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Hindi Movies
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Movie Review

Hindi Films

 

WAFADAAR ... ( 1985 )

Directed by
Dasari Narayana Rao

Produced by
Shrikant Nahata

Music by
Bappi Lahiri

Genre: Social

Tagline:

Plot Summary: Vijayalakshmi Pictures> WAFADAAR, a remake of Tamil film RAUDI RANGANNA, is an oft repeated theme of a simpleton being manipulated by the greedy evil doers. The simpleton learns the ropes and te scheming badlams get a dose of their own medicine. With Rajnikant being the central charactar, the film also turns out to be full of his kind of gags and gimmicks. Of couse, the life of the film, as in all recent South films, are the comic characters. Here, Kader Khan and Anupam Kher (villain) take up these jobs. While Kader Khan is excelletn beyond doubts, Anupam too, supports ably. Rajnikant is as usual, with his set gestures and predetermined expressions and a variety of gimmicks for the fight scenes. Padmini Kolhapure has a smaller role but she does well. Vijayeta has a very, very insignificant role and her dialogue are shrilly. Shakti Kapoor is good. Sushma Seth, Ashalata, Satyen Kappu etc. Support well. Production and technical values are fair. Diorectorially okay. Music lends no help. Dialogue are witty but the sound does not let all of them come through.



GERAFTAAR ... ( 1985 )

Directed by
Prayagraj

Produced by
S Ramanathan

Music by
Bappi Lahiri

Genre: Action-Family Drama

Tagline:

Plot Summary: S Raamanathan>s GERAFTAAR is an enteraining film form the word go. The such added attraction of the film is that three much talked about stars are featuring together for the first time. The makers have inserted every possible box-office gimickto make the film an enjoyable fare and; yes, they have succeeded, too: Though thefilm has the usual lost a nd found formula with action as its back drop, it keeps the audience gluded to their seats. After a very long time,Amitabh comes on the screen agiai. Needless to add, the spark comes in the form of Amitabh Bachchan, who arrives just one scene before the interval. The film gets the much neeeded boost with Amitabh combining emotions and action with perfection. He is excellent. The court-scene, like ANDHAA KAANOON, is as splendid and again a highilght. Kmal Hassan is present throughout the first half and he has donea marvellous job while enacting those acrobaties, He has been given dances, action, emotions and acrobatics and he is sponaneous throughout. Ranjikant is excelent is a cameo role. Poonam Dhillon looks charming and shows improvement,. The bad guys trio o f Kader Khan, Ranjet - and Shakti Kapoor is impressive. Madhavi is good . Excellent support comes from Aruna Irani. Om Shivpuri, Pinchoo Kapoor and Nirupa Roy. The interval may find the audience disappointd, dominated mostly by Kamal Hassan, the second half more than makes up and the film becomes enjoyable. Dialogue are excellent at places. Production values are good. Technically, the film a could have been better. Music is good and the songs are bound to get popular as the initial weeks pass by. Photography is good. In direction the Manmohan Desai stamp can be sen throughout the film.



ANDHA KANOON ... ( 1983 )

Directed by
T Rama Rao

Produced by
A Purnachandra Rao

Music by
Laxmikant Pyarelal

Genre: Action-Revenue

Tagline:

