#Hindi Attitude Dialogues Images

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Hindi Attitude Dialogues for Girlfriend and Boyfriend

Har Lamha Apni Palkon Par Bithaya Tujhe, Phir Bhi Yeh Ishq Mera Na Raas Aaya Tujhe, Kismat Ki Bhi Hai Yeh Ajib Dastan, Kabhi Hasaya To Kabhi Rulaya Mujhe….

Kitne Armaano Ko Dafnaye Baitha Hun, Kitne Zakhmo Ko Dabaye Baitha Hun, Milna Muskil Hai Unse Is Daur Mein, Phir Bhi Deedar Ki Aas Lagaye Baitha Hun….

Tum Daga Karo Tab Bhi Gaddar Nahi, Hum Wafa Karein To Bhi Gunahgar Hain, Khata Teri Nahi O Sanam Mere, Yeh To Waqt Waqt Ki Maar Hai…. Click Here for more : Hindi Attitude Dialogues

Ek Tum Hi Se Umeed Ki Hai Mere Khuda, Der Na Kar Jara Unse Zaldi Mila, Yeh Rokar Karte Hain Gujaris Upar Wale, Kahin Ho Na Jaaye Meri Yeh Zindagi Tabaah….

Kitna Chaahata Hun Tujhe Yeh Mujhko Pata Nahi, Magar Tumhare Siwa Koi Aur Dil Mein Basa Nahi, Zamana Dusman Ho Gaya Chaahat Ka Hamari, Juda Ho Gaye Phir Se Ham Yeh Meri Khata Nahi….

Tere Hote Huye Bhi Tanhai Mili Hai, Wafa Karke Bhi Dekho Buraai Mili Hai, Jitni Dua Ki Tumhe Pane Ki, Us se Jayada Teri Judai Mili Hai…

Laakh Bandisen Laga Le Duniya Hum Par, Magar Dil Par Kaabu Nahi Kar Payenge, Woh Lamha Aakhiri Hoga Zeevan Ka Hamara, Jis Din Hum Yaar Tujhe Bhul Jayenge….

Koi Toh Inteha Hogi Mere Pyar Ki Khuda, Kab Tak Dega Tu Is Kadar Hamein Saja, Nikal Le Tu Is Jism Se Jaan Meri, Yah Mila De Mujhko Meri Dilruba…

Mere Zakhamo Ko Hawa De Rahe Ho, Kis Baat Ki Yeh Saja De Rahe Ho, Hamne Toh Yaar Koi Gustaakhi Nahi Ki, Phir Kyon Marne Ki Baddua De Rahi Ho….

Na Toh Dua Hi Kaam Aayi Mere, Na Hi Dawaon Ne Asar Kiya, Har Zakham Naasur Hota Raha Mera, Yeh Zeevan Ro-Rokar Basar Kiya….

Shaadi Dialogues

Hum Jaante Nahi Kya Hua Hai, Aap Khush Rahein Bas Yeh Hi Dua Hai, Chahat Pal Do Pal Ki Khushi Thi, Aaj Yeh Saja Hai Saja Hai Saja Hai…..

Hindi Attitude Dialogues for Fb Status

Tere Hote Huye Bhi Tanhai Mili Hai, Wafa Karke Bhi Dekho Buraayi Mili Hai, Jitni Dua Ki Tumhe Paane Ki, Us Se Jyada Teri Judai Mili Hai….

Kismat Mein Hamari Likhi Hai Barbaadiyan, Kab Tak Karayega Khuda Hasino Ki Shadiyan, Raas Aa Gayi Hai Wirani Mahphil Mujhe, Ab Dasne Lagi Hai Yeh Hasee Waadiyan…

Kabhi Teri Baahon Mein Har Gham Bhula Diya Karte The Hum, Magar Aaj Yeh Baahein Gairon Ke Naam Ho Gayi, Kya Dein Hum Yaar Tujhe Duayen, Ab To Dua Ke Liya Bhi Tu Naakam Ho Gayi…..

Tarsegi Tu Pyar Ke Liye Tamam Umar, Ab Yaar Tujhe Main Aisi Saja Dunga, Yaad Karegi Jab Tu Mere Pyar Ko, Magar Us Din Main Tujhe Bhula Dunga….

Hamane Bhi Dekhe Hain Barbadi Ke Daur, Zindagi Kaanto Par Basar Ki Hai, Yeh Main Nahi Kahta Yaar Mere, Yeh To Dastan Jigar Ki Hai….

Ishq Paane Ki Tamanna Mein Sanam, Zindagi Barbad Banker Reh Gayi, Jis Surat Ko Dil Mein Basaya Tha Kabhi, Aaj Woh Surat Ek Yaad Bankar Rah Gayi…..

Aaj Usne Apni Alag Duniya Basai Hai, Meri Zindagi Bhi Maut Se Jitati Aayi Hai, Jitni Todna Chahata Hun Zindagi Ki Taar Main, Utna Hi Khuda Ne Meri Umar Badhai Hai….

Kismat Ne Bar-Bar Bachaya Hun Main, Maut Ke Muh Se Bhi Wapas Laut Aaya Hun Main, Kyun Kari, Ham Par Itani Rahmat Khuda, Pahle Hi Unke Rahmat Ka Sataya Hun Mein…. 10 famous dialogues

Paimane Se Nikli Hai Aawaz Teri, Stati Hai Mujhko Sanam Yaad Teri, Kisi Gair Ka Daman Tham Na Lena, Warna Ho Jayegi zindagi Barbad Meri….

Dil Karta Hai Aag Laga Doon Is Zamaane Ko, Jisne Dard Hi Dard Diya Har Diwaane Ko, Har Pal Zakham Khaya Hai Dil Ne Mere, Ab Kya Rah Gaya Aur Aajmaane Ko….

Yaad Mein Teri Kaise Din Gujaare Hain, Puchho Na Hamse Aalam Woh Judai Ka, Kaanto Ki Tarah Chubhta Raha Woh Lamha, Ro-Rokar Gujara Hai Raasta Har Tanhai Ka…

Kya-Kya Na Saha Tere Pyar Ke Liye, Tu Bhul Gayee Mujhe Begaane Yaar Ke Liye, Bitaaye The Lamhe Saath Milkar Kabhi, Tarsate Hain Aaj Tere Deedar Ke Liye….

Jaane Meri Aankhon Se Kitne Aansu Bah Gaye, Insaano Ki Bheed Mein Bhi Dekho Tanha Rah Gaye, Karte The Jo Kabhi Apni Wafa Ki Baatein, Aaj Wohi Sanam Mujhe Bewafa Kah Gaye….

Maine Bhi Dil Ka Dard Bayan Kiya Hai, Khusi Ka Har Lamha Tere Naam Kiya Hai, Dekho Jara Yeh Mera Bigda Hua Mukaddar, Kismat Ne Har Jagah Naakam Kiya Hai….

Baar Baar Dil Par Jakham Kab Tak Sahun Main, Sah Sahkar Yeh Sitam Kab Tak Chup Rahu Main, Jaante Hain Zamane Waale Mere Halat Sabhi, Chahiye Jakhmon Ki Dawa Yeh Kis Se Kahun Main….

Nibhaoge Tum Kasmein Yeh Wada Na Karo, Mohabbat Humse Itni Jyada Na Karo, Dekhe Hain Maine Bhi Daur Tabahi Ke, Aur Hamein Sataane Ka Irada Na Karo…

High Hindi Attitude Dialogues

Woh Chahte Hain Hum Aabad Rahein, Barbaadi Mein Bhi Kasar Nahi, Har Dard Hans Ke Saha, Phir Bhi Un Par Hua Asar Nahi….

Aaj Jhi Bharkar Hum Par Hans Lo Beraham, Fir Tujhe Milne Waale Hain Mere Gham Sabhi, Teri Bewafayi Ka Charcha Charon Dishaon Main Hai, Mujhe Diye Jakhmon Ka Hisaab Chukana Hai Kabhi Na Kabhi….

Kitabon Mein Rakh Kar Sula Gaya Humko Aankh Band Kar Bhula Gaya Humko Ajeeb Musavvar Tha Jo Barishon Mein Deewaron Pe Bana Gaya Humko…

Ek Muddat Se Jo Khawab Ban Kar Nazar Me Raha Rooh Ban Kar Vo Mere Badan Me Raha Fana Ho Kar Jise Chaha Tha Dhadkano Ne Meri Kareeb Aa Kar Vo Shask Ajnabi Sa Raha

  Sanju dialogues

Sagar Main Gehraayi Hoti Hai, Yaadon Main Tanhayi Hoti Hai, Is Busy Life Main Kaun Kisko Yaad Karta Hai, Aur Agar Karta Hai To Uski Yaado Main Sachhayi Hoti Hai…

Kadmo Ki Duri Se Dilo Ke Fasle Nhi Badhte, Dur Hone Se Ehsas Nhi Marte, Kuch Kadmo Ka Fasla Hi Sahi Hamare Beech, Lekin Aisa Koi Pal Nhi Jab Hum Apko Yaad Nhi Krte..

