Bahu Begum 1967

Films of the Urdu era in India is a niche. The ones that will come to the top of your mind maybe Mughal-e-Azam, Chaudhvin Ka Chand and Pakeezah. All beautiful films definitely but there were some more which I feel needs some mention too.


Today I watched Bahu Begum, a 1967 movie starring Meena Kumari, Ashok Kumar and Pradeep Kumar. Totally soaked in the Lucknowi haveli culture, this charming movie immediately reminded me of Mere Mehboob. Not just for the costumes but also for the family drama it represented without being over the top. I have always heard and learnt about Urdu culture as one with lots of tehzeeb and I love movies or art forms which showcase that. Every culture has its nuances and its wonderful to view or read about them.

Zeenat (Meena Kumari) is in love with Yusuf (Pradeep Kumar). He is the friend of Achchan (Johny Walker) who is a tenant at Zeenat's home. Yusuf's uncle controls his property though appears friendly. On the mandate that Yusuf's property will be his when he gets married, his uncle cleverly foils their love and marriage plan. On the other hand, Nawab Sikandar (Ashok Kumar) falls madly in love with Zeenat at first sight. He spots her at a jeweller's shopping,especially noticing that she likes a bangle but cant afford. On insistence of his caring sister, he sends a marriage proposal to Zeenat's father who happily accepts. He also gifts Zeenat the bangle she liked. Unaware of the sender she assumes it to be Yusuf and is all set to fulfill her dreams.

The two lovers

Excellent comic timing by the adorable Johny Walker

 Nawab Sikandar and his sister

Yusuf, on the other hand is sent out of town on an errand by his conniving uncle who doesn't want to let go of the property. Thus the marriage day arrives. But Zeenat goes to the dargah to meet Yusuf once if she can ,as she promises to her friend or she will return to be Nawab Sikandar's wife. Unfortunately, she faints there and the marriage confirmation to the lawyer is mistaken to be of Zeenat. An empty palanquin goes to Nawab Sikandar's house, upon the discovery of which, he and his sister sadly but bravely manage to hide the fact from the world. Zeenat meanwhile tries to return home but rejected by her angry father she ends up at a kotha where Lalitha Pawar provides her a sympathetic roof.

The angry father

 The kind stranger

 The bearings

A kind,gentle man, Nawab Sikandar tries to overcome his sadness and to get his sister married off . Such was the deep rooted culture that time ,it would be shameful if the bahu begum of the house doesn't actively involve in the marriage preparations. Thus he asks Lalitha Pawar to help him out and to send any woman to just act as the bahu bhabhi so that his sister can be married off. Fate weaves in and ofcourse it is Zeenat who comes to him and his sister. Though she has the monumental task of deciding which path she has to take.

I wish the ending was a different from what it was but nevertheless the movie stays true to what it intends-charm, culture and all the facets of a bygone era.

There never would be any words enough to outline Meena Kumari's acting prowess. There is not a single scene where she is hesitant or not Zeenat. From the ada, the moments when she knows the difference between to be sad and to be tragic or just the joy of meeting her lover, this brilliant actress does not have a thread out of place.

The male actors have also given due diligence to their roles. I'm a big fan of Ashok Kumar always. Though being a 80s kid my favourite movie of him will be Khoobsurat,hence I can never see him in a lover role! :) Always the well suited, jolly grandfather Dadamoni.

Do watch the movie if you love or miss the Muslim social era. The havelis always cast a spell don't they? Whether you see them in a painting or in a movie,they are forever so alluring.

Also take a moment to appreciate the credit screens. I love the images and the font. So pretty!

Arthana -1993 Malayalam film-I. V. Sasi,Murali - Tale of two families

Arthana is a 1993 Indian Malayalam film, directed by I. V. Sasi and starring Murali, Priya Raman and Radhika.


Arthana is a deeply emotional movie and a portrayal of the relationships connected to one man. Two marriages, two children and two different worlds. Very poignantly acted out by Murali as the husband facing a moral dilemma and torn between the love of his two children more than being affected by the deception caused to one of his wives. The movie does not show any indecency in its concept of extra marital affairs.



The questions the movie puts forward to us viewers are -


Whether it is morally right to feel love for another person outside of marriage?


Is your wife wrong if she is a bit controlling of your lifestyle, eating and wardrobe habits?


