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pangamoviee · 5 years ago

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Rooted in the real world, Panga features a glamorised Kangana Ranaut in the role of a retired kabaddi player who returns to the sport after a seven-year hiatus and inevitably runs into a series of challenges. The film’s central premise has undeniable potential but it would have come to naught had the treatment not been as sure-footed. Panga Full Movie Download 480p HD Tamilrockers, 123mkv Filmywap, Watch Online, Pagalworld, mp4movies, movierulz, khatrimaza, utorrent with torrent magnet, filmyzilla download.

The intelligently scripted, deftly directed and well-acted sports drama is peopled by characters who are easy to relate to. Unlike average Bollywood films of the genre, Panga does not ever strain credulity even when one might feel that it could have done with a little more momentum. The deliberate pacing ultimately does no harm. It, in fact, keeps the audience from taking their eyes off the crux of the tale.

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Director Ashwiny Iyer Tiwari (Nil Battey Sannata, Bareilly Ki Barfi) stays true to the small-town, middle-class moorings of a narrative that banks more upon small gestures of defiance and daring than on grand flourishes and bluster. Working with a script she has co-written with Nikhil Mehrotra and additional screenplay inputs and dialogues from Nitesh Tiwari, she crafts a tale that does not sacrifice authenticity for flashy plot sleights or thrills of a superficial nature.

Even when the film’s key character. Jaya Nigam (Ranaut), is tantalizingly close to realising her dream of representing India again, the film does not overreach in the pursuit of high drama. It is an uphill trek for Jaya as she negotiates blips along the way. There are times when she seems incapable of pulling it off, which makes her endeavour all the more engaging.

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Panga also scores handsomely for the manner in which the crucial kabaddi sequences are mounted and choreographed (by national-level player Gauri Wadekar). Rarely do sports scenes in Hindi cinema look as natural they do in Panga. A large part of the credit should also accrue to the actors led by Ranaut - they never look out of place on the kabaddi court. The role fits the female lead to absolute perfection and there isn’t a single false note in her performance.

The film steers clear of overt melodrama and weaves the story of a mother making a comeback to a physically exacting game around tangible struggles stemming from her professional and personal responsibilities. In Jaya’s absence from her Bhopal home, her husband Prashant (Jassi Gill) struggles to produce passable aloo parathas for breakfast and draws a stinging rebuke from their son Aditya (Yagya Bhasin). He also makes a complete hash of giving the boy the look of a tiger for his school’s annual day.

The family lives in a modest government accommodation and the production design team makes no effort to overly prettify the space. The actions captured within are also shorn of artifice. It has the looks of a live-in home, not of a gleaming designer pad. In one passing scene, Prashant dunks a cookie in his tea while Adi, spread-eagled on the sofa, licks the cream off a biscuit as Jay I. Patel’s camera captures the ‘spectacle’ unblinkered.

By refraining from projecting the protagonist as an infallible superheroine who takes the hurdles in her way head-on and triumphs, Panga stays firmly in the realms of a plausible tale even as it drives home the sheer audacity of the leap of faith made by a woman trapped, partly of her own volition and partly due to the pressures of motherhood, in dreary domesticity.

The slow-burn approach allows aspects Jaya’s character to seep into the ‘action’ scenes - they are all restricted to the kabaddi court and the practice arena - and lend them both genuineness and power. The challenges of the working woman’s role as mother to a seven-year-old boy with poor immunity and the distance that she has traversed since quitting kabaddi at her peak are channelled fruitfully into her efforts to reclaim lost glory in the face of familial and societal expectations.

Her unwaveringly supportive husband represents masculinity of a kind that Mumbai movies rarely celebrate, let alone showcase. Panga goes all out to show us the strength of a man who subsumes his ambitions into those of his wife and throws his lot behind her when opportunity knocks on her door. Jaya has to leave Bhopal, where the former India captain and feted raider is a now rail ticket booking clerk, and move to Kolkata to join a newfangled Eastern Railways team. No praise could be too high for Jassi Gill’s performance. He immerses himself so completely into the character it is difficult to imagine any actor playing it better.