Khushion Se Naraz Hai Meri Zindagi, Pyar Ki Mohtaz Hai Meri Zindagi, Has Leta Hoon Logon Ko Dikhane Ke Liye, Varna Dard Ki Kitaab Hai Meri Zindagi…

Meri Zindagi Ghamon Se Ho Gayi Hai Taar Khushiyan Bhi Mere Kareeb Nahi Aaati Zamane Bhar Ka Zeher Pee Liya Humne Jaan Hai Ki Kambhaqt Nikal Nahi Jaati…

Zindagi Bahut Kuch Sikhati Hai, Kabhi Hasati Hai Kabhi Rulati Hai, Khud Se Bhi Jyada Kisi Par Vishwash Mat Karna, Kyuki Andhere Mein To Parchai Bhi Saath Chod Jati Hai…

Hindi Dialogues on Attitude

Dil Ki Awaz Koi Pehchanta Nahi, Kisko Kya Dard Hai Koi Janta Nahi, Hum Bhi Nahi Chahte Aapko Pareshan Karna, Magar Kya Kare Dil Hai Ki Manta Nahi…

Zindagi Se Sabhi Ko Mohabbat Hai, Par Zindagi Kisi Ki Mohabbat Nahi Banti, Tamanna Le Kar Jeete Hai Sab Log, Magar Har Tamanna Taqdeer Nahi Banti…

Zindagi Hasin Hai Zindagi Se Pyaar Karo, Hai Rat To Subah Ka Intzar Karo, Wo Pal Bhi Ayega Jiska Intzaar Hai Aap Ko, Rab Pr Bhrosa Or Waqt Pe Aitbar Rakho…

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Hindi Attitude Dialogues for Fb Status

Attitude Dialogues in Hindi LanguageHer Mulaqat Per Waqt Ka Takaza Hua, Her Yaad Per Dil Ka Dard Taja Hua, Suni Thi Sirf Ghazalo Me Judai Ki Baaten, Jab Khud Per Biti To Haqiqat Ka Andaza Hua..

Koi nahi ruktaa is zindgi me kisi k liye Sab yuhi chalte rahte he Kaun detaa hai umar bhar ka sath Log to janaaze me bhi kandhe badalte rahte hai…

Jo nahi aata uski ka intezar kyun hota hai, kisi aur ke liye ye dil kyun bekarar hota hai. Waise to is duniya me kafi kuch hai pyara, Lekin jo nahi milta usi se pyar kyun hota hai… Read More Hindi Attitude Dialogues

Attitude Dialogues in Hindi Language

Kya Khubsurat Apka Andaj Hai, Hakikat Hai Ya Khwab Hai, Khush Nashibo Ke Paas Aap Rahte Ho, Humare Paas Bas Apki Mithi Si Yaad Hai

dard jitna saha jaye utna hi sehna kisike dil ko lag jaye woh baat na kehna milte hain hamare jaise log bahut kam isliye hamse kabhi alvida naa kehna…

Sab kuch kehna hi pyar nahi hota, kisi ko haasil kr lena hi pyar nahi hota, yun to laakhon hai sath dene ko duniya mai magar sath dena hi to pyar nahi hota…

Khushi ke aansu rukne na dena, Gam ke aansu bahne na dena, Yeh zindagi na jane kab ruk jayegi, Magar ye pyari si relationsip kabhi tutne na dena..

Koi Aankho-Aankho Se Baat Kar Leta Hai.. Koi Aankho-Aankho Mein Mulakaat Kar Leta Hai… Bada Mushqil Hota Hai Jawaab Dena, Jab Koi Khaamosh Rehkar bhi Sawaal Kar Leta Hai…

Baarish ki bunde deewana banaye, Tan ko bhigoye mann ki aag bhadkaye, Aaj jai sajan dur humare waqt ki baat hai, Par dil ko hum kaise samjhaye… Bollywwod Dialogues

Pyar use karo jo tumse pyar kare, Khud se bhi jyada tum par aitabar kare.. Tum bas ek bar kaho ki ruko do pal Aur wo un do paloKe liye puri jindagi intezar kare…

Sham Hote Hi Dil Udaas Hota Hai Khwaabon Ke Ilaava Jaise Kuchh Na Paas Hota Hai Tumhe Bohat Miss Karte Hain Hum Yaadon Ka Har Lamha Mere Liye Khas Hota Hai…

Hindi Attitude Dialogues from Movies

Mubarak Ho Tumko Ye Khushiyon Bhari Raat, Sajan Lene Aaye Hai Sajni Ka Haat, Salamat Rahe Dono Ki Ye Jodi, Rahe Dulah Dulhan hamesha Saath….

 Tumko Chupa Rakha Hai in Palko Main, Par in ko yeh Batana Nahi Aaya, Sote Main Bheeg Jati Hai Palke Meri, Palkon Ko Abhi tak Dard Chupana Nahi Aaya…

 Pyaar Aur Maut Se Darta Kaun Hai, Pyaar To Ho Jaata Hai, Isse Karta Kaun Hai, Hum To Kar De Pyaar Me Jaan Bhi Kurbaan, Par Hume Ye Pata To Chale Humse Pyaar Karta Kaun Hai…

 Zindagi mein kayi Mushkilain aati hain, Aur Insaan Zinda rehne se Ghabrata hain, Naa jaane kaise Hazaaron kaanton ke beech, Rehkar bhi ek Phool Muskurata hain…

 Hume Waqt Aur Teacher Dono Sikhate Hain Par Waqt Aur Teacher Me Sirf Itna Sa Fark Hai Teacher Sikha Ke Imtihaan Leta Hai Aur Waqt Imtihaan Lekar Sikhata Hai…

Hindi Attitude Dialogues for Girlfriend

Insan Tab Samjhdaar Nahi Hota Jab Wo Badi Badi Baatein Karne Lage, Balki Samjhdaar Tab Hota Hai, Jab Wo Chhoti Chhoti Baatein Samjhne Lage..!!

Toofan mein taash ka ghar nahi banta, Rone se bigda muqaddar nahi banta, Duniya ko jitne ka hausla rakho, Ek haar se koi faqeer aur ek jeet se koi siqandar nahi banta…

 Kahte Hain Dukh Bantne Se Kam Hota Hai Par Insaan Apna Dukh Apnon Ko Isliye Nahi Batta Taki Wo Dukhi Na Ho, Aur Dusron Ko Isliye Nahi Batta Kyunki Unhe Woh Is Layak Nahi Samjhta…

Zindagi Haseen Hai Isse Pyar Karo… Har Raat Ki Nai Subha Ka Intjaar Karo 2017 Dialogues Wo Paal Bhi Aayega, Jiska Aapko Intjaar Hai Bas Apne Rab Par Bharosa Aur Waqt par Aitbaar Karna…

Log Dubte Hain To Samundar Ko Dosh Dete Hain Manzile Na Mile To Kismat Ko Dosh Dete Hain Khud To Sambhal Kar Chalte Nahi Jab Lagti Hai Thokar To Patthar Ko Dosh Dete Hain…

Unka Vishwas Mat Karo! Jinki Bhavnaye Waqt Ke Sath Badal Jaye! Vishwas Unka Karo Jinki Bhavnaye Waise He Rahe Jab Aapka Waqt Badal Jaye..

Kash is jaate hue waqt ko hum rok sakte, apno ke saath guzra har lamha jod sakte, na jaane kitni yaadein jo apno ne di humein, kaash zindagi ko hum peeche mod sakte. ..

Kash is jaate hue waqt ko hum rok sakte, apno ke saath guzra har lamha jod sakte, na jaane kitni yaadein jo apno ne di humein, kaash zindagi ko hum peeche mod sakte. ..

Is Shaam Ne Deelayi Hai Yaad Kisi Khaas Ki, Jisko Paane Ki Mujhe Aas Thi, Woh Toh Na Mili Per Unka Ehsaas Saath Hai, Yaadon Mein Hi Sahi Per Woh Aaj Bhi Mere Paas Hai…

Zindagi Me Jo Hum Chahte Hai Wo Aasani Se Nahi Milta.! LEKIN Zindgi Ka Sach Ye Hai Ki.. Hum Bhi Wohi Chahte Hai, Jo Aasan Nahi Hota…

Ishq Wahi Hai Jo Ho Ektarfa, Izhaar e Ishq To Khwahish Ban Jaati Hai, Hai Agar Ishq To Aankho Mein Dekho , Zuban Kholne Se Ye Numaish Ban Jaati Hai..

Hasane ke baad kyu rulati hai duniya, Jaane ke baad kyu bhulati hai duniya, Zindgi me kya koi kasar baaki thi, Jo mar jaane ke baad bhi jalati hai duniya…

Hindi Attitude Dialogues Shayari

Rulana har kisi ko ata hai Hasana kisi kisi ko ata hai Rula ke jo mana le wo sacha yaar hai Aur jo rula ke khud bhi ansu bahaye Woh apka sacha pyar hai…

Parchaee Aapki Humare Dil Me Hai, Yaade Aapki Humari Aankhon Me Hai. Kaise Bhulaye Hum Aapko, Pyar Aapka Humari Saanson Me Hai…

Aapka rishta mere suron ka saaz hai, Aap jaise apno par hamein naaz hai, Chahe kuch bhi ho jaaye zindagi mein, Ye rishta kal bhi waisa rahega jaisa aaj hai..

Chehre ki hansi se har gam chhupao, Bahut kuch bolo par kuch na batao, Khud na rootho kabhi par sabko manaao, Raaz hai ye zindgi ka bas jeete chale jao..

Ae dost zindagi bhar mujhse dosti nibhaana, dil ki koi bhi baat humse kabhi na chupaana, sath chalna mere tum dukh sukh mein bhatak jau mein jo kabhi sahi raasta dikhlaana…

Mohabbat har Insan ko ajmati hai, Kisi se ruth jati hai kisi pe muskurati hai, Mohabat khel hi aisa hai, Kisi ka kuch nahi jata aur kisi ki jaan hi chali jati hai…

Har Sapna Khushi Pane Se Pura Nahi Hota, Koi Kisi K Bina Adhora Nahi Hota. Jo Chand Roshan Karta Hai Rat Bhar Sab Ko, Har Raat Woh Bhi To Poora Nahi Hota…..