What is more important - efficiency of managing a home or true love and care?


Though all characters were well acted by all the lead and supporting actors, I felt that M G Soman was underutilised.


Story

Ramachandran (Murali )is a draughtsman and has a wife Bharathi ( Radhika) and daughter. Bharathi is modern, liking and living an upper middle class lifestyle, short tempered and has kept many restrictions in the house with regard to her daughter and husband. Much to his dislike, Ramu's father in law ( M G Soman ) and brother in law use all means to save money from projects he is involved in, as they are partners in his construction company.

 

Ramachandran’s daughter and he have an easy going relationship filled with laughter and fun. She is more carefree with him than with her strict mother. This uneven relationship with her mom is further seen to crumble when the other woman appears in their life.

 

The daughter is in love with the dance master Unni, whose mother is a well known dancer. However Unni's father's details are not revealed by his mother as he had died before their marriage and his birth. On knowing that her daughter is in love with the dance master, Bharathi reaches the dance school and shouts at them, calling him a Bastard. She also suggests her club members refrain from sending their children for the dance class. Ramachandran was much disappointed and apprehensive about this incident as he too had an illegitimate son.

Ramachandran's son Sreekuttan and his mother Priya are living in another house at a place where one of his projects is in progress. He has a happy life there too, enjoying all freedom. He visits them often and only his best friend (Siddique) knows about this relationship. Though he was willing to marry Priya, she said that it is not required as she is very confident to live with his son. His best friend also suggests that the marriage will turn void as it does not have the consent of his wife. However Ramachandran plans to write his house in the village in Sreekuttan's name.

Things go worst as Ramachandran suffers a heart attack and is admitted in the ICU section of the hospital. He becomes speechless, and informs his best friend that he wants to see Priya. Priya reaches the hospital with Sreekuttan and Ramachandran's friend makes way for her to visit him by carefully avoiding the presence of Bharathi. However Bharathi sees both of them, just before leaving the ICU. Ramachandran passes away that night. His brother-in-law was just about to cremate the body when Sreekuttan shouts for his father and runs towards the body. Ramachandran's friend reveals that it is Ramu's kid and, as per rituals, if there is a son for the deceased, it's he who should perform the last ceremony for his father. And so, Sreekuttan performs the last rituals and lights the body for cremation.

Bharathi's hatred toward Priya increases. However Ramu's daughter develops sisterly feelings for Sreekuttan and then with the help of Unni she traces Priya's house. It is then she realises that happy her father had been when he was with Priya and Sreekuttan. The name Sreekuttan was suggested by her. The clothes that was bought by Ramu for her were actually stitched by Priya. She is also told about how they became attracted to each other. For a new project construction, as instructed by his client, Ramachandran had destroyed the house where Priya and her mother resided. On seeing their house being destroyed, Priya's mother dies. Priya then stays with one of her friends, who insists the she tries her luck in painting. Though she tried that, no one was purchasing it. Ramachandran happened to see her, but she completely ignored him. Soon after that her paintings started to get sold. Later she learned that the paintings had been purchased by Ramachandran for use in his business ventures such as hotels. Also she finds out that Ramachandran too likes painting, and she sees a portrait of her and her mother that was done by Ramachandran. As time passed by, even after knowing that Ramachandran was married, they got attracted to each other. Owing to the fear of Bharathi's reaction, he had hidden this fact from everyone.

Bharathi gets angry with her daughter and locks her up in the room. However she manages to escape through the window, and visits Priya's house. Bharathi reaches there along with her father Soman and brother and asks Priya and son to leave the house. Priya asks for a period of two days to shift.

Sreekuttan tells his mother Priya that he wants to meet his father. Priya consoles him by telling that they will meet him shortly. Bharathi's daughter plans to leave the house as she finds it uncomfortable to stay in the house. Bharathi has a change of heart and accepts Priya and Sreekuttan.

Images courtesy - Youtube

Story obtained from Wiki

Kaliveedu - The 1996 Malayalam movie which balances marriage

Sometimes reading comments on a movie video can tell you a lot about the sentiments of the generation. It makes you reflect back to the movie and its message and how relevant it is to the current generation.