दिल से देखे गए सपने अधूरे रह जाए तो उनकी कसक जिंदगी भर दिल में रह जाती है. लेकिन इन सपनों को पूरा करने का मौका मिले तो पंगा लेना जरूर चाहिए, इस बात को बिना सोचे की जीत होगी या हार. ऐसी ही कहानी लेकर आई हैं कंगना रनौत, जिसका नाम है पंगा. 24 जनवरी को रिलीज हुई फिल्म पंगा कहानी है जया निगम की.

जया रेलवे की तरफ से कबड्डी खेलने वाली प्लेयर रही हैं. लेकिन अब वो रेलवे में टिकट काटने का काम करती हैं. वो ऐसी प्लेयर थी, जिसके लिए पूरी टीम कहती है कि प्लेयर आते जाते हैं लेकिन जया निगम जैसे स्टार प्लेयर कम ही आते हैं. जया के शानदार खेल की वजह से उसे कई बड़े मौके मिलते हैं. इसी बीच उसे जीवन साथी भी मिल जाता है प्रशांत (जस्सी गिल). प्रशांत और जया की लव स्टोरी दो तीन सीन तक चलती है और फिर जया की मां (नीना गुप्ता) से मंजूरी मिलते ही दोनों की शादी हो जाती है. लेकिन, शादी की एक शर्त होती है कि जया को प्रशांत शादी के बाद भी कबड्डी खेलने देगा.

Panga isn’t the sort of Bollywood sports film in which the protagonist is a cocky, invincible smooth-talker who bulldozes her way through without a care in the world. Jaya has to reckon with a slew of obstacles. Her son needs constant monitoring owing to his medical condition. Her husband, also a Railways employee, has no clue how to keep the household running when the onus falls on him. Just as important, Jaya is no longer a sprightly 25-year-old. Her reflexes have slowed down. Her body is no longer in shape. Her spirit is willing, but her mind keeps telling that she might be venturing into rough terrain.

Jaya’s mother (Neena Gupta) is the first to warn her about the foolhardiness of her move. But a former teammate and talent scout Meenu (Richa Chadha), after initial friendly scepticism, steps up to help her friend achieve her goal. And finally, Jaya shares a room with a younger girl, Nisha (Megha Burman), who eggs her on and stands by her when the chips are down.

Only once does the conflict assume an external dimension in the form of the current India captain Smita (Smita Tambe), who has no love lost for Jaya. The former has reason to suspect that the 32-year-old is on her team only to warm the benches and return home with a gold medal from the Asian Kabaddi Championships without slogging it out on the court. The national coach (Rajesh Tailang), on his part, makes no bones about why he needs Jaya to be included in the squad. Extraneous, somewhat cynical reasons are cited for her selection, which puts both the player and her family under undue stress.

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panga-movie · 5 years ago

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Panga Full Movie Download Tamilrockers, 123mkv 480p HD | Watch Online

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The slow-burn approach allows aspects Jaya’s character to seep into the 'action’ scenes - they are all restricted to the kabaddi court and the practice arena - and lend them both genuineness and power. The challenges of the working woman’s role as mother to a seven-year-old boy with poor immunity and the distance that she has traversed since quitting kabaddi at her peak are channelled fruitfully into her efforts to reclaim lost glory in the face of familial and societal expectations.

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jainyupdates · 5 years ago

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अपनी बात: जब स्क्रिप्ट हाथ में आई तो पता चला कि कंगना के साथ हो चुका है सेलेक्शन

अमर उजाला ब्यूरो, मुंबई, Updated Sun, 16 Feb 2020 08:36 PM IST

Megha Burman – फोटो : Amar Ujala, Mumbai

कंगना रनौत की फिल्म पंगा में दमदार किरदार करने वाली अभिनेत्री मेघा बर्मन अरसे से एक दमदार किरदार की तलाश में रही हैं। तमाम विज्ञापन फिल्मों और दक्षिण भारतीय फिल्मों में दिख चुकी मेघा बर्मन ने अमर उजाला के साथ फिल्म पंगा में अपने चुनाव क�� पूरी कहानी साझा की है। पढ़िए ये दिलचस्प…