Koi Samjhe Na Humko Beshak Par Aap To Samjhte Hain, Apna Banate Hain Mere Har Gam Ko Tabhi To Hum Sambhalte Hain, Khuda Har Ek Khushi De Aapko Har Ek Gam Humko Naseeb Ho, Bas Yahi Dil Mei Sochkar Har Ek Dua Karte Hain…

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Collection of Hindi Attitude Dialogues Shayari

Hindi Attitude Dialogues for GirlDoor ho jane se rishtey nahi tootte, Na hi sirf paas rahne se judte, Ye to dilon ke bandhan hain, Isiliye hum tumhein aur tum hamein nahi bhoolte…

Chehre ki hansi se har gam chhupao, Bahut kuch bolo par kuch na batao, Khud na rootho kabhi par sabko manaao, Raaz hai ye zindgi ka bas jeete chale jao.. Read More : http://www.rdshayri.com/hindi-attitude-dialogues/

Hindi Attitude Dialogues for Girl

Taaron me akela chaand jagmagata hai, Muskilon me akela insaan hi dagmagata hai, Kaanto se mat ghabrana mere dost, Kyuki kaanton me hi ek gulaab muskurata hai..

Tu Mera Sapna, Mera Armaan Hai Par.. Shayad Tu Apni Ahmiyat Se Anjaan Hai, Mujhse Kabhi bhi Ruth Mat Jana Aap, Q ki Meri Duniya Aap K Bina Viraan Hai..

Teri Khushiyo Pr Muskrane Ko Ji Chata He Ho Tujhe Dard To Udas Hone Ko Ji Chata He Teri Muskurhat Hi Itni Pyari He K Tujhe Bar Bar Hansane Ko Ji Chahta Hai…              

Zindgi Ko Ek Rangeen Sapna Samjo Dukh Ko Sach Or Sukh Ko Apna Samjo Bhulna Chahte Ho Sabhi Ghmo Ko To Zindgi Me Is Sms Bhejne Wale Ko Apna Samjo…

 Best Dialogues

Ek Hasti Hai Jo Jaan Hai Meri Jo Aan Se B Barh Kar Maan Hai Meri Khuda Hukam De To Kardon Sajda Usey Q K Wo Koi Aur Nahi “Maa” Hai Meri…

 Meri Zindagi Ka Koi Sahara Nahi Hai Is Jahaan Mein Koi Humara Nahi Hai Thamaa Jo Un Ka Daaman To Wo Hass Kar Bole Dost Ye Daaman Tumhara Nahi Hai…

 Pal Pal Ki Dosti Ka Waada Hai Apnapan Kuch Itna Zyada Hai Na Sochna Ke Bhul Jayen Gay Hum Aap Ko Zindagi Bhar Satane Ka Irada Hai..

 Ye Arzu Thi K Aisa B Kuch Hua Hota Meri Kami Ne Tujhe Bhi Rula Diya Hota Mai Loat Ati Tere Pass Ek Lamhe Main Tere Labon Ne Mera Nam To Liya Hota…

 Apni Aakhon Ke Samunder Main Utar Jaane De Tera Mujrim Hoon, Mujhe Doub Ke Mar Jaane De Zakham Kitne Teri Chaahat Se Mile Hain Mujhko Sonchta Hoon Kahoon Tujhse ,Magar Jaane De…

Hindi Attitude Dialogues in Two Lines

Aitbar Kissi Ajnabi Par Kya Nai Karte Kissi Bedil Ko Dost Bnaya Nai Karte Ye Afsane Sirf Khawabon Mein Ache Lagte Hain Haqeqat Mein Unhen Badla Nai Karte… 

Yeh Bhi Aadab Hamare Hai , Tumhain Kya Malum Hum Tumhain Jeet Ke Harey Hain ,Tumhain Kya Malum Ek Tum Ho Ke Samajhte Nahi Hum Ko Apna Ek Hum Hain Ke Tumhare Hain, Tumhain Kya Maalum…

Aey Zindagi Mujh Se Ye Dagha Na Kar May US Ke Bina Jiyun Ye Dua Na Kar Koi Daikhy Bi USAY To Hoti Hai Jalan Aey Hawa To Bi Ab USAY Chua Na Kar…

Thukraa K Uss Ne Muje Kaha K Muskrao Main Hans Diya Aakhir Sawal Uss Ki Khushi Ka Tha Main Ne Khoya Wo Jo Mera Tha Hee Nahi Uss Ne Khoya Wo Jo Sirf Ussi Ka Tha…

Aane Ka Wada To Ker Lete Hain, Par Nibhana Bhool Jate Hain Lagaaa Kar Aaag Dil Main Wo, Bujhana Bhool Jate Hain… Screen Award for Best Dialogue

Dosti Najaro Se Ho To Kudrat Kehte Hai, Sitaro Se Ho To Jannat Kehte Hai, Husn Se Ho To Mohbbat Kehte Hai Aur Hamse Ho To Use Kismat Kehte Hain !!

Meri maut ka waja hai har koi maut to hum dono ki sath hui mere armanon ki jinho ne sada mera sath dia aur meri jis ne sirf tujhe hi yaad kiya…

Dulhan Bankar Ek Din Tu Jaa Rahi Hogi… Tere Hatho Me Mehndi Bhi Rachai Hogi… Us Din Teri Aankho Me Mere Liye Pyar To Nahi Hoga… Par Us Din Ke Baad Tu Bhi Mere Liye Ro Rahi Hogi…

Hindi Dialogues on Attitude

Intezar rehta hai har shaam apka, raatein katti hai le kar naam apka, muddat se baithe hai ye aas lagaye ki aaj aayega koi paigaam apka…

Duriyan he dilon ko nazdik lati hain Duriyan he ek duje ki yaad dilati hain, Dur hokar bhi koi kareeb hai kitna Duriyan he is bat ka ehsas dilati hain…

Zindagi Dene Vale Marta Chod Gaye Apnapan Jatane Vale Tanha Chod Gaye Jab Padi Jarurat Hume Apne Humsafar Ki Vo Jo Saath Chalne Vale Apna Rasta Mod Gaye…

Zindagi Ka Safar Toh Ek Haseen Safar Hai Her Kisii Ko Kisii Na Kisii Ki Talash Hai Kisii Ke Pass Manzil Hai Toh Raah Nahi Aur Kisii Ke Pass Rah Hai Toh Manzil Nahi…

Vishwas Banke Log Zindagi Main Aatey Hai Khwab Banke Aankhon Main Samaa Jaatey Hai Pehle Yakeen Dilate Hai Ki Woh Hamare Hai Phir Na Jaane Kyu Badal Jaatey Hai…

Jindagi Kisi Ki Amanat Nahi Hoti, Amanat Main Kabhi Kayamat Nahi Hoti, Dil Ko Sambhal Kar Rakhna, Meri Dosti Ki Kaid Main Jamanat Nahi Hoti.

Dil Chahta Hai Tumse Pyari si Baat Ho, Khamosh Taraane Hon, Lambi si Raat Ho, Fir Unse Raat Bhar Yahi Meri Baat Ho, Tum Meri Jindgi Ho,Tum Hi Meri Kaynaat Ho…

Roye Hai Buhat Tab Zara Karaar Mila Hai. Is Jahan Mein Kise Bhala Sacha Pyaar Mila Hai. Guzar Rahi Hai Zindagi Imtehan Ke Daur Se. Ek Khatam Hua Toh Dusra Tayar Mila Hai…

Bhale Hi Raah Chalton Ka Daaman Tham Le, Magar Mere Pyar Ko Bhi Tu Pahchan Le, Kitna Intezaar Kiya Hai Tere Ishq Mein, Jara Yeh Dill Ki Betaabi Tu Jaan Le..

Dil Ki Zalan Mitane Ke Liye, Tere Sitam Bhulane Ke Liye, Peete Hain Sharab Teri Yaad Mein Hum, Warna Lakhon Hain Ghar Basaane Ke Liye….

Mere Armano Ko Yun Kuchalo Na Tum, Ki Zindagi Adhuri Rah Jaaye Meri, Dikha De Khuda Is Kadar Karisma, Ki Har Tamanna Poori Ho Jaaye Meri….

phir Se Woh Sapna Sajane Chala Hun, Umeedon Ke Sahare Dil Lagane Chala Hun, Anzaam To Mera Bura Hi Hoga, Phir Bhi Tumhe Apna Banane Chala Hun…

Attitude Hindi Dialogues

Tanhai Mein Hum Teri Taakte Hain Raahein, Tumhe Dekhne Ko Tarsati Hain Nigahein, Bekhudi Ka Yeh Aalam Hai Kaisa, Tumhe Yaad Karke Nikalti Hain Aahein… IIFA Award for Best Dialogue

Tanhai Mein Hum Teri Taakte Hain Raahein, Tumhe Dekhne Ko Tarsati Hain Nigahein,

Bekhudi Ka Yeh Aalam Hai Kaisa, Tumhe Yaad Karke Nikalti Hain Aahein…

Zinda Hun Jab Tak Tu Aabad Rahegi, Pyar Ki Woh Chand Mulakaten Hamesha Yaad Rahengi, Udhar Tum Rahna Sanam Khushaal Hamesha, Aur Idhar Zindagi Meri Barbaad Rahegi….