A movie which I feel is misunderstood is Kaliveedu. This 1996 movie by one of my favourite directors Sibi Malayil is about marriage, its breakdown and the roles and responsibilities of husband and wife to make a marriage successful. Imagine a SWOT analysis of a product and finding its USP. The movie is somewhere on the lines of such a deep discussion. Malayil in his usual way made or attempted to make a movie which passes on a message. How that message is taken or received by the audience of then and now is up to the people.

Kaliveedu is a 1996 Malayalam family drama film directed by Sibi Malayil. It stars Jayaram, Manju Warrier, Jagadish, Sunitha and Vani Viswanath. The film explores the marital relationship of Mahesh and Mridula and their lives following their divorce.



Personally, I loved the movie. Even if I wouldn't have seen Malayil’s name flashed on the screen before a cheery Jayaram ( love his smile, irrespective of the movie) and a grumpy Jagadeesh open the scene with a usual Malayali trademark banter of sarcasm, playful retorts and giving a possibility of a fun, light hearted movie ahead.


Jayaram plays Mahesh who is an architect/interior designer in his own company. Ulahannan played by Jagadeesh is his friend and neighbour. The characters are minimal and not a rambling household of elders, uncles, aunts and cousins. Malayil probably wanted to focus on just the man women relationship.


The movie starts with a very modern USA returned Yamini insisting on Mahesh’s work for her future house. As they get to know each other, Yamini’s father takes a liking to him. Mahesh is reluctant to move forward with the relationship. And then he narrates his story to Yamini. A past of a broken marriage, of misunderstandings and a house which for him resembled clay.


Mahesh married Mridula, a proposal which was liked and mutually agreed by all. As they start their new life, problems arise because of Mridula’s incompetence and immaturity. But not everything is her fault. Mahesh is strictler for discipline, order and a neat house. He also has specific taste preferences. He refuses to adjust and Mridula stubbornly messes up her role too.


Having known both the actors with an impressive and legendary movie list to their credit you know you would not get a lackadaisical performance. As a husband who loves his wife but also likes order and etiquette in his home, food and in his being, Jayaram portrayed the male semi-patriarchal character very well. But with a hint of mellowness and warmth. Manju as the perky and young wife shows the initial immaturity of Mridula,In the manner that Malayil must have desired.


The character of Yamini brings in the twist that is again a genius of Malayil. We wonder if Mahesh will go ahead with the live-in relationship with her (scandalous for 1996 Kerala) and become a more adjusting husband, Or will Yamini teach him a feminist lesson? Will Mridula find someone else and this becomes a triangle to square based love story?


Malayil though believes in traditional romance. The old fashioned kinds which endeared him to generations of Malayalies. And me too. Mahesh is thus pushed and pulled enough by Yamini’s antics at his sacred home, he rushes to Mridula’s house on hearing that she may get married again. Rest is a story of how they come together by the kindly intervention of several people.


I would have dismissed this movie as regressive and one of those wife-bashing movies which were popular in the 90s. But Vani’s mini speech at the climax and the viewpoint shared about both husbands and wives, the understanding nature of Mridula’s father (played by Innocent) and the quiet support of Ulahannan (Jagadeesh) a friend and neighbour, shows maturity of the director in forming a movie and showing a story of well balanced emotions. Here neither patriarchy nor feminism wins. Rather it is a message of maturity and balance, which applies to all ages and cultures where marriage is still respected. If that is the case, then this movie is a winner. It depends on your viewpoint.

Ente Sooryaputhrikku 1991 - No muscles, only love. A touching mother daughter story.

Ente Sooryaputhrikku

In Fazil sir’s own admission, 'I have often had bold, independent women in my films, be it Girly of Nokketha Doorathu Kannum Nattu, Tintumol of Ente Mamattukkuttiyammakku, Ganga of Manichitrathazhu or Maya of Ente Sooryaputhrikku.’ Which is completely true when you see a bubbly but not childish Maya winking at the attendant in the hospital to bend the rules of visiting hours. Later in the movie when the same Maya sheds the playful cloak and adorns the yearning for her mother, you know a Fazil movie will always do justice to a woman’s heart, mind and personality in an intelligent way. Maybe that is why Girly, Tintumol, Ganga and Maya are sometimes our sister, mother, aunt, friend and that girl whom we would have liked to be our best friend.