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masudrana2 · 6 years ago

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Sharmeelee (1971): Mp3 Songs Download

Sharmeelee 1971 Bollywood Movie Mp3 Audio Songs Free Download

Sharmeelee 1971 Film Information: Cast: Shashi Kapoor, Raakhee, Nazir Hussain Director: Samir Ganguly Producer: Subodh Mukherjee Music Director: S. D. Burman Release: 1971 Country: India Language: Hindi

Sharmeelee Audio Songs Download Below:

Megha Chhaye Aadhi Raat Song | Download – 128kbps | 320kbps Lata Mangeshkar

Reshmi Ujala Hai…

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lazyupdates · 6 years ago

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“I have seen it all, I did it all, I said it all, But I can’t remember it all…”

That’s how our Lifetime Achievement Winner, Moushumi Chatterjee defines her four-decade-old journey. “I don’t consider anyone bad. It’s the situation that makes people do things. You may hurt someone unintentionally. But you must never humiliate anyone,” says the actor who continues to throw up interesting performances. In 2014, she won the Filmfare Award for Best Supporting Actress for the Bengali film Goynar Baksho and now the Filmfare Lifetime Achievement Award 2015. “I wish my father-in-law (the late musician/filmmaker Hemant Kumar) was present to see me receive this honour,” she says. In the recent hit Piku, she impressed with her brazen candour on sexuality. What’s more she was pitted against Amitabh Bachchan, her co-star in Basu Chatterjee’s quaint film Manzil (1979), remembered for its RD Burman number Rimjhim gire saawan. “Amitji possesses the same dedication. His sense of humour is intact,” she says. “Rimjhim gire was shot over two days in natural light and rain… from Colaba, VT to Marine Drive. I remember my eyeliner getting smudged! We kept having coffee to keep ourselves warm,” she reminisces.

Child bride The reluctant star of Tarun Mazumdar’s Ballika Badhu (1965) never imagined that fiction would turn into the truth of her life. “I did Ballika Badhu when I was in the fifth standard. I got married when I was in the tenth,” recalls she. Young Indira (her real name) got engaged to‘guardian and neighbour’ Hemant Kumar’s son, Jayant Mukherjee (Babu). “I fell in love with Babu. He was the first man I came in touch with outside my family. In my dowry, came a dog, a doll’s house and a friend, my girl Friday,” she laughs.

The teen bride had already seen in Bengali films like Parineeta, Anindita and Anand Ashram. She came to Mumbai with husband Babu only to have film offers lined-up for her. Raj Khosla’s Kachche Dhaage was her first film, though Shakti Samanta’s Anuraag, where she played a visually-challenged girl released first in 1973. The next year saw her team up with Amitabh Bachchan in the thriller Benaam and opposite Rajesh Khanna in Humshakal. Her most notable performance was that of a rape survivor in Manoj Kumar’s Roti Kapada Aur Makaan (1974). “I was pregnant with my first child but Manojji took great care of me. I threw up with all the atta (flour) in my mouth. A duplicate blouse was placed on me, which was later flung aside for the scene.” She claims, “The song Hai hai yeh majboori was to be filmed on me. But I got pregnant. The phrase‘do takiya’ in the song matches my character Tulsi’s language not that of the sophisticated Zeenat Aman’s in the film.”

Her other successful films were Swarg Narak and Angoor with Sanjeev Kumar. The hat-trick of hits Maang Baro Sajna, Ghar Ek Mandir and Pet Pyaar Aur Paap put her in the big league in 1984. Later, she graduated to doing character roles in Ghayal, Ghar Parivaar and Udhaar Ki Zindagi. Ask Moushumi to analyse her appeal and she says self-effacingly, “I’ve a crooked nose. I’m slightly cock-eyed. Perhaps my smile, my laughter charmed. Also, I had a voluptuous figure. I was never skinny. Actually, sex-appeal lies in your face, your eyes. Having a great figure doesn’t matter.” She recalls how the late director Raj Khosla summed her up. “He said, “Moushumi’s childlike, not childish. She can be fun-loving like an eight-year-old and wise like a woman of 80.”

