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Complete information on bollywood movie: Madhosh Star cast, Movie Rating, Reviews, Plot, Screenshots, Song listing, Trailer, Watch Movie link and more...,
2:08:06
Qasam Khao Tum Ek Baar - Madhosh 1974 - Hindi OLD Song.
Music: Rahul Dev Burman Lyrics: Majrooh Sultanpuri.
Title music by Rahul Dev Burman (1974)
Qasam Khao Tum Ek Baar - Madhosh 1974 - Hindi OLD Song.
kasam khao tum ek baar mere yaar mere dildar
chale to na jaoge tum babu kahi le ke mera pyar
haye kasam khata hai mera pyar mere yaar mere dildaar
aayega diwana le ke doli sanam kal hi tere dawar
kasam khao tum ek baar
pagal kaho mujhe ya diwani kaho
mai to teri huyi balam jo ho so ho
meri bala se koi rahe ya na rahe
magar meri najar me tu basi rahe
basa kar mera sansar mere yaar mere dildar
chale to na jaoge tum babu kahi le ke mera pyar
haye kasam khata hai mera pyar
rang se tere chhunari meri rangi rahe
mathe mere bindiya teri lagi rahe
chanda suraj jo nache jhume
magar meri baho me tu saji rahe
saja kar mera sansar mere yaar mere dildar
chale to na jaoge babu kahi tum le ke mera pyar
haye kasam khata hai mera pyar mere yaar mere dildaar
aayega diwana le ke doli sanam kal hi tere dawar
Much
more Helen @ http://misternaidu.blogspot.com/ Special thanks to Tom
Daniel for the restoring video and making it look as ....
Provided to YouTube by Saregama India Ltd Sharabi Ankhen Gulabi Chehra Full Version · Asha Bhosle, R.D. Burman Madhosh ...
sharabi aankhe gulabi chehara
sharabi aankhe gulabi chehara kaisa lage mera dil ruba
dil mera dilruba dil mera dilruba
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
dil mera dilruba dil mera dilruba
gulabi chehra
ye julpe kya lage, jaise chav dhale
meri chale to is chaav me bita du sari jindagi
ha ye najar yaar ka ghar, are pagle
yaar ye alag duniya mere ghar ki hogi aur bhi
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
gulabi chehra
ye badan, kya saran, kya kehne
tumse milu to kuch yaad na aaye, chahat ke siwa
ha ye baahen, pyar chahe
ae diwane in baho ka aur bhi hoga kya chahat ke siva
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
gulabi chehra
ye kamar, ha magar, na meri jaan
yu hi to log bekar nahi bharte aahe subah sham
aa jalima, dilruba o nadan
jaan dilruba ke alava bhi to hoga mera koi naam
sharabi aankhe gulabi chehara kaisa lage mera dil ruba
dil mera dilruba dil mera dilruba
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
dilruba dil mera, dilruba gulabi chehra, gulabi chehra
Song Name: Mera chota sa dil tune Singer: Kishore Kumar, Asha Bhosle Music: R.D.Burman Lyrics: Majrooh Sultanpuri Movie:
SONG - MERA CHOTA SA DIL TUNE CHINA SINGER - KISHORE-ASHA MOVIE - MADHOSH Created with http://tovid.io.
mera chota sa dil tune china ha tune tune o hasina
duhayi hai duhayi hai haye re haye jaau kaha
kaisi dilbar kahe ki hasina
are mujhme jo tha jalim tune china
duhayi hai duhayi hai haye re haye jau kaha
aankho me hai chaya hua jab se tera husne jawa
sujhe nahi duja koi tere siva o jane jana
aa jana jara sine se tujhe lipta lu tujhe najnina
kaisi dilbar kahe ki hasina are mujhme jo tha jalim tune china
duhayi hai duhayi hai haye re haye jau kaha kaha kaha
pyasi najar phir le ke tu paapi mujhe dekhe hai kya
hotho ka rang tu pee gaya chehre ka roop tu le gaya
mujhme kya raha hai baki kare mushkil kyu mera jina
mera chota sa dil tune china ha tune tune o hasina
duhayi hai duhayi hai haye re haye jaau kaha
kaisi dilbar kahe ki hasina are mujhme jo tha jalim tune china
duhayi hai duhayi hai haye re haye jau kaha
Provided to YouTube by Saregama India Ltd Nathani Mori Dole Re · Asha Bhosle Madhosh ℗ 1974 Saregama India Ltd Released ...