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Hindi Attitude Dialogues Images and Status

Dil Se Aapka Khayal Jata Nahi, Aapke Siva Koi Yaad Aata Nahi, Ji Chahta Ki Aapko Roj Dekhu Par, Wo Waqt Kabhi Aata Nahi

Teri Yaadon Ke Sahare Duniya Mein Rah Lete Hai, Teri Juddai Ka Gam Chupchap Sah Lete Hai, Samjhaya Dilko Yeh Raaz Chupana Hai, Par Aansu Banke Wo Sab Kah Dete Hai…

Waqt Nur Ko Benur Kar Deta Hai, Thode Se Jakhm Ko Nasur Kar Deta Hai, Kaun Chahta Hai Aapno Se Door Hona, Per Waqt Sabko Majboor Kar Deta Hai…

Chand Utra Tha Hamare Aangan Mein, Ye Sitaro Ko Gwara Na Huaa, Hum Bhi Sitaro Se Kaise Gila Kare, Jab Chand Hi Hamara Na Huaa… Click here : http://www.rdshayri.com/hindi-attitude-dialogues/

Jaane Meri Aankhon Se Kitne Aansu Bah Gaye, Insaano Ki Bheed Mein Bhi Dekho Tanha Rah Gaye, Karte The Jo Kabhi Apni Wafa Ki Baatein, Aaj Wohi Sanam Mujhe Bewafa Kah Gaye….

Dastan Soon Lo Jara Ghame Zindgi, Bewafa Samajh Baithe Tumhe Dilagi, Gairon Ki Baahon Main Machlati Ho Tum, Behad Mehesoos Hoti Hai Hame Shermindagi…

Bedaag Or Begunah Meri Sarkar Hain, Humse unki Bewafai Se Waqt Ki Maar Hain, Woh Bhale Hain Kitne Sitam Karein Hum Par, Phir Bhi Mere Liye Wo Jaane Bahar Hain….

Mujhe Kisi Ne Bewafa Ka Naam Diya, Sathi Ne Jaise Jahar Ka Jaam Diya, Jo Kabhi Kaha Karte The Bhula Mat Dena, Unhone Hi Bhul Jane Ka Paigam Diya…

Huyi Toh Hai Yeh Khata Humse Bahut Bhari Sanam, Na Chahte Huye Bhi Hum Aapse Pyar Kar Baithe, Roka Tha Humein Sab Ne Ki Na Kar Tu Sagar, Na Jaane Fir Bhi Kyu Tera Aitbaar Kar Baithe….

 Mujhko Rulakar Woh Bhi Roya Toh Hoga Yaaro, Muh Ashko Se Usne Bhi Dhoya Toh Hoga Yaaro, Agar Na Kiya Hai Kuchh Hasil Hamne Pyar Mein, Kuchh Na Kuchh Usne Bhi Khoya Toh Hoga Yaaro…. Dialogues From Avengers Series

Unki Yaadon Ko Abhi Bhi Seene Mein Chhupaye Baitha Hun, Haay Main Kis Jaalim Se Dil Ko Lagaye Baitha Hun, Inhi Raahon Se Aayenge, Bhale Hi, Baad Mere Marne Ke, Kitna Nadan Hun Abhi Bhi Dil Ko Samjhaye Baitha Hun…

Mujhko Rulane Se Milta Hai Sabko Na Jaane Kya, Na Jaane Kyu Us Khuda Ko Bhi Raham Aata Nahi, Maine Kabhi Bhi Na Ki Sikayat, Bhale Hi Laakh Gham Mile, Magar Mere Moulal Sagar Se Ab Aut Jiya Jata Nahi…

Hindi Attitude Dialogues for Facebook

Yeh Manta Hun Main, Ki Har Koi Bewafa Nahi Hota, Magar Teri Tarah Har Koi Sab Kuchh Toh Nahi Khota, Yeh Bhi Sach Hai Ki Agar Mujhko Gham Nahi Milte, Toh Is Duniya Mein Shayad Yeh Sagar Nahi Hota…

Aapki Yahi Adayein Toh Hain Eh Mere Humdam, Jo Humko Aap Par Marne Ko Majboor Karti Hain, Magar Yeh Bhi Suna Hai Ke Hote Hain Sabhi Hasin Bewafa, Aap Bhi Hasin Hain Yehi Baatein Aap Se Door Karti Hain…

Tu Bhi Hai Sangdil Bewafa Eh Dost, Yeh Sochkar Dil Ghabrata Hai, Ab Karun Bhi Kya Ke Bin Tere, Sagar Se Jiya Nahi Jata Hai…

Koi Toh Bataye Itna Mujhko, Kyu Bewafa Ho Jaate Hain Sab, Saya Bhi Nahi Hai Saath Rahta, Gham Ke Badal Chhate Hain Jab…

Kisko Farebi Hum Kahein Kisko Kahein Hum Bewafa, Kismat Hi Shayad Aisi Likha Kar Laaye Hain Hum, Aaj Wakif Hai Yaaro Hamse Sahar Ka Har Ek Aadmi, Magar Apno Ke Liye Hi Dekhiye Paraye Hain Hum….

Zamane Wale Mil Gaye Hain Sabhi Ek Doosre Se, Milkar Sabhi Ne Mujh Akele Ko Mara Hai, Tu Bhi Mat Ho Jana Bewafa Sabhi Ki Tarah, Eh Mere Dost Sagar Ko Bas Tera Sahara Hai…

20 best dialogues

Apne Aap Kpo Toh Hum Samjha Lenge, Magar Dil Mera Yeh Manta Hi Nahi, Humne Toh Dekhi Hai Bewafayi Aapki, Aap Bewafa Ho Dil Jaanta Hi Nahi….

Koi Bhi Nahi Yahan Par Apna Hota, Is Duniya Ne Yeh Sikhya Hai Humko, Uski Bewafayi Ka Na Charcha Karna, Aaj Dil Ne Yeh Samjhaya Hai Humko…

Yeh Mana Ke Mohabbat Karna Hai Jurm Magar, Yeh Jurm Yaaro Baar Baar Karte Hain Hum, Woh Bewafa Hai Sangdil Hain Jaante Hai Magar, Unpar Yaaro Aaj Bhi Aitbaar Karte Hain Hum…

Bewafa Nahi Hai Woh Yeh Manta Hun Main, Woh Bhi Chahte Hain Hamein Yeh Jaanta Hun Main, Magar Itna Bhi Toh Yaaron Nadan Nahi Hun Main, Unki Badli Huyi Najrein Toh Pahchanta Hun Main…

Hindi Attitude Dialogues Shayari

Main Toh Yeh Bhi Nahi Kah Sakta Sagar, Ki Is Mein Galti Mere Yaar Ki Hai, Bewafa Bhi Usko Main Kahun Kaise, Kyun Ki Toheen Yeh Mere Pyar Ki Hai…

Hamne Toh Apni Mohabbat Ka Ijhaar Kiya, Magar Usne Fir Bhi Na Hamara Eitbaar Kiya, Sagat Toh Jahan Se Lada, Ek Uski Khatir, Us Bewafa Ne Sikwa Fir Bhi Hazaar Kiya…

Jaisa Karoge Aap Vaisa Hi Paaoge Sada, Aaj Sabke Hoton Par Yeh Sachhayi Mili, Magar Kaise Maan Lun Main Is Baat Ko Sach, Mujhko Toh Wafa Ke Badle Bewafayi Mili…

Khafa Hokar Humse Fir Maan Jana, Yahi Ada Toh Humko Bahut Bhati Hai, Baaki Toh Sabkuchh Bhool Chuke Hain Hum, Magar Sagar Woh Bewafa Bahut Yaad Aati Hai…

Wafa Sabse Karne Ka Hamein Yeh Sila Mila, Humko Is Jamane Se Hamesha Gila Mila, Ab Aur Kya Kahu Main Aapse Eh Mere Dosto, Hamein Toh Jo Bhi Dost Mila Bewafa Mila… Sridevi Famous Dialogues

 Aap Kyu Sarminda Hote Ho Apni Bewafayi Par, Hamein Maalum Tha Ki Gham Ko Hamara Hona Tha, Bas Aap Muskarate Rahein Yeh Dua Hai Sagar Ki, Hamati Kismat Mein Toh Likha Hi Rona Tha…

Hindi Attitude Dialogues from Movies

Woh De Denge Humko Daga Kabhi Na Kabhi, Yeh Dil Hamara Humko Bata Chuka Tha, Magar Kya Karta Yeh Sagar Bhi Yaaro, Dil Iska Us Bewafa Pe Aa Chuka Tha…

Hamari Zindagi Hai Mout Se Badtar Tumhare Bina, Sukhon Ke Sarjamon Mein Chubhe Nastar Tumhare Bina, Katati Hai Hawa Ki Narmi Nahin Jab Paas Tum, Khuabuon Ki Mahmahat Jahar Tumhaare Bin,

Pyar Karne Waale Diwane Kabhi Darte Nahi, Log Majnu Kahte Hain Par Woh Chidte Nahin, Hamare Pyar Ki Majburiyan Koi Dekhe, Khud Apne Aap Ko Hum Bewafa Bana Baithe,

Nadaani Mein Hum Kise Apna Samajh Baithe, Jo Dikhaaya Us Bewafa Ne Sapna, Hum Haqeeqat Samajh Baithe Dekho Aaj Chhod Diya Hamein, Usne Eik Gair Ke Liye, Jise Hum Apna Humsafar Samajh Baithe…

[art-now-india]