Will break, not bend In an industry, which has not been entirely kind to married actresses, Moushumi finds herself grateful. “Mahesh Bhatt once chided me for being ‘unprofessional’. He joked, ‘Every time your career is doing well, you get pregnant’. I replied, ‘My babies have added to my life’.’You can be a top star, a celebrity or even a queen but ultimately you need a family, a home.” What she does admit to is her ‘will break but not bend’ dictum, which became the reason of her walking out of big projects. “I was not the ambitious kind, who wanted work by hook or crook. I did films on my own terms. I even shot for some big banner films but left them after a few days because my ethics didn’t allow me to continue. I didn’t compromise my sanskar. They thought I was stubborn and crazy.”

Rumours of being ‘uncooperative’ plagued her career. “Some top heroes could not take my behaviour. They’d say, ‘You prefer to talk to the spot boy rather than have a cup of coffee with me. Do you think you’re Vyjayanthimala? I’d say, ‘No, I believe I’m Cleopatra’. Some, noticing my stance, would turn respectful, some indifferent.” She recalls the time when a senior actress gave her some ‘advice’. “She said, ‘Why don’t you open up? You rub them the wrong way. What’s the harm in having dinner with them on outdoors?’” She holds her heroes Vinod Khanna, Rishi Kapoor, Shashi Kapoor, Sanjeev Kumar and Dharmendra in high regard. “Once Dharamji happened to see me at a particular party. He said, ‘Why have you come here? Go home right now!’ Rishi was helpful when I was pregnant and shooting for Zehreela Insaan. While Sanjeev Kumar loved to relax at my house, enjoying non-vegetarian food and watching films.”

My home, my world While showbiz wanted more of her, all she wanted was to rush back home. “I could switch from being Moushumi to Indu very easily. The minute pack-up was announced I wanted to run home to my husband. Even after Payal was born, I’d want to see Babu first.” In fact, the foundation of their bond, she says, was formed in those early years. She was a minor when her first daughter Payal was born. “My gynaecologist told me ‘a kid is having a kid’. When Payal was born, I didn’t have patience. She’d break my toys; I’d want to break hers.” She had Megha at 24 and didn’t work for two years as she was a weak child. “But the moment I thought of returning, I got four offers including Watan Ke Rakhwale, Aag Hi Aag and Ghayal,” says she.

Her ingenuousness remained intact even after motherhood and that’s why perhaps Dharmendra signed her for his production Ghayal. “I wasn’t interested. I suggested other heroines. But he said, ‘Kudiye, none can match your inocence. You can make the audience ghayal with your pain’.” She owes the liberty she enjoyed to her husband. “Babu was well off. He wasn’t living off me. He trusted me. My life has been an open book. Yes, he was possessive about certain things. Like once when I wore a sleeveless blouse, he didn’t like it. He said, ‘Have you forgotten to wear a blouse?’” she laughs.

LINK-UPS & LIES Though she was a married actress, rumours of romantic liaisons didn’t spare her. She was linked to various heroes including the late Vinod Mehra and Farooque Sheikh and distributor Ramesh Sippy. With Vinod Mehra she did around 10 films including Anuraag, Us-Paar, Raftaar, Umar Qaid and Zindagi and that set the grapevine buzzing. “Vinod and Babu were close friends. We lived in the same building. So we often went out together. That gave rise to rumours.” She doesn’t deny her outgoing disposition. “I am a flirt. I can flirt even with a plant, with an animal. In fact, Shabana Azmi once said, ‘Shashi Kapoor and you can flirt with anyone from six to 60,” she titters. But she’s aware of the perils of a friendly disposition. “The way I show my warmth is misconstrued. Babu once told me, ‘You’re a heroine. People view you differently. Be careful’. But he also jokes that even on my death bed I will flirt with the doctor.”