Plot Summary: Lakshmi Productions> (Madras)ANDHAA KAANOON has a very powerful theme that in itself possesses enough merit and force to hit the audience directly. This all defying theme projects the hopelessness of the law and order situation-very relevant in the present circum. Stancesa-and probes into the laws that weigh human lives as per the black and white of the bookd that govern it. It demands that the scales of justice justify its meaning. The film is bold in that it points out the fatality of justice meted out substainted by theories and goes ahead to avocated even taking of low into one>s own hands when the executive arm of the government fails to do its duty. ANDHAA KAANOON established without doubt that when it comes to making a choice of subjects the producers in thw south have more guts compared to their counterparts in Bombay. The dialogues as well as the entire contents of the film have a free go at the establishment, defying its very structure. And, which frustrated citizen is not going to enjoy it ? It is desinged to create the tuning with audience of all classes. That being the heart and soul of the film, the intelligent move was to include Amitabh Bachchan in the cast, in a special appearance though. Not only does he goes about his job to the extent of capturing your hearts but also makes up for the debut making Madras superstar Rajikant>s handicaps - the diction, mainly, and the appearance which put him out of place. His make-up too fails him. Rajnikant;s encounters with three murderes pale in front of Amitabh>s one in the court. Rajnikant is good in fight scenes but the Hindi audience would demand further creden tials. Hema Malini is her usual self. Reenal Roy is just an additonal prop. Asrani and agha are wasted. Pran>s return to bad man roles is refreshing. Prem Chopra and Danny are adequate. Amrish Puri is noticeable in a small role. Besides the three Villains> murders and Amitabh court sequence, yet aother mass appealing highlight is the April Fool gimmick. There was so much scope in ANDHAA KAANOON that one feels that a little more sensitive handling; some more punch in the dialogue; one more brush up to the screenplay and a slightly better finish woluld have enhanced to a great degree the impact of this film, taking it to sublime heights. Still, director T. Rama Rao does reveals his skills, well executing the thre mirder sequences of Pran, Prem Chopra and Danny. Musically, one song stands out in an otherwise ordinary score. Production and technical values are average.



JEET HAMARI ... ( 1983 )

Directed by
R Thyagarajan

Produced by
C Dhandayuthapani

Music by
Bappi Lahiri

Genre: Action

Tagline:

Plot Summary: Don>t go by the story of JEET HAMARI because it is only a filmsy excuse to pack in all sorts of funny, odd, silly and strange situations. Whether all this is deliberate or unintentional is anybody>s guess. To be fair, inspite of the ridiculous plot line and outlandish incidents the film is fairly entertaining. No complaints. Rajnikant has improved considerably since his debut film. His stylish mannerisms and flashy gestures, are highly appealing to certain sections of the audiece. To his credit, the literally carries the film on his shoulders. He is sure to bre accepted before long. Anita Raj looks very cute nad has done a good job, too. Raakesh Roshan has done his best though he has little scope. Ranjeeta is simply. The supporting cast humbly justify their alloted bits. Being a Devar Film, the animals obviously have the last word. JAANI DOST only had clever chimpanzee but JEET HAMARI has a super dog and an intelligent horse, too! Together the pair brave the baddies and raise a lot of chuckles. The film also has Shakti Kapoor! Music by Bappi Lahiri is inpired from a couple of Western tunes. It is so loud, it makes the non-muscial parts seem belonging to a silent movie. There is a very little justification for the numerous song sequences. Direction is good. Technical values are all above average.



JOHN JANI JANARDHAN ... ( 1984 )

Directed by
T Rama Rao

Produced by
A Purnachandra Rao

Music by
Laxmikant Pyarelal

Genre: Action

Tagline:

Plot Summary: Lakshmi Productis> (Madras ) JOHN JANI JANARDHAN is a formula film that has been made gripping with a powerful story. If gauged on a measure tape, the film has a foot of each ingredient, Still, the highlight of the film isRajnikant, totally justified in 3 roles - being very different in each role, He is just superb giveng dynamic and active performance which not many other artists could have given. Rajnikant could have given Rajni kant could be formed as the best acror around for rough and tough roles. Rati Agnihotri is as usal. Poonam Dhillon adds charm to the set up. Utpal Dutt is good as usual. Kader Khan and others suport well. Te chnically excellent with popular scores.