nathani meri dole re nathani meri dole re
o koi thame to bada maja hoye
nathani meri dole re o koi thame to bada maja hoye
thame to bada maja hoye o thame to bada maja hoye
sajna tu hi laga ye mera kaha nahi mane
ki mera jane jigar tu iske kayi hai diwane
yu to nahi tum
chadati umar meri rasiya patli kamar meri
dekhu to ajab nasha hoye
nathani meri dole re o koi thame to bada maja hoye
o thame to bada maja hoye
mujhe kya mili jawani aafat mere liye layi
chhunari masak masak jaye
jab jab lu mai angdayi mai to apne bas me nahi
balam jukti rasiya rukh ja
mere sanam ruk ja to bada maja aaye
nathani meri dole re o koi thame to bada maja hoye
thame to bada maja o thame to bada maja hoye
Film : Madhosh Music Director : R. D. Burman Year : 1974.
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
haye haye lali chudriya
lali chudariya kinaar phuldar vai vai vai vai
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
aaj vo aaye mero angana mai jo li angdayi
ho kahe kahu mai daiya re kaisi jalim najar lalchayi
jaan na pahchaan mohe maar rahi ankhiya
dekho re raam duhayi
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
gaav gali me dhum padi hai
aisa mor sajan hai baka
beech bajariya jiya churaye
lakho ke beech mare daka
haar gayo mar gayo aisi najariya
ghunghat se kaahe use jhanka mai to mar gayi
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
haye haye lali chadriya
lali chadariya kinaar phuldar vai vai vai vai
jaan mare jaane mare balmu hamaro
The only reasons that I don’t completely despise this film are that it finally enabled me to identify the location of The Room (details are in that post), and pretty much every moment in it is a Screencap Waiting To Happen. It is a scarf-fest of unbelievable proportions. I guess I can also finally say that I have seen a Mahendra Sandhu movie, although I detested it so much that I may never be able to forgive him (I’ve not been able to watch a Tom Hanks film since he inflicted Forrest Gump on me).
Madhosh seems to have grand pretensions of being a modern look at valuing women, but its subtext (and not really very “sub” at that) is so relentlessly sexist that it is mostly just a rehash of that dehumanizing goddess-whore form of female oppression which masquerades as respect. I gather that the word madhosh means drunk or intoxicated, which perfectly describes the people who made this if they really thought this film had anything worthwhile or different to say.
Mahendra Sandhu plays Raj, a man we are supposed to believe is attractive and charming, if a little misguided. In reality, he is a narcissistic sociopathic rapist who should be rotting in jail. I loathe him at first sight.
He is utterly and completely repellent, and convinced that he is God’s irresistible gift to the ladies. As the credits roll, he seduces a series of adoring females in hotel rooms, by swimming pools, and on palm-fringed beaches, but none of it is convincing to me because he also:
He is egged on and abetted by a creepy little gaudily-dressed chamcha named Pyarelal (Raja Duggal?).
His best friend is a singer named Goldie (Rakesh Roshan) who performs at a nightclub (The Room!) in the evenings. Poor Rakesh is burdened by his usual dreadful wig (Fine! You think you need a wig! Pay some good money for one! and don’t make it a combover, for Christ’s sake!) and also by a wispy little caterpillar of a fake mustache. Sigh.
Raj’s wealthy mother (Veena in a bad wig) ignores her beloved beta’s awful behavior like a good cineMaa should. (Do I even need to put adjectives like “bad” in front of “wig” any more? I think not.) She has asked for Goldie’s help in finding Raj a bride, because, you know, he’s such a catch *eye roll*.
Goldie doesn’t approve of Raj’s lechery, and tells him that the new dancer he works with, Mona (Helen), won’t fall for Raj’s charms. When Raj grabs Mona’s dress in the club that night, Goldie comes to her rescue (because poor helpless Mona can’t deal with it herself I suppose, even though she’s clearly as disgusted by Raj as I am).