Warhol and the History of Art, durga Kainthola

PALETTE OF MY VISUAL THEATRE In Palette of my Visual Theatre, Durga Kainthola stages a stimulating, complex play between art, the symbolic and the immeasurable. The distinctiveness of these works lies in cohesion of images, simplicity of line and rendering of the pictorial. Throughout, concrete expression of her style flows as “extensions of my thoughts, day to day happening of things in life.” Portraiture dominates her oeuvre, in a signature expression of beings, of other artists. Confident and receptive, she relinquishes control and allows drama to unfold. How many minute attributes are transfixed, caught by the painter’s brush, the poet’s verse. An original and chimerical foresight, which celebrates work with a cosmopolitan flair and international cross-fertilizations. Kainthola’s palette boasts a vast vocabulary and rainbow realm of hue. At once lyrical, and poetic, wise and irreverent, witty and timeless, it illumines a global amphitheatre of her inquisitiveness. Metamorphosis connotes the infinite possibilities of transformation, concretisation of an ineffable truth – of change, within continuity Glimpsed in a library in 1982, an image of the Marilyn Monroe diptych by Warhol surfaces in her work in 2002…as magic of renewal, the crystal lacuna of past, present and future. Magnifying a spectral lexicon, to signify art as synergy, Palette of my Visual Theatre, stretches the imagination. Multifold personae from Indian mythology surrounded by flora and fauna encounter Warhol in Goddess Comes to New York, mounted within a light box. Throughout the History of Art series, a reverberation of the ‘combines’ of Robert Rauschenberg’s work can be seen, part-painting, part-drawing. An astute, surprising effort at blending vibrant allegories. Poised against black-and-white backdrops, Kainthola effects resonance between the energies of Picasso, Gaugin, Modigliani, Duchamp, Tyeb Mehta and Souza, often with magenta lotus borders and prominent AEIOU friezes of Hindi letters. In The Painter’s Studio, Kainthola’s own face serves as the canvas upon which Vermeer paints on his easel. Pages from My Visual Notebook (3 books) chronicle a movement from the abstract to concrete. Intricate tableaus unfold as if a narrative hand scroll, with a new language from when she first incorporated her own image and drew upon it with myriad tonalities of ink. A contemporary draughts woman’s autobiographical take on the quixotic portrait of the Mona Lisa. Day after day, she produced a visual entity (computer generated inkjet prints on paper and vinyl) and worked on its surface…these became her ‘diary’. On one single page, two twentieth century masters of different genres, V.S. Naipaul and Bhupen Khakar, materialise, as if to orchestrate a ‘ thinking out of the box’ dialogue of simile and narrative realism. A most adroit example of this fluidity is the triptych, Amrita SherGil, from the Notebook series. One panel portrays SherGil’s letter to her parents, the second art from Ajanta, and the third SherGil herself seated. Kainthola’s work honours the interconnectivity of art, stated in SherGil’s letter: “Modern art has led me to the comprehension + appreciation of Indian painting + sculpture.” A strong, original painter who in her own life and creativity bridged modernism between the East and West. Influences of Surrealism’s serious experimental attitude toward the subconscious characterise work such as The Kiss. One butterfly impasto emblazons Monroe’s lips like a mercurial censor and another in her hair like an Art Nouveau barrette. Throughout the Palette of my Visual Theatre, this embrace of the concrete and the fantastic share centre arena, to realise a tenuous unity of scale, subject and composition. Perhaps, Kainthola’s work, throughout its diverse phases and painterly endeavours, juggling contextual synapses and lenses, can be seen as ‘gestalt’ (Ger. configuration). On another dais, consider the elegance and fancifulness of the panoramic piece, The Three Graces. Small-scale drawings are intense and subtle in character, a precursor to the latest ambitious solo paintings, The Last Judgment, Modigliani and Nefertiti. Kainthola’s imagination is incessantly changing scenes, dangling scenarios across the picture plane. At any time, retracing and commingling spheres of memory and inspiration: observed prints in the sand on Bombay beaches appear as the footprints of Raza and Hussain on earlier canvases (again this trace quintessence of art), lines from T.S. Eliot’s poems, an ongoing aesthetic homage to fiercely gifted woman painters, in particular Frida Kahlo and Amrita SherGil (esteemed for their inventive worlds), as well as pop icons, classical deities, old masters and modern iconoclasts. Kainthola blends diverse figure-ground liaison and rich pigmentation from the vista of art history, from classical Western (think of Correggio and Da Vinci) and Indian court painting (Mughal and Rajput miniatures), to the most established and controversial of modernist procreation/invention. Transcribed with a novel spontaneity, her brush and pen act like a glass lantern, casting shadows, uncovering mental pictures. Furthermore, The Last Judgment (print on canvas with acrylic/mixed media) reconfigures classical references, juggling the meaning of portrayal. Dialectics of creativity mark a swirling, omnipresent meeting of the physical and metaphysical. “The creation of an icon is an art of the same order of the creation of the world.” From one composition to another, the Palette of my Visual Theatre, summons a continuum of abstract and representational, seemingly the blend of matter and reflection. And so does her wand paint its energetic wit and passion beyond our minds, casting an intuitive metamorphosis and vital fusion of colour and form. A moment not out of time, but in time, in what we call history: transecting, bisecting the world of time, a moment in time but not like a moment of time. -T.S. Eliot, chorus from The Rock, VII (1934) Elizabeth Rogers Artist Statement: For some time now, I have been exploring myriad levels of visual imagery, juxtaposing iconographic detail drawn from the ancient and modern art both Indian and from the west…. moved into the fluid realm of active, syncopated three-dimensional visualisation sequencing idiosyncratic language and perception. This journey into multi-media, moving imagery carries the broader dimensions of energy infused with contemporary metaphor. Mirrored in the highly polychrome written and painted signboards are modern enactments of miniatures, illuminated per neon lit sign, the quotidian transforms into the surreal… A spontaneous and dramatic re-interpretation of an artist ….

https://www.saatchiart.com/art/Painting-Warhol-and-the-History-of-Art/156938/156288/view

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With the existence of heroes’ portrayals and history drama in the Philippine Cinema, the 2015 biopic film ‘Heneral Luna’ offers another perspective for the Filipino film industry. The film tries to capture the eyes of the youth by picking it as its target market; and as a matter of fact, in cinemas nationwide there is an available discount for students. Fortunately, I am one of those students who were able to watch it on big screen. Undoubtingly, this film has so many to offer and I am truly moved by the film. It is indeed a game changer to the world of our cinema and allow me to tell you how and what I thought about the film.

           The film is a detailed account of the life of one of our revolutionary heroes during the American period namely Gen. Antonio Luna. It tells a story which is a part of our history we care less, something that we don’t usually learn at school. The film opens by claiming that it is fiction based on facts which I think is one way of pulling more modern viewers. It is framed around a series of interviews granted by Luna to Joven Hernando played by Arron Villaflor, a fictional newspaper journalist. Threaded into the narrative, these lively conversations provide viewers with valuable insights into the general’s personality and assist greatly with the transitions as the viewers keep track of the story’s bulging inventory of characters and events. After 333 years of Spanish colonization, the Philippine archipelago was sold for $20 million to U.S. The dilemma is now to decide how to respond with the Americans arrival under the government leaded by President Emilio Aguinaldo played by Mon Confiado and Prime Minister Apolinario Mabini played by Epy Quizon together with the Gen. Antonio Luna played by John Arcilla, is it to negotiate or fight? Clearly, the film told us that Heneral Luna’s proposition which is to strengthen the military force and fight is different from the majority of the key players of the government who is driven by each personal’s interest who wanted to accept the Americans’ domination without a fight. With this altercations, Luna being portrayed as a fiercely straight-talking patriotic general who had a temper as passionate as his feelings to the country made his own enemies inside the congress. While they are discussing inside the congress, a messenger came with the news that the Americans shot the soldiers scouting Sta. Mesa district and also terrorizing other parts of the country as well. The president then gave his go signal to Gen. Luna to take action. However, more conflict arises between Luna and other major players of the country. First, Captain Pedro Janolino played by Ketchup Eusebio who is dragged outside the hut while sleeping with a naked woman and humiliated in front of his soldiers after refusing Luna’s orders. Under the war, the bureau individuals were all engaged into discussing about reconciling to America which flamed the anger of Luna commanding the arrests of the members of the congress, Felipe Buencamino played by Nonie Buencamino and Gen. Tomas Mascardo played by Lorenz Martinez. President Aguinaldo knew that the members are getting fed up of Luna’s attitude but then let it pass. After the battles with his co-Filipino, we are able to meet Heneral Luna as a leader, with his interactions with his men, a soldier as how he fights under war, a son as his mother Dońa Laureana Luna y Novicio do tell his past, a brother, a lover with his affair in the name of Isabel played by Mylene Dizon and as a man. Then goes the climax, General Luna was summoned by a telegram written under the name of the President asking him to appear in Cabanatuan. He was welcome by mere silence and a few soldiers. At the office he saw Felipe Buencamino who told him that the president left long before he arrived. Heneral Luna was ambushed, fired and stabbed to death. The film ends with the sides stories of other characters making the death of Luna left unanswered.

