacoit who led a gang of bandits in northern India. Phoolan belonged to a poor low caste family and was married to a man three times her age. She later took to a life of crime. The film, directed by Bafta-winner Shekhar Kapur, was criticised for its excessive use of abusive language, sexual content and nudity. Despite the backlash, Bandit Queen went on to win the National Film Award for Best Feature Film. Fire (1996)

Fire is the first instalment in the Elements trilogy directed by acclaimed filmmaker Deepa Mehta. It is considered a pathbreaking film for being the first Indian cinema to explore homosexual relationship. But on its release, it faced adverse reactions with vandals burning posters and destroying cinemas where the film was being screened. Following the scandal, Fire was retracted briefly and Mehta even led a candlelit protest in New Delhi to oppose the move. Kama Sutra: A Tale of Love (1996)

Kama Sutra: A Tale Of Love, directed by Mira Nair, was banned in India with the officials stating the film’s sexual content was too harsh for Indian sensitivities. An ironic suggestion, considering the book Kama Sutra originated in India and is easily available for purchase. Protesters labelled the film as unethical and immoral, but it received widespread critical acclaim. Kama Sutra: A Tale Of Love explores the relationship of four lovers in 16th-century India. Paanch (2003)

Anurag Kashyap is a pioneer filmmaker, but also one of the most controversial in the Indian film industry. He has never shied away from broaching bold topics, which may not sit well with many in the Indian community. His directorial debut Paanch, which revolves around the life of five band members entangled in a kidnapping plot gone wrong, remains unreleased to this day. Inspired by true life incidents, the drugs, violence and sex depicted in the film was considered inappropriate for the Indian audience. Hava Aaney De (2004)

Hava Aney De is an Indo-French film which works with the sensitive subject of India-Pakistan war. The Censor Board of India demanded over 21 cuts in the film, but the director Partho Sen-Gupta would hear nothing of it. Hava Aney De, therefore, was never released in India. It did win multiple awards at film events held abroad including Best Film at Durban International Film Festival and the BBC Audience Award at the Commonwealth Film Festival. Water (2005)

Water is the third and final instalment in Deepa Mehta’s trilogy of films. It tackles the subject of ostracism and misogyny through the lives of widows at an ashram in Varanasi. Water was believed to show the country in a bad light, and even before filming started, right-wing activists wrecked film sets and issued suicide threats. Mehta was eventually forced to move the filming location to Sri Lanka. Not only that, but she had to change the entire cast and shoot the film under a pseudo title, River Moon. The Pink Mirror (2006)

The Pink Mirror is the first mainstream film to have two transsexuals as protagonists. While it was a groundbreaking moment in Indian cinema, the Central Board of Film Certification had other opinions, calling the film “’vulgar and offensive”. The Pink Mirror remains banned in India but it went on to win the Jury Award for Best Feature at the New York LGBT Film Festival and the Best Film of the Festival at Question de Genre in Lille, France. You can catch the film on Netflix now. Black Friday (2007)

Black Friday, another Anurag Kashyap venture, also faced a temporary ban. It deals with the 1993 Mumbai bombings, and the Bombay High Court decided to suspend the release until the trial was over. This meant that Kashyap had to wait for another three years until Black Friday hit cinemas. The film received praise from both international and national media with the New York Times comparing it to Academy Award nominees Salvador and Munich. Parzania (2007)

Parzania is inspired by the true story of a 10-year-old boy, Azhar Mody who disappeared after the 2002 Gulbarg Society massacre during which 69 people were killed. This is one of the many incidents which led to the Gujarat riots, one of the worst acts of communal violence the country has ever witnessed. Cinema owners in Gujarat were allegedly threatened not to screen Parzania and the film went on to face an unofficial ban in the state. Inshallah, Football (2010)

Inshallah, Football is a documentary film about a young boy from Kashmir who dreams of becoming a famous footballer. But his ambitions are crushed when he is not allowed to travel abroad because his father is an alleged militant. Critics felt the documentary showcased the reality of violence-afflicted Kashmir, but it failed to get the green light from the authorities for release in India as they felt the film was critical of how the Indian military operated in the politically sensitive region of Kashmir. India's Daughter (2015)

India’s Daughter is a documentary by British filmmaker Leslee Udwin and is based on the horrific Delhi gang rape and murder of 23-year-old student Jyoti Singh in 2012. The film includes an interview with Mukesh Singh, one of the four men convicted in the case. India’s Daughter was banned in India because the rapist airs certain views on gender which show the country in a poor light. These incendiary comments were believed to disturb the peace restored after a countrywide protest following news of the rape. Padmavati (2017)

Padmavati is the latest Hindi film to court serious controversy as some right-wing groups felt that the film misrepresents history and thus tarnishes the reputation of certain communities in Rajasthan. A bounty was also put on the director and the lead actress, who portrays the historical queen Padmavati in the film. The film was scheduled for release in December 2017 but remains shelved so far. Historians, however, have debated the real life existence of the queen, with many saying she was a fictional character in an epic poem. Read the full article