CHAALBAAZ ... ( 1989 )

Directed by
Pankaj Parashar

Produced by
A Purnachandrarao

Music by
Laxmikant Pyarelal

Genre: Action-Thriller-Comedy

Tagline:

Plot Summary: Lakshmi Productions> CHAALBAAZ is an acid test for 3 people-producer A. Purnachandra Rao (who has delivered all hits in the past), Sridevi (her future as the No.1 actress depends on how this film fares) and of course, director Pankuj Parashar (who has to make a mark in commercial cinema and on the big screen). Inspired by RAM AUR SHYAM and SEETA AUR GEETA, this 1989 version of two mega-hits has the potential to be a block-buster. And why not ? With Sridevi dominating the sceme in a style that is unique and undisputably the best, there are no two opinions. Add to all this is relief (Rajnikant), emotions (Sridevi), drama (Anupam Kher, Rohini Hattangadi, Shakti Kapoor and Annu Kapoor), action (Sunny Deol), music (Laxmikant Pyarelal-Anand Bakshi), photography (Manmohan Singh), effects and shot compositins (Pankaj Parashar) which have been inter-linked in a very intelligent way. However, one does feel that the drama had chances of better punches in the second hald and also, the climax-fight should >ve been reduced slightly since it is very lengthy. But full marks should be given to Pankuj as one doesn>t get the time to even think what>s happening. The tempo is as fast as a missile with no jerks at all. CHAALBAAZ is, as expected, a Sridevi show. It>s Sridevi-Sridevi-Sridevi all over-brightening up the lighter moments and bringing tears in the emotional scenes. Sri proves yet again that there>s only one actress who can fight and stand-out on her own in this male-domianted industry. Many of our top heroines, who aref often rated as the No. 1s, should take a lesson on what acting & presence is from the magic-wand called Sridevi. She goes through every scene with such finesse that would make even her worst critics to chew back their words. Undoubtedly, CHAALBAAZ wouldn>t have been what it is had it not been for SriRajnikant has a light role and is performance in the second half will win him applause. Sunny springs a surprise in the dance number >Tera bimaar mera dil> where he has danced extremely well. He is excellent, as usual, In fight scenes and has been very well photographed. However, one only felt that his role should>ve been slightly lenghier. Anupam Kher and Rohini Hattangadi are fabulous and will bring the house down with their comedy in the post-interval phase. Shakti Kapoor is good, too. Saeed Jaffrey, Aruna Irani, Master Aftab and Johny Lever give appropriate support. Kadr Khan (special apperance) is superb. Production values ar lavish. The producer has spent a heavy packet (on sets, outdoor, costumes) and the results are breath-taking. Technically, on par with any polished film made abroad. Photography (Monmohan Singh) is top class, once again. Sridevi has never looked so dazzing ands hep ever. Actionscenews (Ravi Dewan) are excellent.Dialogue (Kamlesh Pandey) are well conceived-they have punch, puns, mirth and emotions in good measures. Musically, all numbers are of hit-value and should attract repeat-crowds in large numbers. Effects in songs are also of high standard. Direction by Pankuj Parashar is noteworthy. If it is Sridevi who dominates on Screen, it is A. Purnachandra Rao and Pankaj Parashar who dominate off-screen.



BEWAFAI ... ( 1985 )

Directed by
R Thayagrajan

Produced by
C Dandyuthapani

Music by
Bappi Lahiri

Genre: Family Drama

Tagline:

Plot Summary: Devar Films> Bewafai has to its credit a big the line up of stars. Rajes Khanna. Rajnikant. Padmini Kolhapure. Tina Munim Meenakshi Seshadri and Pran aare the main cast of this film. Aaand as fif this was enough the film falls short in al the other departments. The story is unconvincing-concocted beyond logic. Screeen play is poor and, as if to give the finishing touch the direction and music also desert the film. Even the title too is irrelevant. The performances nor the actors can make up for the other deficientcies though Rajesh Khanna, ?Tina Munim. Meenakshi, Padmini, Rajnikant and Pran do their bit. Production and technical values are average.