           Creating a film with this kind of theme is something courageous because it is risky thing to delve the past since Philippine history had always been complicated. Personally, I am not into watching history-themed Filipino films because I feel like there will always be biases and sugarcoating techniques to produce a commercially made film with lots of profit. But Heneral Luna is an exception for me. The film was able to create a not hero type of protagonist but instead send us a message. From the protagonist’s line “Bayan o Sarili! Pumili ka?”, the movie gives us the story that the Filipinos main enemy were not Americans but themselves. It does not romanticize the character of Luna, the film showed that Luna’s rage sometimes is out of his control. As I watch the film, I could feel the anger and disappointment by Heneral Luna which I believe proves its efficiency to deliver its message. Undoubtingly, one could really point out the amazing performance of John Arcilla. The first time I saw the movie poster I am really excited to see how John Arcilla will portray his role because the poster is really intriguing and he really looks like Heneral Luna. He was able to bring to life the fierceness, fearlessness and devotion of Heneral Luna which looks really genuine. Though it was Arcilla who really stand up in the film, the supporting characters also deserved the praise which made the film more convincing. Heneral Luna’s supporting military men including Gen. Jose Alejandrino (Alvin Anson), Col. Francisco Roman (Joem Bascon), Capt. Jose Bernal (Alex Medina) and of Lt. Rusca (Archie Alemania) who deliver their roles commendably. On the opposite side of things, Ketchup Eusebio nails his portrayal of Capt. Pedro Janolino, who played as a young general with full hatred to Luna and one of those who led the killing of Luna. Mon Confiado and Epy Quizon also brings the best as Emilio Aguinaldo and Apolinario Mabini. It is amazing how these known comedians was able to engaged themselves into dramatic roles like that. Lastly, Mylene Dizon, a fictional representation under the name of Isabel, a Red Cross Worker was able to show her skills given the small screening time.

           Heneral Luna is one of the most audacious film I have watched mixed with the perfect vision of its film makers. It is a kind of film that deserves the applause. From the beginning up to the end there is something to be praised and averse. The beginning of the film with those short subtitles written in English gives us a hint that they wanted to enter the film into international field. It also announced that it is fiction based on facts which gives more questions to the viewers. I love how the film unfolds every narration through the effective transitions and flashbacks. The cinematography and direction is also a thumbs up for me. The images had wonderful and innovative effects, colors and angles which is shown on the series of flashbacks especially during Rizal’s execution. I would also like to acknowledge the scriptwriters for creating such remarkable storyline with smooth pacing and rasping and poetic dialogues. It is notable how they consistently put together different layers of events to achieve a much engaging story. One thing to notice as well is how they were able to put into timing the comic and humorous factor of the film which became an integral part of the film as well. Also the beautifully written dialogues with cuss words doesn’t sound so corny as the characters mouthed it. Like the lines “Para kayong mga birhen na naniniwala sa pag-ibig ng isang puta,” “Hindi ako ang asawa mo kung hindi gera.” “Isinusuka ko ang digmaan pero ang kompirmiso magbubulag bulagaan ba tayo sa kalaban?” “Ingles inglesen mo ko sa bayan po punyeta!” and “Mas madali mo pang pagkasunduin ang langit at lupa kesa dalawang Pilipino sa alin mang bagay.” There are just scenes I found a little lame in the film, those were the screen times for American’s conversations because the characters were not the appealing for me. But overall it was still carried out because there were just few scenes. At the end of the film we could hint for a trilogy, there was an extra scene in the middle of the closing credits, suggesting a next film featuring Paulo Avelino as Gen. Gregorio del Pilar which has been showed this year. There was also a brief cameo appearance of Benjamin Alves as a young Manuel L. Quezon, hinting at a possible trilogy. This is a very exciting plan indeed which we all hope will materialize given the success of "Heneral Luna" and only international films like Marvel series only which adds another first time for the film.

           I really admired the film at its finest. More than the things I mentioned above I like about the film, it taught us lessons to ponder. Ultimately, the portrayal of this tragedy has spurred so many emotions and so many questions. It does not only give life to history but it is telling us the present issues we have in our country. Today the Philippines is facing so many problems in our economy, education, politics and still too many to mention. I could say that the problems of the past were never resolved. Are we really independent? Are we really free from colonization? The film taught us that the Filipinos are the enemy of themselves, people driven by personal interest and those who can’t sacrifice for the betterment of his/her nation. Do you think this people don’t exist at the present? Or do you think they are the one leading this slow moving country? Leadership like what we discussed at University and I, comes with many styles and theories and therefore different to each person. In line with Heneral Luna, he’s kind of leadership maybe harsh because of being authoritarian but this is what the country needs during those times. We must always keep in mind that leadership never worked unless there is an exchange of the force of his followers. The main lesson we could adhere in the film is to keep ourselves inform with the issues of the country and do our job as its citizens. The revolution is still happening right now. Our current situation is no different from that what it had experienced during the era of the Philippine-American war and we should do our part like what our heroes did before. Ignorance should not be tolerated and let us do our part as leader or as a follower.

           This kind of film is what Filipinos must and would want to see. Like what I mentioned earlier its target market are the youth and modern viewers. They even use social media as a way of promoting this film. However, as I watched the film this is a movie for all. I recommend every Filipino to watch the film because it is worth the time and money. If you wanted to watch something that is really substantial and entertaining well this is the movie you are looking for. Or if you are tired of Filipino cliché made film, try changing your genre and explore our unrated films and watch Heneral Luna. In wrapping up, I really liked the film. With a rating over ten, I will give a nine to it and it is truly recommended.  

[itsnotover-yet-blog1]

Hindi can't be forced on others - Adoor

India is comprised of different societies and conventions and a 'select' state of mind won't work, he says

Mumbai: National-grant winning movie producer Adoor Gopalakrishnan says Hindi is a delightful dialect, however it ought to be considered a local dialect and ought not be forced on others.

 Gopalakrishnan, 74, assumed a noteworthy part in altering Malayalam silver screen and is viewed as one of the best movie producers of India.

 "Hindi is an exceptionally lovely dialect. There are fine authors in Hindi, no uncertainty about that, however you can't force Hindi well beyond others. administratively as well as even else," he told PTI.

 Adoor feels as India is comprised of different societies and customs, a "select" demeanor won't work.

 "Hindi was by official burden as it were. Since authoritatively they need to have one dialect sort of disposition from everyone. that is an extremely select sort of disposition. India is a nation of a few unique societies, dialects, styles of living.

 "Normally, you need to permit and comprehend that. It's all together just that India is comprised of," he stated, on the sidelines of the second version of Entryway LitFest here.

 Adoor says that for a dialect to be named national, it ought to be talked by the whole nation.

 "It isn't right when you think Hindi is a national dialect and different dialects are provincial. Every one of the dialects are local, it winds up national just when everyone in the nation talks a specific dialect, however that doesn't occur," he said.

 The movie producer spearheaded the new wave silver screen development in Kerala with his first film "Swayamvaram" in 1972. He last made "Oru Pennum Randaanum" (An Atmosphere of Wrongdoing) in 2008 and won Kerala state grant for best executive.

Adoor feels Hindi ought to be considered a provincial dialect, as individuals in numerous parts of the nation don't talk it.

 "In the North-East, in South, they don't communicate in Hindi. In this way, you can't call it national dialect. These are dialects utilized for between network exchanges, not more than that. Hindi is contacting more individuals in light of the fact that a large portion of the North is communicating in Hindi. It ought to be dealt with as local dialect just," he said. (PTI)

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Akshay Kumar Attitude Status in Hindi | Bachchan Pandey Movie Dialogue

Akshay Kumar Attitude Status in Hindi | Bachchan Pandey Movie Dialogue

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Ravan Shayari Dialogue Status in Hindi Lankapati Ravan Attitude FB Status Shayari Photo images Pics Wallpaper

Ravan Shayari Dialogue Status in Hindi Lankapati Ravan Attitude FB Status Shayari Photo images Pics Wallpaper

Ravan Attitude Status Shayari in Hindi Ravan Shayari images Photo Dialogue Status Picture :राजाधिराज लंकाधिपति महाराज रावण एक कुशल राजनीतिज्ञ, सेनापति और वास्तुकला का मर्मज्ञ होने के साथ-साथ तत्व ज्ञानी तथा बहु-विद्याओं का जानकार था | और भगवन शिव का प्रचंड भक्त भी थे | इसलिए कहा जाता है की दुनिया में इस नाम का दूसरा कोई व्यक्ति नहीं है | लेकिन रावण का विनाश स्वयं के अहंकार व घमंड की वजह से हुआ |…

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‘Hum Dono’ : Me and Dev Anand

Subramaniam Viswanathan shared a link.