Afterwards, Raj insults her by insisting that if she’s a cabaret dancer then she must be a prostitute, and asking her how much money will convince her to sleep with him. Goldie chastises him for this attitude, and it’s obvious that he cares for Mona, although Raj learns nothing from their exchange.
Thwarted for the time being, Raj distracts himself by visiting a courtesan named Munni (Jayshree T) who works for brothel madam Pannabai (Shyama). Up for sale: her ostensible virginity, the euphemism for which is “nose ring”.
But alas. Raj and Pyarelal (whose personality is even worse than his clothes!) pass Mona one day trying to hitch a ride at the side of the road. He pulls over and apologizes to her for his bad behavior earlier, then offers her a lift. Pyare drugs a Coke and gives it to her, then takes his leave. She loses consciousness and Raj drives off into a lonely area and rapes her (after blowing smoke into her face).
When Goldie hears about it, he is livid. He goes to see Raj and I bash my head on the arm of my chair.
Fortunately for Mona (although I understand I’m not supposed to think that way) Raj refuses, even when Goldie says that she will probably kill herself. Goldie swears that when Raj himself gets married, he will seduce Raj’s wife in revenge. I sigh again.
Women are not pieces of property or pawns to use in your pissing contests. They are NOT.
Maa now asks Raj to go check on one of their timber estates, and he takes Pyare with him. Almost immediately, his eye is caught by a feisty village belle named Meenal (Reena Roy, one of the only bright spots in this and it’s not her fault it’s such a horror show).
There’s a gratuitous catfight as well—I can enjoy a catfight as much as the next guy, but not when there isn’t any reason for it other than to titillate. It’s just another nail in this film’s coffin, not that it needs any more.
Then Raj naturally tries to rape Meenal too, but since he’s forgotten to drug her she is able to fight back.
Raj wastes no time on self-reflection or why it is that women want to kill themselves after making his acquaintance. He falls in love with Meenal thanks to her dedication to her izzat. Better dead than unchaste, even if you’ve been raped! When your only choices are “irredeemable whore” or “above-reproach goddess”, what’s a girl to do?
It gets worse. We are led to understand that Raj is the way he is because of an awful predatory governess who tucked him in as a boy (little Master Aamir Khan!) and then when he was grownup and could have easily said no, seduced him. The arm of my chair meets my head again.
He sets out now to change Meenal’s mind about him, swearing that he’s a changed man and even getting rid of sidekick Pyarelal when he continues to tempt Raj. Possibly convinced by his new predilection for cowboy outfits (replacing sleazy leisurewear) or because he saves her from a
man in a moth-eatenbear
suit, Meenal agrees to marry him.
Maa raises no objections, being simply happy to finally have a bahu and they tie the knot (literally! Hey, is that where the expression comes from?). Raj takes her home with him and for a brief while they are happy as she learns some English, how to wrap a saree, and the magic of modern inventions.
But Goldie has learned of Raj’s marriage, and gets a look at Meenal one day as they drive past each other. Plus it’s not long before Raj is lured back into old habits and the courtesan Munnibai, who pretends to attempt suicide because of her love for him. He sets her up with an income and visits her once a week on Tuesdays—not just as “a friend” either. He even blows his bride off on Karva Chauth! Maa frets along with poor Meenal.
Maybe you should have set some limits on your son, Maa, before he became a spoiled self-absorbed prince.
Goldie learns of Raj’s arrangements with Munnibai and sets up a meeting with the disaffected Pyarelal.
When a disillusioned and heartbroken Meenal confronts her husband about his infidelity, he first tries to placate her and then tells her to go to hell.
Goldie saves Meenal when she tries to kill herself by jumping into the ocean; she confides in him and he tells her briefly about Mona and befriends her. They begin spending a lot of time together, which enrages that jackass hypocrite Raj.
I should say that the one thing the filmmakers did right here was to let Meenal remain a feisty girl with a mind of her own even after marriage (well except for the suicide moment, but she gets over that quickly). She takes gleefully to the plan of making Raj jealous (although he doesn’t seem jealous so much as worried about his reputation) and she is not intimidated by his threats. She continues her friendship with Goldie even when told not to and I love her for it.