The period between 1985 and 95 was a time of change in Malayalam cinema. Movies like Ente Ammu Ninte Thulasi Avarude Chakki (1985), Ozhivukaalam (1985) Anubandham (1985), Nandini Oppol (1994), Mazhavil Kavadi (1989), Kadinjool Kalyanam (1991) and Manichitrathazhu (1993) and so many more movies showed women characters as not an exhibition puppet or a mere Mona Lisa. Directors took liberty, broke out of societal restraints to show that women could be gentle as Leonardo da Vinci’s Lady with an Ermine, volatile as Judith Slaying Holofernes by Artemisia Gentileschi or stylish as Portrait of Madame X by John Singer Sargent.


Portrait of Madame X

 Lady with an Ermine   

                              

 Judith Slaying Holofernes

Ente Sooryaputhrikku is a 1991 Indian Malayalam-language film directed by Fazil and starring Amala, Srividya, and Suresh Gopi. It is a story of the separation and meeting of a mother and her daughter. 

Srividya plays the mother who is a famous classic singer and who takes the decision to give up her baby due to her fear, inability, cowardice and growing career. But the mother is not shamed in the movie. The decision comes from a mature place of knowing that she will not be able to live in her upper class society. A decision she weeps over for years though she does it behind a tough facade.

 

Maya (played by Amala Akkineni) is a spoiled child who loves to create issues in her hostel as well as in college. She has a mini fan following among her friends and her charm and beauty works on all. Even with the nuns (shown as grumpy and frumpy - really why are religious people shown as such? I know a lot of happy priests and nuns too!)

One day along with her friends, she comes across the prim and proper Dr. Srinivas (played by Suresh Gopi). The mischievous Maya is seemingly attracted to him,though she just doesn't know it or admits it.

She decides to make fun of him, resulting in some light moments and which will be a treasure trove for college students in hostels. Soon the handsome Srinivas rebutts her practical joke and insults her saying that she is a fatherless child. Shocked Maya attempts suicide, but the same doctor saves her. They fall in love and she gets back to normal, but she is curious to find out who her father is.


She discovers that her father had adopted her when she was baby and her biological mother is K. S Vasundhara Devi (played by Srividya), famous singer. She tries every bit to make her mom accept her - crashing in concerts, some childish and over the top actions to notice her. etc. Finally her mother accepts Maya, but before she announces this to the public, Vasundhara Devi is murdered by her greedy manager for her wealth. Maya kills her mother's killers and she is sent to jail. Srinivas marries Maya while she serves her sentence.


Suresh Gopi sans the muscles and the grim expressions come out as the supportive partner that Fazil had in mind for Maya. No expression is too hard and no muscles were displayed in this gently, human relations focussed movie. Ente Sooryaputhrikku is all Amala. It is just about a parent and child, it cannot be called even a romantic flick. Colourful, pickled with ideas, spring in her step and light in her eyes.

  

Srividya is an enigma as always. Sad and melancholy when the mother starts to realise her daughter’s love and need and fierce in her care and pampering when the two unite. I don't think I have seen any movie of Srividya's where she gives a lackadaisical performance. Top notch and with the right eyebrow raise, parted lips, frown, blink and even the right amount of tears and vocal capability. She is truly an art on screen.


Ente Sooryaputhrikku was simultaneously shot in Tamil as Karpoora Mullai with Raja playing Suresh Gopi.

Appuni - 1984 Malayalam movie - Mohanlal as an anti-hero and Nedumudi Venu as the innocent man.

If you are a fan of a movie director and love his or her work, then it is great to start watching / analysing and immersing yourself in their creative work, from one of their first pieces. I'm a huge huge fan of Sathyan Anthikkad. It is a ritual at my home to watch Sandesham, Achuvinte Amma , Thooval Kottaram and many such gems visualised and created through his simple outlook towards a Malayali life. Almost every movie of his is a gem. So I decided to use my movie-freak-homemaker life to a better good and researched his filmography. And why should one miss even the lesser known movies from such an acclaimed director?




I decided to start with the very first of his movies which established the fantastic friendship between Anthikkad and probably one of the blessings to Kerala - Mohanlal.

Appunni is a 1984 Indian Malayalam romantic comedy film directed by Anthikad and penned by the then popular satirical writer Vadakkke Koottala Narayanankutty Nair, commonly known as V.K.N. It is based on V. K. N.'s story Premavum Vivahavum and is known as the only screenplay he has written. The film stars Nedumudi Venu in the title role, while Mohanlal, Menaka, Bharath Gopi, and Sukumari play other lead roles.