‘Hum Dono’ : Me and Dev Anand

(Remembering Dev Anand on his 97thBirthday … and one of his heart-warming films)

Dharamdev Pishorimal Anand, (popularly known as Dev Anand) was born exactly 97 years back. Had he been alive today, he would have probably still dressed as nattily in an orange-coloured suit and a chequered shirt, buttoned up to neck (never mind, if it is a hot summer afternoon), as he used to do … and would have talked as animatedly about his next film project on yet another ‘new topical subject’ to be shot in London or New York. One had expected him to carry on the same way till he sprinted on to 100, whirling around with the same amazing energy, enthusiasm and ‘Never-Grow-Old’ attitude. But Time can catch up with even Dev Anand, and one night in 2011, he bowed down and left abruptly with his characteristic briskness.Dev Anand was easily my chosen ‘Matinee Idol’ amongst the Triumvirate Trinity of the 50s and 60s. Not that he was a better actor than Dilip Kumar, or a grander show-man that Raj Kapoor, but Dev Anand had that something special in him, a casual breeziness, a sophisticated charm and a set of amusing mannerisms, that made it more interesting for me, than sit through Dilip Saab’s morose mumblings or RK’s overdone simpleton image.So Dev Anand and his Navketan banner allured me to be many more matinees than what a college student could afford to spend his academic time or pocket-money on. It soon came to a stage that if one had to choose between two back-to-back gruelling Chemistry lectures at SIES college (during the two-year Science course, pre-engineering), or a Dev Anand film at the nearby Rupam at Sion Circle (now PVR), .. well, one succumbed to the latter without any resistance. After all, it was important to keep oneself mentally refreshed … to sit through the next day’s gruelling lectures at college. The professors too at SIES were hardly as flambuoyant and entertaining as Dev Anand. So if all those matinee shows had taken a toll on my mark-sheets, I would blame it all squarely on Dev Anand.My first ‘introduction’ with him was through a ‘Filmfare’ cover, when I was a four or five-year old kid. I was told that the handsome ‘uncle’ with the puffed hair was the one who had sung on screen my then favourite song ‘Khoya Khoya Chand’--- probably the first song I ever remember having heard on radio, thanks to Binaca Geetmala. I never knew at that time that, for that particular song-sequence in ��Kaala Bazaar’, Dev Anand would be seen romping in a valley dangling his arms loosely. But the song was catchy enough to make a four-year old romp in the room, dangling his arms or whatever.Then one grew up seeing his charm from time to time. The movies that one had missed during school-days were quickly caught up with in matinees … often sacrificing the college lectures. ‘Nau Do Gyarah’, ‘Tere Ghar Ke Saamne’, ‘Kaala Pani’, ‘Kaala Bazaar’, ‘Jewel Thief’, ‘Guide’ … 'Guide', and again ‘Guide’, they all followed one after another and soon one cultivated a taste for the Navketans brand of entertainment, in the fore-front of all of which was Dev Anand with his inimitable screen presence.So while a wildly romantic Shammi Kapoor was weirdly gesticulating and almost falling over the heroine with a Rafi song elsewhere in another theatre (catering to another bunch of college-bunkers in that vicinity), here was Dev Anand redefining Style and Romance for some of us at Rupam Matinees. Unlike Shammi Kapoor, he maintained a safe distance from his heroine but romped around her with a sheepish disarming molar-toothless grin, lip-synching a Rafi or Kishore song to floor the damsel. And he did things that nobody had done before, or even dared to do. He stood inclined at an angle of 30 degrees from the vertical axis, made elliptical rounds of the heroine and went hyper-‘bol’ with his rapid-fire dialogue delivery. (I did not miss my Geometry classes, Mind You!).So, whether his Hollywood role-model Gregory Peck would have approved of his stock mannerisms or not, one simply adored Dev Anand for his unique style statements, his sophisticated get-ups, his hat, his mischievous grin (molar-less), his slanted posture, his restlessly gesturing hands, his nodding of head vehemently to make a point, his making big eyes at the lady and then covering his face with the hat, his prancing around with an abrupt hop here or there, and his amusingly clumsy run dangling his loose arms behind the heroine … singing all those wonderful songs, voiced either by a gossamer-soft Rafi or a golden-baritone Kishore.So whether he was breezily driving a truck out of New Delhi singing ‘Hum hain raahi pyarke’ (‘Nau Do Gyarah’), oblivious of a stowaway bride (Kalpana Kartik) hiding behind, or serenading an impish Nutan down the Qutb Minar stairs with ‘Dil ka bhanwar kare pukar’ (‘Tere Ghar Ke Saamne’), or obliquely flirting with Waheeda Rehman in the upper tier of the train with a fake ‘devotional’ song – ‘Apne to har aah ek toofan hai’ (‘Kaala Bazaar’), or impressing a ‘Mushaira Mehfil’ and Simi Garewal in Kashmir with ‘Kahin bekhayal hokar yunhi choo liya kisine’ (‘Teen Deviyan’), or walking brazenly with a fishing rod right in front and blocking Tanuja’s car with ‘Ye dil na hota bechara’ (‘Jewel Thief’) … one lapped them all with delight and asked for more.However Dev Anand’s ‘ever-green’ image would not have endured the test of time, had he not been supported by some men at the Navketans. There were many of them, but two were prominent. One, his own younger brother Director ‘Goldie’ Vijay Anand, whose every frame-shot sparkled with wit, sensitivity, elegance and intelligence, that one rarely found in Hindi Cinema. He left such a stamp of excellence in the films directed by him, so much so, that when you saw any great movie from the Navketans like ‘Hum Dono’ , which was not directed by him but by Amarjeet, you suspected Goldie’s brain-work behind the scenes.The other one was an old frail man, who had always appeared in Filmfare photos as ‘old’ to me since my earliest memories, but who had unfailingly given fresh and young-at-heart musical score to numerous films, … and Navketan Films were the beneficiaries of a lion’s share of the brilliant songs composed by him. Sachin Dev Burman-Da was an unadulterated musical genius all the way, a boon to Hindi Film Music industry and remains to be a connoisseur’s delight till date. He was a minimalist in the use of his orchestra, but yet a perfectionist to the core. One could imagine him sitting with his harmonium munching ‘paan’s from his ‘Paan ka Dabba’ on one side for continual inspiration, and his maverick son on the other side for fresh inputs, who had his own way of making music with anything on hand, be it a broom or bucket.Burman-da (with the able support of Jaidev and son R.D.burman) used the voices of Rafi, Kishore, Manna Dey, Lata, Asha and Geeta Dutt, and occasionally his own voice, with perfect precision and delivered consistently classy songs, composed out of Majrooh Sultanpuri or Shailendra’s exquisite lyrics. Even today, if you pick at random any Navketan Films’ song and listen to it intently, you can’t help smiling with awe and wonder at the old man’s inventive creations.So whenever Dev Saab started leaning more dangerously (in popularity) than the Pisa Tower, to the point of instability , (to explain in scientific terms, the perpendicular line drawn from his Centre of Gravity falling outside his base of support …. well, I did manage to attend a few Physics lectures now and then at college, Mind You!), there were Vijay Anand and the Burmans (SDB earlier and RDB in later years) to prop him up again straight and tall, raising him to further glory.After peaking in full form with ‘Johnny Mera Naam’, Dev Anand took to direction and to be fair, did a fair job with ‘Prem Pujari’ and ‘Hare Rama Hare Krishna’. I think, he then took a brief break and reappeared again in a dozen more films in quick succession like ‘Shareef Badmaash’, ‘Chhupa Rustom’, ‘Warrant’, ‘Bullet, ‘Amir Gharib’ etc. etc. It was a mixed bag of hits and flops, but either way, one didn’t care much about them. Then somewhere as the 80s approached, he began to go hay-wire. Probably he took his own directorial abilities too seriously, and went on to produce and direct umpteen movies himself, which were bad, worse and indifferent, most of which went unnoticed. Almost all of them were colossal flops. But then Dev Saab seemed to shrug off one flop and go for another, much as the devil-may-care character that he played in ‘Nau Do Gyarah’ would have sung – ‘Flop thi naseeb mein, toh Flop se liya hai dum, Jubilee mile toh hum aur bhi young ho liye’!Though one didn’t sit through the movies that he had made after ‘Des Pardes’ , one did wonder what kept him going and marvelled at his indomitable spirit and his love for life and his chosen profession. The films that he made did not matter, but the incredible passion with which he made them surely mattered. The work he produced in his later years, was not important, but his philosophy of life and work surely was. Dev Anand became an inspiration for the ageing lot, and a guide on how to keep fit and active, and get continuously engaged in one’s work till the end … and not get bogged down by success or failure, hit or flop. I suspect, Dev Saab followed the ‘Geeta’ closely, whether he admitted it in public or not. I think he believed in what he had professed in HRHK - ‘Jeet lo man ko padh ke Geeta, Man hi haara to kya jeeta, to kya jeeta’.He didn’t have time to look at the past, but his old fans like me, generally skipped his new films and re-visited his old ones. One such was ‘Hum Dono’.I had caught up with ‘Hum Dono’ quite late in a matinee show.The first few minutes of absolute silence to begin a film with, with the heroine placating the hero with a cigarette lighter, was a master stroke. Then as Rafi mellowly begins ‘Abhi na jaao chodkar …’, you knew for sure that this is going to be an exceptionally good film. Later, one had gone back to check and reconfirm that the film is not directed by Vijay Anand. No, it was not Vijay Anand in the credits, but Amar Jeet, another insider in the Navketan Camp, who seemed to have done his home-work in script writing and direction, exactly the way Goldie would have wanted him to do.But one was watching the film, more for watching Dev Anand in action, and what’s more, there were two of them. But strangely, none of the two nodded the head vehemently or spoke at a rapid speed or ran at a tilted angle behind the heroines (Sadhana and Nanda), dangling the arms. Instead, Dev Anand was all seriousness in both the roles, and proved that he can also pull off brilliantly understated performances, when the roles demanded. So the man sans his mannerisms did’nt disappoint at all.There are no villains in ‘Hum Dono’, only tricky circumstances. The lead characters (two Dev Anands and two heroines) forming a quadrangle, are gentle and humane, but despite the best of intentions, end up in mutual conflict. The screenplay flows smoothly with the unemployed Dev Anand getting insulted by Sadhana’s father, and walking away in a huff straight to military enrolment, his meeting with his look-alike ‘Major’ (with a different hair-style and a Sam Maneckshaw moustache), the Major going missing in war, the Dev Anand No.1 returning home and taking the place of Dev Anand No.2 out of compulsion, No.2 returning home alive but lame, the ensuing misunderstandings and the final resolution.The plot is not exactly extra-ordinary and as hackneyed as an average movie of the 60s. But ‘Hum Dono’ engages the attention with its straight-forward narrative, veering off from excessive melodrama and staying clear of stereotyped trappings like comic relief, dance numbers, stunts etc. At the end of it all, ‘Hum Dono’ emerges as a sincerely made film, and leaves you with a warm heart and a fulfilment of having watched a ‘good and clean’ film.‘Hum Dono’ was reprinted in colour, but my own memories of such classic ‘matinee shows’ are firmly etched in B&W.The music of ‘Hum Dono’ too had its own role in elevating ‘Hum Dono’ to the status of a classic. Sahir Ludhianivi’s exquisite poetry and Jaidev’s sublime compositions and the voices of Rafi, Asha and Lata had together combined to create a memorable album. Each song is still a gem to treasure, but what made the most impact on mind, was this breezy philosophical number, in which Dev Anand puffs away his worries, tosses his cigarette on the pond and walks on facing forward.बरबादियों का सोग मनाना फ़जूल था