MAHAGURU ... ( 1985 )

Directed by
S S Ravichandra

Produced by
U S N Babu, C N Chandra

Music by
Bappi Lahiri

Genre: Action

Tagline:

Plot Summary: While watching Krishna Art Combines> MMAHAGURU one feels like beiing on a South Indian Movie - merry -go - round. All the scenes from the previous Madras films whiz by constantly. MAHAFGURU has the same sstunts same fights and thirlls, the same punches, gags and twists. It has the same crude, fst treatment that we always get from Madras. The film has many properties for the front benchers but the seats. 10th row onwards will wonder what they are seeing. Rajnikant is good in swift, fast action. Meenakshi Seshadri, inspite of her bewithing looks, falls short of her usual talent. Kader Khan and Shaft Inamder form a good comedy pair. Raakesh Roshan is as usual, buyt has a short role as he dies in the interval. Production and technical values are average. Musically, two songs are well tuned. Directorialy fast, ful of masala.



DOSTI DUSHMANI ... ( 1986 )

Directed by
T Rama Rao

Produced by
T Rama Rao

Music by
Laxmikant Pyarelal

Genre: Action

Tagline:

Plot Summary: Srinath Producton> Dosti Dushmani , the production debu of noted director T. Rama Rao is a crime subject full of action and thrills. It revolves around the friendshiop between three men and the problmes that crop up in their paths. How the friends come to each others rescue and emerge victorious forms the crux of the film. Jeetendra plays a doctor, Rishi kapoor a clever lawyer while Rajnikant is an honest police officer Bhanu Priya, Kimi Katkar and Poonam Dhillon are their respective lady loves. Jeetendra, Rishi and Rajnikant have fully justified their roles Poonam dhillon looks charming whle Kimi has exposed her charms. New find Bhanu Priya looks ravishing and has also acted well- an impressive debut. All the songs have actchy tunes and good lyrics Amrish Puri. Pran and Shafi Inamdar give good support. Kader khan and Shakti Kapoor fill the bill. Dialogue are good at places, Fights are well highlts Photograhphy and production values aregood Direction is mature.



BHRASHTACHAR ... ( 1989 )

Directed by
Ramesh Sippy

Produced by
Sippy Films

Music by
Anu Malik

Genre: Social

Tagline:

Plot Summary: Ramesh Sippy- the very name raises expectations ten-fold. And why not ? ANDAZ, SEETA AUR GEETA, SHOLAY down to the TV serial BUNIYAAD had the unique touch of this master craftman. Surely, his latest offering, BHRASHTACHAR is a film to watch. Shockingly and sadly, BHRASHTACHAR is a total letdown righ from the word go, except in certain scenes where the master touch is evident: (I) The murder by Sudhir Pandey in broad daylight wit Rekha witnessing from an auto helplessly (ii) Rape of Shilpa Shirodkar (iii) Rajnikant>s courtroom sequence & (iv)The climax. However the total impact, thanks to a confused script (Manohar Shyam Joshi), is dry, lengthy and lifeless. Add to all this is Laxmikant Pyarelal>s music, which is of very poor standard. Not a single song is woth a hum and in the times when music plays a vital role in the success of a film, BHRASHTACHAR is handicapped by fast-forward numbers. Even the background score leaves a lot to be desired. As the title suggests, BHRASHTACHAR deals with the dirty games politicians play and how they are hand-in-glove with the police and the slum-lords. One definitely then expects a bold fare but the film fails to sustain interest thanks to a lot of sermonising by all the characters. BHRASHTACHAR is a film mainly of performances. And the film clearly belongs to Rajnikant (in special appearance), who will be loved by one and all for his mannerisms.He is simply terrific. Rekha>s performance lacks fire. Mithus Chakraborty does his part with sincerity. Anupam Kher has gone in to the skin of the character and delivers one of the best performances of his career. Raza Murad is venomous and leaves an impact. Abhinav Chaturvedi has nothingmuch to do while newcomer Shilpa Shirodkar>s anatomy has been exploited to the hit. Anjana Mumtaz, Padma Khanna, Sudhir Pandey, Vinod Nagpal, Girija Shankar, Ajay Wadhawkar, Vikar Anand, Mangal Dhillon, Bharti Achrekar, Gopu Desai and other give fabulous support. Production values are not upto the mark. In fact, not much money has been spent on the sets. Technically, a polished product. Photography (K.K.Mahajan) is first rate. Dialogue are clapworthy. Direction by Ramesh Sippy is a half-hearted effort.



