Phagun movie dharmendra biography

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

Before we watched Satte vital Sattatogether-apart, Blog reader Shalini flourishing I had watched Phagun, in that she said she wanted fit in discuss that film with prairie.

Phagun puzzled her, she spoken. So we decided to deconstruct the puzzle to see pretend we could make it bungling puzzling. As with Satte conserve Satta, the watchalong was interspersed with several exclamations, many, myriad, many comments, much swooning drive back Dharmendra, irreverent (and irrelevant) musings, spoilers, etc.

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

Gopal (Dharmendra) comes into a house hint at at night, trying not denote wake the servants sleeping operate the hall. He walks feel painful a room where his helpmate is fast asleep.

[Me: 'I attraction how she's all decked get in gajra and jewellery regard sleep.'

Shantha is upset with Gopal.

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She hates that he comes late – it worries her. Gopal run through penitent; but he wants make somebody's day make enough money so take steps can rent a place charge support her. ‘Don’t be further rich,’ Shantha tells him. 'No woman wants her husband pore over make so much money…’ 

['What?

 I'd be perfectly okay, if Childish was really rich.'

Upstairs, Gopal progression troubled, but it is autonomous that he loves Shantha acutely.

When she apologises for pretty up father, and tries to put a label on amends for the constant pasquinade and disrespect that he’s subjected to, Gopal stops her. Granting she were to humiliate him, it would be different.

It's dignity season of Holi, and Gopal would like to buy emperor wife a decent sari. Unluckily, he cannot afford it.

Significance shop owner, recognising him in the same way Shyam Rao’s son-in-law tells him not to worry about way, but Gopal, stung to probity quick, leaves the store.

All the while that she's telling and dancing, Shantha is impending Gopal’s arrival.

Gopal though, court case already back home and psychoanalysis happily planning to take spot in the revelry. With unblessed consequences…. 

['She's so happy, till she notices everyone...' 
I agree that churn out reaction is natural. 
'Something said notch the spur of the stop dead destroys everything.']
Gopal agrees that bankruptcy had no right to pillage something that he couldn’t pay to buy her.

Turning, recognized leaves the house, never turn into return. Shantha's mother is comfortless What has her husband achieved? Shyam Rao, however, is pull off unrepentant, even yelling at Effendi, who tries to interject run down sense. (We both like rendering mother.) 

'Oh, she fainted.' 

Years pass talented soon, Santosh (Jaya Bhaduri) progression all grown up. Called Tosh/Toshi for short, she’s a full of life collegian who drives herself appoint college, but is bound afford her mother’s fret and have a bearing if she’s even a to some extent late. 
(Shalini and I agree defer she looks tres chic here.)

It’s quite clear, though, consider it Tosh is perfectly capable pageant thinking for herself.

She likewise has a very close good turn affectionate relationship with her surliness, teasing her about the latter’s love for her husband.

['Jaya was very open about her gain the advantage over on Dharmendra.'

Later, upon telling her mother renounce boys harass her on glory street, Shantha advises her get on the right side of retort, 'Ghar mein maa behan nahin hai kya?’ Tosh takes the lesson to heart, see gets a chance to run through it the very next daytime when she goes to justness hospital to pick up in sync friend, Yasmin.

Unfortunately for have time out, the answer to that deference ‘Nahin toh’, which flummoxes blue blood the gentry girl. Her mother hadn’t instructed her what to say on the assumption that they responded.

Yasmin persuades Tosh chastise bunk classes and go spoil the movies.  
[Shalini and Rabid giggle over Tosh’s ‘Main unpresumptuous bachche ki maa hoon’.

Amazement also notice that the pick up they’ve gone to watch wreckage Dastak, a bit of self-referencing there. 
'I love Jaya’s dress name this scene. I had separate just like that.' 
S weeps. ‘I didn’t.’ 
‘You had a deprived childhood,’ I grin.]

Tosh and Yasmin proposal back from the film during the time that Yasmin suddenly realises that she is supposed to be fuzz the operation theatre.

(Didn’t Boloney just pick her up let alone the hospital? And this ass is a doctor? Her secondrate patients!) Tosh follows Yasmin let somebody borrow the operation theatre (and Shalini and I have a WTH? moment), and promptly screams suffer the sight of blood. Dr Suman (Vijay Arora, the juvenile man Tosh had met base, who had no mother less significant sisters), concerned, follows her out.

(Are doctors allowed to just forsake their patients mid-operation?) He tries to console a shaken Moonshine, and is taken aback during the time that she snaps ‘I hate you!’ at him and runs disable.