On a serious note she explains, “I never reacted to rumours. Those close to me knew, where I was and with whom. My husband was with me. Yes, I committed mistakes.” She reflects, “I realised Moushumi Chatterjee had many admirers. There were people who said, ‘I love you’ and even those who said, ‘I want to marry you’. I couldn’t push them away or be rude. I gave them enough time and also to myself to understand that they were attracted to me and not in love with me. I respect them. I even respect their spouses who also went through a bad time.” She’s still a ‘romantic’ but her definition of love has changed. “Love is an illusion. It’s at best attraction and attachment. Gradually, you move on to other things, your emotions are channelised into your children, your work…”

Golden time Glamour is short-lived and what lasts is the halo of contentment. “I’ve seen actresses go haywire. I committed a lot of mistakes too. But once I realised them, I took a U turn and never looked back. Your lifestyle is important. If you abuse life, life will abuse you back. Actresses turn lonely because they don’t listen to the voice within.” She insists on being spiritual. “I’m a Hindu but I perform namaz. I visit the church. You can reach God by touching human beings. You come alone and go alone. I take pleasure in simple things, like cooking and being with my children. And of course getting into arguments with husband Jayant. “Babu merely listens, unless I provoke him. We share a great sense of humour. Like when I say, ‘Gala dukh raha hai (my throat is hurting)’, he shoots back, ‘Daba doon (shall I press it)?’”

Moushumi Chatterjee’s best works

Balika Badhu (1967)

An adolescent Moushumi was about endearing innocence as a child-bride in Tarun Majumdar’s Bengali drama. It was later remade in Hindi with Sachin Pilgaonkar and Rajni Sharma in the lead.

Parineeta (1969)

The many adaptations of Sarat Chandra Chattopadhyay’s Parineeta include Moushumi’s take as a young woman’s unflinching devotion to her childhood sweetheart. This was directed by Ajoy Kar. It featured Samit Bhanja, Bijon Bhattacharya and Khagesh Chakravarti

Anuraag (1972)

A blind girl befriends a terminally ill child. The tragedy turns into a tale of hope and love in the Shakti Samanta directorial.

Kuchhe Dhaage (1973)

Moushumi’s village belle act was the perfect foil to the machismo dripping portrayals of Vinod Khanna and Kabir Bedi. Mere bachpan tu jaa… had an uncanny real-life echo to Moushumi’s own evolution.

Zehreela Insaan (1974)

Best remembered for the chartbuster O Hansini and Rishi Kapoor’s emotional confusion. Moushumi matched his intensity with her innocence and ease.

Roti Kapda Aur Makaan (1974)

Manoj Kumar’s war cry against corruption featured Moushumi in a ghastly rape sequence. She was apparently pregnant then but carried off the scene with elan.

Benaam (1974)

Both Moushumi and Amitabh Bachchan share great chemistry as a married couple. Their paradise is lost once their son goes missing.

Manzil (1979)

Basu Chatterjee’s Manzil not only gave us the rain-drenched panorama of Mumbai’s bay-line but also the monsoon ode Rimjhim gire sawan filmed on Amitabh Bachchan and Moushumi.

Swayamvar (1980)

Moushumi was all fire and sweet tantrums as Shashi Kapoor’s demanding ladylove in Swayamvar.

Pyaasa Saawan (1981)

Sexy and sentimental, Moushumi played the perfect wife in this melodrama. She won appreciation and sympathy as Jeetendra’s ailing wife here.

Angoor (1982)

Gulzar’s comedy of errors worked on a low-key sense of humour. Moushumi’s distrustful, daft, housewife act was perfect for the character.

Ghayal (1990)

As Sunny Deol’s grief-ridden sister-in-law in Ghayal, she provided a gravitas to her performance.

Moushumi’s most-loved melodies

· Sun ri pawan pawan puriya – Anuraag (1973)

· Tere nainon ke main deep jalaaonga – Anuraag (1973)

· hansini – Zehreela Insaan (1974)

· Mehngai maar gayee – Roti Kapda Aur Makaan (1974)

· Vado karo janam – Sabse Bada Rupaiya (1976)

· Rimjhim gire sawan – Manzil (1979)

· Wada nahin karte kisi se – Prem Bandhan (1979)

· Mausam pe jawani hai – Do Premee (1980)

· Yun na rootho – Itni Si Baat (1981)

· Megha re megha re – Pyaasa Sawan (1981)

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