PHOOL BANE ANGAREY ... ( 1991 )

Directed by
K C Bokadia

Produced by
K C Bokadia

Music by
Bappi Lahiri

Genre: Action

Tagline:

Plot Summary: B.M.B Productions > ( Madras) PHOOL BANE ANGARE ,as the title suggests, is a revenge saga , Through the plot may not be new, the treatment towards the second half lifts the film to a major extent. Inspired by BHARTIYA NARI ( Tamil ) and KARTVTAM ( Telugu ) , the film has an extremely effective treatment by its maker, K.C. Bokadia . Though the film starts on a very average note, it picks up momentum with the pre-interval rape scene of Rekha and Rajinikant>s murder by Charan Raj .The post -interval portions then are a treat to watch.Climax , it must be noted , is the most effective part of the film and Bokadia has handled the crowd scenses with admirable ease. What also adds to the film is its fast pace throughout , apart from Rekha>s superb performance. Performance-wise , the film revolves around Relja and the actress delivers a memorable le performance -which is undoubtedly her best so far. Her revenge portions in the second half is sure to create a sensation. Rajnikant has done very well . Prem Chopra is Brilliant . Charan Raj is venomous and the role fits him like a glove. Dalip Tahil ,Shafi Inamdar , Bindu , Alok Nath, Senthil , Aparajita , and Beena lend adequate support. Production values are lavish . Money has been spent without cutting carners and itshows on the screen . Dialogue ( Anwar Khan ) are excellent. Photography is beautiful .The crowd scenes have been captured effectively . Musically ( Bappi Lahiri ) ," Naina Ho Gaye Bawre " and Gori Kabse Jui Jawaan " are melodious and sure to emerge hits with the masses .Direction ( K.C. Bokadia ) is top class and shows a flair for lavish projects.



FARISHTAY ... ( 1991 )

Directed by
Anil Sharma

Produced by
S G S Films

Music by
Bappi Lahiri

Genre: Action

Tagline:

Plot Summary: Shores S.G.S Films P.Ltd>s FARISHTAY Is an eagerly -expected fare for two valid reasons: ( I ) It teams Dharmendra -Vinod Khanna once again and ( ii ) Other top names ( Sridevi, Rajnikant and of course, director (Anil Sharma ) have been assembled for the very first time. Add to these two reasons, the grandeur , gloss , fire and venom in 4-trac sound system and one expects the results to be out of the world. The film resolves around the theory that the wicked always have a bad end. The opening scene shows the atrocities of the villain ( Sadashiv ) , who uses the weapon of fear to rule his kingdom . Though theplot may sound predictable, the punches in the film-be it patriotic or comedy or for that matter , action -based , leave a solid impact. Also, the scenes between Dharmendra and Vinod Khanna are enjoyable and lift the film to a creditable level. Director Anil Sharma once again deals with partroitism and a cuple of scenes like Dharmendra-Vinod Khanna>s introduction , Rajnikant>s death scenes , Sridevi>s entry and the Holi sequence have that stamp of his, that is unique . However, the film drags slightly in the second half, but picks up momentum in the climax . Unfortunately , Bappi Lahiri>s music cannot be termed as an asset to this otherwise powerful film. Performance-wise , both Dharmendra as well as Vinod khanna have done well and vie for top honors. In action scenes too, both seem very comfortable and impart a rich look to the film. Sridevi is, as usual , fantastic . In fact , her formances can be terned as one of the pillars of the film . Rajnikant leaves an impact in a brief role. Jaya Prada ( special appearance ) doesnt have much to prove . Kulbhushan Kharbanda is fair and so is Swapna. Kirti Singh impresses. Sadashiv Amrapurkar spells terror and is successful in achieving the desired impact . Rajendrnath , Brahmachari , A.K. Hangal, Amrit Pal, Bhushan Tiwari , Gautam Sareen , Raj Kishore, Birbal , Bob Christo , Beena , Javed Khan , Manek irani and master Bunty support well. Production values are grand. A lot of money has been spent in the making and it>s very much evident on the screen . Technically , good. Photography ( Anil Dahnda ) is eye-pleasing and has captured the gloss and grandeur effectively. Action is first-rate . Writer Shabid Kumar has done a good job, especially in the confrontations between the good and evil . Direction by Anil Sharma is a definite plus point and proves the talented director>s command over the medium .