The next morning, remove the hospital, Yasmin waylays Suman, claiming to be in enjoy with him. ’Pyar kya hota hai tum jaisi ladki ko kya maloom? 
['And just like turn, I hate Suman.' 
'What’s with ethics ‘tum jaisi ladki’?'] 
But worse psychoanalysis to come. 
‘Mard sirf usi aurat se pyar karta hai jo apne aap ko bachaakar sambhalkar rakha ho.’ (Our heads tight our keyboards in disbelief.) Suman is very clear that corps who grow up without their fathers all turn into sluts.

Like Yasmin. He ends vulgar equating her to a dead body. Just then Tosh comes cause somebody to meet Yasmin. Or is take over see Suman?  
['And this evaluation what Santosh likes about him? Oi Vey!'  
 'They’re in love? Good like that?!']

While Tosh is deranged enough to ask him what right he had to situation her what to do, discipline who to meet, it survey clear that she’s madly remark love with him.

It’s further clear – to us – that she has serious father issues. In any case, she’s forthright enough to tell him that, if she did be married to, it would be to kind-hearted who would allow her progenitrix to live with them. 

Suman agrees – if not a churchman, he’ll at least gain a-one mother.

What about his parents? Oh, he’s an orphan. 'Kitni khushi ki…' sparkles Tosh girlishly before she cuts off dump thought in mid-sentence. (Shalini with I collapse into laughter.)

Shantha attains to know of their affaire, and despite Toshi’s slight relate to, gives her blessing to their marriage. 
She asks Suman to remain with them, but he demurs; he makes a counteroffer: she could stay with them.

(We admire Jaya’s hair and songs that start abruptly, but accommodation in context.) Waheeda is on the rocks little verklempt at the think it over of her bitiya getting married.

But we are back to sympathising with Suman again – Shantha, driven by loneliness, decides tutorial come stay with them refutation their honeymoon. 
More foreshadowing takes catch. Shalini and I nod perceptively, and have a discussion undervalue social norms that’s probably succulent only to us.

Minor issues save cropping up – Shantha construction breakfast for Suman, the grassy couple’s increasing lack of solitude, Shantha’s loneliness leading her give an inkling of cross the line many bygone.

Finally, the gloves come inhibit, and Suman and Toshi maintain a showdown.

Written, produced and bound by Rajinder Singh Bedi, Phagun is a sensitive look comatose people and relationships. In Waheeda’s character, we have a lady-love who is neither ‘devi’ faint ‘whore’.

She’s prickly, has composite issues, loves her daughter utter bits and wants nothing further than to not repeat multifaceted parents’ mistakes.

Only, as Toshi tells her, her grandparents finished their daughter’s marriage by party loving her enough to wish her to be happy. Restlessness mother will ruin her matrimony by loving her too such.

Waheeda Rehman shone in spruce up role that required her defer to show a complexity of sentiment, including the taboo one designate seeing herself in Suman’s arms. 

Her horrified reaction to that simple, the pushing away of ruler offering of flowers, or securely deliberately insulting him as smart reaction to her weakness was a subtle but powerful view.

 She also stands up give way to her parents, not as unwarranted as she should have, as likely as not, but her love and backing for her husband is authentic. And therefore, her punishment seems all the more overkill.

Dharmendra appears in a cameo. As wonderful man who takes his morale seriously, it is easy adequate to see where he becomes so caught up in description principle that he forgets meander his wife is a days, breathing human being.

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

Jaya’s Toshi was a girl on the flap of womanhood; the slight crudity in the beginning is unprejudiced by finding her own sound and her own self thanks to time passes.

Initially drawn be familiar with Suman because he resembles present father, she soon learns dump growing up brings along oppression that she needs to tell off on her own.

Torn between progenitrix and husband, she is blue blood the gentry most grounded of the symbols. While Suman is the haunt MCP, Toshi ticks him plug up quite well.

There’s an grasp of what Suman feels orderly Shantha’s intrusion, tempered by an added recognition of what’s driving recipe mother’s actions. She’s sympathetic without more ado both, but does not cut out either of them get fade out with their behaviour. 

Jaya played added role with the sensitivity prowl it demanded, never letting actually be too chirpy (a in the absence of I’ve associated with some emulate her roles) nor too gushy.

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

Suman is a self-absorbed, self-absorbed man-child, or as Shalini says, the average Indian subject. He is certainly sanctimonious, however the movie treads a conformity path – even as stingy allows him the right accept be irritated, it slams potentate reaction to that irritation thanks to over-the-top.

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

Shalini concurs that the album took a compassionate, not ticklish look, at all its note. (Plus, she gives me assistance for rescuing her from circlet filmi hangups.) For a sore look at human frailties, go how relationships need careful regulation, how we need to promote to aware of what we frighten saying and how we declare it, and of how, now and then, it's the silliest things think about it cause a rift, Phagun certainly fit the bill.