  
                                                                                   

Let me first say head on that Lalettan is not the hero here, it is Venu sir. Yes. And Lal plays a slick, conniving anti-hero, not a villain, but a guy set to outsmart an innocent man. He doesn't use weapons, doesn't jump off old Mahindra jeeps and fencing guys in head-to-toe white uniforms. Nope that isn’t Anthikkad style ( and I am thankful for that because I am not a fan of action movies ! )

The film explores the love triangle between the characters. Appunni ( Nedumudi Venu ) and Ammukutty (Menaka) are lovers from childhood. While Appuni is a serious, brooding and grumpy man, he is kind hearted to one and all. And even more secretive is his love for Ammu. She is a vivacious and fun loving girl who craves attention and expression of love from him. Ammukutty's father Ayyappan Nair ( Bharat Gopy ) and his wife (Sukumari ) are aware of the love and the relationship between the two young people and have confirmed it long ago. So it is a well settled fact even in the entire village.


 

                                                

Things take a twist when a handsome,rich, slick-talker man from a higher caste arrives in the village. His wealth, status in the society and smart antics sit well with all including Ayyappan Nair and Ammu. Much to Appuni’s dismay, Nair arranges her marriage with a rich school teacher, Menon Maashu. Ammukutty is distracted and perhaps in her childishness, she ends her relationship with Appunni and decides to marry the Maashu.

However, Maashu fails to arrive on time for the marriage ceremony. Ayyappan Nair, who is embarrassed in front of his guests and the village folk is now in tears and hollowed out. He assumes that Maashu might have cheated his daughter. Now he can only turn to the ever-dependant Appuni for saving his honour.

In haste, he conducts Ammukkutty's marriage with Appunni. Much to everyone's amazement, Maashu arrives late at night. Once again he manages to cleverly trap the harassed and confused Nair in his excuses and lies of why he couldn't arrive in time for the ceremony.

Once again the bizarre night takes a new turn and now Nair wants Ammukutty to marry Menon Maashu.

Angry at the baseless thinking of her parents and the lack of sanctity shown towards an innocent man like Appuni as well as disrespect towards her marriage vows, Ammukutty takes a decision.

 



Appuni movie was Bharat Gopy’s first collaboration with Sathyan Anthikkadand was also the only movie where Bharat Gopy was paired opposite the legendary Sukumari as an onscreen couple. Sathyan Anthikkad pulled off the seemingly impossible task of adapting VKN’s multi-layered, contextual humour with just the right tinge of sarcasm and self-deprecation fairly well for the big screen, as his characters came to life in the able hands of some of the finest minds on the Malayalam screen. And as Perattupadaveettil Ayyappan Nair, Bharat Gopy was a treat to watch onscreen.

 

Director Sathyan Anthikkad with Gopy

Vainglorious, conceited and self-important – Perattupadaveettil Ayyappan Nair cannot think of an instance of existence where his purportedly militant, glorious ancestry is unattached to his personality. If not in character, at least by name, that is. If you are someone who has read the literary work and watched the movie, you would be surprised at how uncannily close both the creations are. Bharat Gopy effortlessly ensured that. Echoing director Sathyan Anthikkad recalling the “making of the character image”,


In half an hour he stood before me as Ayyappan Nair, the version you see in the film. “This moustache is a sign of pseudo-valour, for belonging to the ancient, militant, Perattupada lineage,” as he twirled it. “Ayyappan Nair is a devotee of the Devi, and hence the vermillion tikka on the forehead. This scant hair combed flat and across my bald patch shows his naivette and vanity to appear young and virile, a sort of ‘matching up to his warrior clan lineage.’ I was ecstatic. This was brilliant.

It was brilliant not just one time. It was, with every film he associated himself with. Every time.

Author VKN with Film Director Sathyan Anthikkad and Cartoonist Yesudasan.

Credits -
https://bharatgopy.com/filmography/appunni-1984/
https://ommst.weebly.com/appunni.html
 http://yesudasan.info/photos.html

Aaye Din Bahar Ke (1966) - Rolling hills and a rosy cheeked Dharmendra

A romantic film with a lovely variety of songs, picturesque places and rosy cheeked handsome Dharmendra rolling down the hills - all this attributes to a great package of comfort-watch on a rainy day. And this is exactly what Aaye Din Bahar Ke gives.