HUM ... ( 1991 )

Directed by
Mukul S Anand

Produced by
Romesh Sharma

Writing credits

Music by
Laxmikant Pyarelal

Genre: Action-Family-Good Music

Tagline:

Plot Summary: Ramesh Films> HUM , a Dinesh Gandhi presentation, is the most eargely - expected film in the and the recent times for 2 reasons (I) Amithabh Bachchan and ( ii ) " Jumma Chumma ". And on both the counts, HUM is an out-and-out Amitabh show. From scene A to Z, the actor carries the film on his shoulders and gives the film a different look. Though the polt is nothing new and exciting , what lift to a creaditable level , apart from Bachachan and "Jumam Chumma " is the Westernised yet Indian treatment by director Mukul S. Anand . The first few reels of the film are slick with the tempo being fast, thereby giving the viewer no time to think or even blink his eyes for a second. And in the very first hafl,Mukul gives the film a stamp that is unique but still catering to the masses. Music, action ,emotions , romance, sex-name it , its there -- but in a very polished way. The second half starts on a breezy note and though the sailing is smooth in the first half ,the post-interval portion has a diluted impact. The reason is obvious :Predictability in the treatment. However, the kidapping of Deepa Sahi and Baby Tabssum towards the pre-climax , bring the film on the right track. Also , the climax may not be imaginative but has that ingredient which will appeal to one and all. Yet another factor that deserves special mention is the music side of the film. Splendid , perhaps, would be right term to describe the songs (L.P. -- Anand Bakhi ) and their picturisation ( Chinni Prakash ) -- be it in Mukesh Mills or the faraway exotic Mauritius. Performance-wise , as mentioned earlier , Amitabh proves his mettle as a performer par excellence, once again. The fact that Bhachachan has played his age, makes the proceedings all the more watchable . Add to it " Jumma Chumma " and Amitabh walks away with the cake.Rajnikant , with his mannerisms , is a treat to watch. Govida looks cute and leaves on impact. Kimi Katkar , though having less footage , will be remembered , more so becaue "Jumma Chumma " is history. Deepa Sahi is excellent . The scene where she confronts Kader Khad is clap-worthy . Shipa Shirodkar acts freely and exposes unhibitedly. Danny Denzongpa delivers a powerful performance and mathes Amitabh step-by-step. Anumap Kher adds yet another feather to his alerady-crowded cap with a role that has comical as well as negative shades. Kader Khan shines .Ramesh Sharma , Annu Kapoor , Shammi , Shiva , Asha Sharma , Deepak Shirke , Aparajita, baby Tabassum and Guddi Maruti do their bits convincingly. Production valuse are top class. Technically , first-rate, Action ( Ravi Dewan ) is effective , Photography ( W.B. Rao ) is breath -taking beautiful . Both. Ooty and Mauritius have never been so beautiful capctured as in HUM . Script ( Ravi Kapoor- Mohan Kaul ) is tight and has a couple of highlight punches. Dialogue ( Kader Khan ) have that touch which is distinct. Art director R.Verman deserves special mention for an excellent job throughout .Dances ( Chinni Prakash ) are one of the pillars of the film. Musically , L.P. proves once again that they still have fire in them >Jumma - Chumma ", " Kagaz Kalam" and "Sanm Mere Sanam " are proof enough of their copabilities . Direction ( Mukul S .Anand )is an asset.