बरबादियों का जश्न मनाता चला गयाजो मिल गया उसी को मुकद्दर समझ लिया

जो खो गया मैं उसको भुलाता चला गयाग़म और ख़ुशी में फ़र्क़ न महसूस हो जहाँ

मैं दिल को उस मक़ाम पे लाता चला गयामैं ज़िन्दगी का साथ निभाता चला गया

हर फ़िक्र को धुएँ में उड़ाता चला गयाI think, that’s exactly the way Dev Saab lived … and perhaps that’s exactly the way, one should live.

https://www.youtube.com/watch?v=PbTY_m5yZ0w

[kunalkarankapoor]

Review: ‘The Raikar Case’ Gives Us An Insight Into Indian Families

The series The Raikar Case on Voot opens up with the alleged suicide of Tarun Naik Raikar (Honey Kamboj), the youngest of the Raikar clan. While the suspect could be from a wide spectrum of people, the inquiry begins with the closest of all – the family. This suicide turns into a murder mystery and the rest is what you need to watch.

The suspense seems to be tight, and so are the roles played by the learned cast, be it Atul Kulkarni as Yashwant Naik Raikar, Ashvini Bhave as Sakshi Naik Raikar, Parul Gulati as Etasha Naik Raikar, Kunal Karan Kapoor as Mohit Naik Raikar or Neil Bhoopalam as John Pereira. Each of them seem suited for the roles they’re playing. But, while the thrill, chill and the suspense remain intact, there is a chain of thoughts that worked along the way for me.

I wonder if that’s what happens to be with every family in reality. Does every family happen to be unhappy and yet just hide it from the world out there? Because at least that’s what I’ve noticed in India, the idea of portraying a certain image of a family that isn’t even true in the first place.

The brother might not like the other brother or his ideology, but he’ll still pull it together for the world out there, pretending to be the happiest one amidst all of this. This isn’t something I can pull out statistics for, because there has been no recorded judgement of dysfunctionality in the Indian families because we are afraid to speak what we think and maybe, it’s something that has developed over the years only to satisfy the need to be socially accepted.

Maybe, ‘dysfunctional’ is a terminology that I might have pulled out of my over-thinking cap, but how do we really give credibility to our thoughts? An individual’s perception, habits or attitude have always seemed to affect another person. But in the Indian aspect of social order, the young are never supposed to pinpoint the elders; the elders are never to limit the young or walk out of their boundaries in an attempt to invade privacy (though I wonder if it exists); and neither does the gender disparity end at any given point.

The females are never to express their opinion, the males continue to make decisions for everyone, and people are looked at with suspicious eyes if seen together with someone from the opposite sex, no matter what relationship they might be sharing with them.

The idea of expression is what lacks in the Indian social order, specifically amongst families. And that’s what lingers in the corners of this series too – the lack of expression of one family member with another. So, I wonder if dysfunctional is even an extreme term to use here.

I might not have all the facts, but I do hold an opinion, and if you believe it’s challengeable, watch out for this series on voot.com, and let’s change the idea of families for each other.

On the whole, this series will make your quarantine worthwhile. Hence, watch out for this directorial bliss by Aditya Sarpotdar.

By Manvi Singh - April 2020

https://www.youthkiawaaz.com/2020/04/the-raikar-case-review-this-is-much-more-than-a-thriller-webseries-to-me/

How many of you all have watched the 2019 movie " Knives Out"? It was a pretty impressive movie. When I watched it I felt that why something sort of this could be made in Hindi. It was a very unique concept.

When I watched The Raikar Case, I finally felt that we are getting there. A well-written whodunit that will keep you guessing. A mystery with a unique approach. A mystery that will make you rack your brains.

Voot Select has been on a spree of producing thrillers. After Asur and Marzi, we have another thriller on our plates, The Raikar Case.

The Raikar case is directed by Aditya Sarpotdar and stars Atul Kulkarni, Ashwini Bhave, Parul Gulati, Neil Bhoopalam and others.

Frankly speaking, this series is something very ahead of its time. I never imagined the Indian digital world will provide something of this magnitude. But what really makes

The Raikar Case Plot

Naik-Raikar. Goa's one of the most elite families. Cashew plantations, factories, a connection in politics, this family has every luxury out there.

But all these conveniences come with a cost.

Tarun, a young naive member of the Naik-Raikar family is dead falling from a cliff. Everyone thinks Tarun ended his own life. But SP John Pereira has his own speculations. It's clearly a murder.

Etasha, daughter of Raikar patriarch and a cousin of Tarun starts to receive messages from a mystery informer who knows every bit about this murder. Every time an investigation occurs a new person comes on the suspect radar.

Etasha's struggle to find the real culprit while dealing with her family's deepest and darkest secrets forms the entire plot of The Raikar Case.

The Raikar Case Review

The Positives 

1. Story: The story of The Raikar Case is penned by Bijesh Jayarajan, Karmanya Ahuja and Anitha Nair. As far as the story is concerned, it has everything required for scripting a flawless whodunit. The Raikar Case has a murder mistaken for suicide, a plethora of family members with their gimmicks and most importantly a dark backstory.

The story of The Raikar Case starts slowly and cautiously. It gradually catches pace and then does not looks back. Many of you will struggle to figure whats going on. In the very first episode, a bunch of characters are thrown towards you.

2. Characters: There is absolutely no shortage of characters in The Raikar Case. The characters overflow at a point. Your brain takes a while to figure out who's who. The Naik-Raikar family itself is so interesting that you begin to vouch for root for them. The common disgruntled and bewildered look on every family member's face gives the "something's fishy" vibes. The over-practical patriarch, his household wife, incompetent son, achiever daughter, disinterested cousins, confused sister-in-law everybody has their own share in The Raikar case. Also, the outsiders are well linked to this family. A power-hungry conniving friend completes the equation.

3. Unique Screenplay: The screenplay of The Raikar Case is its bast thing. Very rarely you stumble across such beautifully presented content. The screenplay will definitely win your hearts. The way this series is structured will take a little bit of your time to grasp it. But later on, you yourself will know what's about to hit you.

4. Some performances

The Raikar Case is adorned with some incredible performance. Atul Kulkarni as Yashwant Naik-Raikar showed us why he is the king when it comes to out-of-the-box scripts. He symbolizes a true patriarch who is bound to hold his family together no matter what. His stern and no-nonsense attitude justify his position in the Naik-Raikar family.

Ashwini Bhave, the famous yesteryear actress made her digital debut with a bang. Her performance of Sakshi was something you can relate to every matriarchal figure in the house. Her layered and biased feelings will shock you.

Parul Gulati as Etasha was simply amazing. She displayed a wide range of emotions effortlessly.

Lalit Prabhakar as Eklavya Rane is truly the breakout star of The Raikar Case. Prabhakar is known for his chocolate-boy roles in the Marathi film industry but here he is the dark-chocolate. He is terrifying as hell. He gives us the chills whenever he appears on the screen.

1. The Negatives. Opening episode. One of the shortcomings of The Raikar Case is that the opening episode is too much to handle. It is very ambiguous for an opening episode. At a point, your brain trips from processing the load of info.

The audience is not used to this type of complication in the initial stage. Many of the people may lose patience.

2. Some performances: Neil Bhoopalam has a very crucial role in The Raikar Case. But for some reason, he doesn't seem to provide justice for his role. His dialogue delivery looks too cliche. It always feels that he is trying to judge everyone.

Kunal Karan Kapoor and Manava Naik are other examples of below-par performance. It looked that they were trying too hard to fit in.

Before you all head to watch The Raikar case, let me tell you this:

It's NOT a popcorn-movie. Keep your brain along with you at all times.

A slight distraction may disrupt your entire flow of experience.

The opening episode is very complex but don't you lose hope. You will digest everything eventually.

My rating for

The Raikar Case:

🌟 🌟 🌟 🌟 (4/5).Definitely recommended!!

“I think Neil, Manava and Kunal Karan Kapoor all did justice to their roles. Manava and Kunal Karan Kapoor’s role was as “outsiders” that did not fit in and both are trying to fit into the family. I believe that what the Director wanted to show and looking at the review then both did a great job making the reviewer feel that. Honestly speaking then everyone was in character and was living it. So saying that specially Kunal Karan Kapoor was below-par performance is totally wrong. He told Mohit story through his eyes and made sure that even if he seem mysterious and you knew he had a secret, you never fully suspect him. Beside that his performance in the last episode was breathtaking.The way he emote every turmoils was beautiful and art itself.” - Anila

Binged.com Review: Kunal Karan Kapoor’s role isn’t fleshed out as well as his other actor-counterparts, though he makes a good meal of it.

Movies Bazaar Review: Talking about Kunal Karan Kapoor unno ne shandaar role nibhaya hai aur kisi cheez ki kami nahi aane di apne role main.

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