Isn't the name itself so refreshing? The coming of spring indicates freshness, flowers, love and new beginnings. Gone is the hardness of winter and the endless waiting for warmer and breathable weather. And spring brings joy to the hearts of the old and young alike.



There is the usual romance of guy meets girl and then the question of marriage. Kanchan (played by a beautiful Asha Parekh ) is tutored by Ravi (played by Dharmendra). Eventually they fall in love and her father Jankidas, a rich businessman is not opposed to the match. Things are humdrum and truly springlike.



There is no rich girl and poor boy unpleasantness here. The twist in the story comes at the time when the past of Ravi’s mother is revealed thread by thread. After that the movie takes a melodramatic tone. A search starts for the father and then the mother (played by ever-dependant Sulochna ) disappears.

Yes it all ends well but the takeaway from the movie is that relationships are just like the weather in nature. I don't know if the director chose the name with an intention to show the vagaries of life as compared to the vagaries of the weather. But I choose to believe the title of the movie is purposeful, to show us viewers that humans and love are so interlinked. Also to portray that life will always be like spring and flowery when you have good intentions in your relations and have secrets with your loved ones.


Directed by Raghunath Jhalani

poster coustesy - CineMaterial

Kaajal 1965 - Desolate Meena, powdery Padmini and one sided cat fights.

Jealousy, loss, grief and the classic tale of two women who can’t stand each other.



This movie is based on Novel "Maadhvi" written by Gulshan Nanda and is directed by Ram Maheshwari.


When a trusted Munim (Clerk) of a prestigious family passes away, the head of the family,Ranimaa (played by Durga Khote) take care of his children Kaushal and Madhavi (played by Meena Kumari)


At this point I have to say three things - one, I really miss seeing the ubiquitous munims of my childhood, walking around with a cloth bound ledger and calculating away on the tips of their fingers instead of the tie and suit officers with an air of importance around o them and their fancy scientific calculators


Second - what is with big families automatically taking custody of their employees’ children? I mean give them benefits like gratuity and provident fund, right? (insert goofy face here)


Third - why don't we name our women Madhavi and Rani anymore? Where did Ayesha, Sera etc come from?


Ok, let me go back to the old world and not compare them to the reality of this world. Anyway, that world and era were more charming even if I have to let go of some bare truths.

Ranimaa's only son is Rajesh (played by Dharmendra). Years pass by. No moving wheel and small foot changed to big foot scene-change here. Just a grown up handsome boy maa ka puttar. He is of marriageable age and meets as well as gets married to Bhanu Saxena (played by a very powdery Padmini).

Meanwhile, in a boating accident, Madhavi's brother Kaushal passes away, and a devastated Madhavi is left alone and pitied. Rajesh is heartbroken for losing a friend, Ranimaa feels guilty, the whole house is sad and grey. But Bhanu is not taking out any bit of stock of pity from her hard cold powdery heart. She not only envies Madhavi, but also begins a creative and intricate process of blaming her for everything. One sided cat fight round one begins.

Even to the extent of accusing her of having an affair with her husband. Bas ho gaya!!.


A depressed and self respecting Madhavi goes to kill herself and ain mauke par comes along a handsome Moti. No, not a black dog with a leather collar but the shero shayari dapper actor Raaj Kumar. I think even here he doesn't want to let Meena Kumari keep her beautiful foot on the dirty suicidal ground. ( “Aapke paon dekhe, bahut haseen hai, inhe zameen par mat utariyega, maile ho jayenge.” Pakeezah 1972)



Madhavi’s life is now at the benevolence of the one who rescued her. She gets married to Moti. What follows is a twist of fate for poor Madhavi who has to suffer from a gradual alcoholic husband. As usual the emotional part of the movie is heavily dependent on the wonderfully dismal wife's role played by Meena Kumari. The screen becomes poetic when she is on. I can watch an entire scene without dialogues if she is there.

 



An emotional movie showing the importance of relations, self respect and the sanity of marriage and great performances by the whole cast.


I found some interesting trivia for the movie - A heavy argument broke out on the film sets on day one. Raaj Kumar on seeing Dharmendra , inquired sarcastically " Where have you found this wrestler from!!Are you sure he can act?" An angry Dharmendra was ready to respond physically only to be calmed down by the director.

Posters courtesy - IMDB and postervile.