TYAAGI ... ( 1992 )

Directed by
K C Bokadia

Produced by
Dilip Kankaria

Music by
Bappi Lahiri

Genre: Action

Tagline:

Plot Summary: Devyank Arts > TYAGI , as the title suggests , is film about a tyagi ( Rajnikant ) who sacrifices all worldly , materialistic things to keep his two brothers happy . However , the two brothers ( Shakti Kapoor and Gulshan Grover ) are like snakes in the grass who keep getting him into trouble. After the successful AAJ KA ARJUN and PHOOL BANE ANGARAY , one expects a lot from K.C. Bokadia . And to an extent, the film does have a few punches ( Rajnikant > s entry ) , good songs ( > Tension> and > Telephone > ) and action scenes to keep the show interesting . However , the film has an oft-repeated plot and a few sequences at places ( the bullet sequences in the climax ) that dilute the impact . Also, emotions don>t touch the heart . The Kabaddi match is too lengthy . Climax is routine. Performace-wise , Rajnikant has done very well .Jaya Prada looks beautiful and does a good job. Bhagyashree leaves a mark in a brief role. Himalaya doesn>t impress at all . Kader Khan is competent . Prem Chopra is okay . Shakt Kapoor and Gulshan Grover do their roles with sincerity. Sujata Mehta , as Shakti Kapoor>s wife , proves yet again that she is a talented actress. Production values are good . Photography ( Babu ) is excellent. Action scenes ( Super Subarayan ) deserve full marks . Direction ( K.C Bokadia ) could>ve been better.


GANGVAA ... ( 1984 )

Directed by
Rajshekhar

Produced by
B S Dwarakesh

Music by
Bappi Lahiri

Genre: Action

Tagline:

Plot Summary: Dwarkish Chitra>s GANGVAA is a routine dacoit story that ahs a Roninhood type of dacoit born out of a revenge seeker. What makes still palatable is good and novel twists and punches. The film provides lots of thrill. With its well executed action scenes. All the fights are highlights, the last lighe being extra ordinary. Second half is far better than the first half. Rajnikant is excellent in action. His dialogue delivery is also nice. Shabana Azmi is good in a small role. Suresh Oberoi is impressive as inspector. Amrish Puri apprats only in the beginning. Story value is fair. Producation and technical vales are average. Music is passable. Direction is good.



MERI ADALAT ... ( 1984 )

Directed by
A T Raghu

Produced by
U S N Babu

Writing credits

Music by
Bappi Lahiri

Genre: Action-Thriller

Tagline:

Plot Summary: Krishna Art Pictures > MERI ADAALAT follows closely on the heels of MERI AWAAZ SUNO and ANDHAA KAA NOON. The earlier films had a bold theme and stuck to the point thus making them effective and gripping. MERI ADAALAT has a very similar tale and hence little novelty. Another minus point about the film isnthat it is filled with a lot of unnecesary sidelights. The film starts well. Then there is nothing .. Nothing till the last few reels, when it becomes really gripping. Rajanikanth is as stylish as ever. Though he often exceeds the limits, he has performed well and is watchable. We must mention however that some of his long lines, spoken speedily are difficult to follow. Zeenat Aman ( playing a sports journalist, ha, ha ) just does not have any scope. Mohnish Behl and Komal, the other star pair ar only average. Kadar Khan is as usual. Monty, who had a good role going for him fails to impress. Rest fill the bill. Musically,average as two songs are okay but are wrongly timed intghe film. Lyrics, are uninspiring. Production and technical values are average. Some of the sets and decorations are more gaudy and garish than other south films. Action sequences are very well done.


 


 
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