But Raj is not the sort to take something like this lightly, and it’s pretty clear that he hasn’t changed much at all from the man who raped poor Mona. Will Goldie and Meenal really fall in love? Will Raj ever get an effing clue? And what has happened to poor Mona?
If you want to know, you are welcome to ask me because I really don’t think anyone should see this film (the ending is the worst part of all). It’s awful, unless you enjoy sexism and slimeballs (and if that’s the case you probably don’t come here anyway). I didn’t even really much like RD Burman’s music, although it’s always fun to watch Helen dance. The cinematography is excellent, and I don’t think I need to say much about the eye-watering fashion: the screencaps pretty much speak loudly for themselves, na?
Oh all right, I do have SOME things to say.
It’s not surprising given the story that the men out-peacock the women in this by a huge margin. But of course the most stylish and peacocky thing of all—even when Rakesh Roshan is wearing a party hat on his shoulder—is The Room. Hotel Horizon zindabad!
Directed by Desh Gautam, Hindi movie Madhosh stars Reena Roy and Mahinder Sandhu in the lead role. Know the full star cast of Madhosh film like producer, ...
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Madhosh is a 1974 Bollywood drama film directed by Desh Gautam. Cast[edit]. Reena Roy – Minal; Rakesh Roshan · Mahendra Sandhu · Johnny WalkerMadhosh (1974) | MemsaabStory
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Madhoshi
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2:08:06
Madhosh│Full Hindi Movie│Meena Kumari
Madhosh is a 1951 Hindi movie starring Meena Kumari, Manher Desai, Usha Kiran.
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Madhosh (1974)-[removed by you tube]
Madhosh is the story of two friends Raj (Mahendra Sandhu) and Goldie (Rakesh Roshan). On one hand the wealthy Raj is a ...- GREEN
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Madhosh (1974) - IMDb
https://www.imdb.com › title
Rating: 6.3/10 - 248 votes
Producer Tahir Hussain's elder son Aamir Khan acted in the film as a child artist
Raj is wealthy and a womanizer and his lifelong
friend Goldie is a self made pop singer. Goldie tries to make Raj
realize that women are not mere objects of desire, but with no results.
Raj...
See full summary »
Director:
Desh GautamStars:
Mahendra Sandhu, Reena Roy, Rakesh Roshan | See full cast & crew »Cast
| Cast overview, first billed only: | |||
 |
Mahendra Sandhu | ... | Rajkumar |
 |
Reena Roy | ... | Minal |
 |
Rakesh Roshan | ... | Goldie |
| |
Veena | ... | Raj's Mother |
 |
Helen | ... | Mona / Mrs Goldie |
 |
Shyama | ... | Padmabai |
| |
Jayshree T. | ... | Munni |
 |
Raja Duggal | ||
| |
Ashoo | ||
 |
Aamir Khan | ... | Child artist |
| |
Sabina | ||
| |
Miss Shefali | ... | (as Shaifali) |
| |
Kapila | ||
| |
Kamal | ||
| |
Rubai | ||
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Storyline
Raj is wealthy and a womanizer and his
lifelong friend Goldie is a self made pop singer. Goldie tries to make
Raj realize that women are not mere objects of desire, but with no
results. Raj ends up by sexually assaulting Mona, Goldie's girl friend.
Now Goldie decides to teach Raj a lesson he shall never forget.
Written by
Artemis-9
Plot Summary
|
Add SynopsisStoryline
Madhosh (1974) - Nth Wall - The Ultimate Indian Movie ...
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Madhosh(1974) - Latest Information about Madhosh(1974) review, Madhosh(Plot :
Revolves around four characters- Rajkumar a wealthy playboy, Goldie a
pop singer, Meena a village bele, and Rajkumars helpless mother. The pop
singer by casting an aura of suspicion around his relation with his
freinds wife, ultimately suceeds in changin his outlook towards sex and
life and helps him get reconciled with his wife Meena.
Plot Keywords:
prostitute | single mother | extramarital affair | mother son relationship | flashback |Certificate:
UParents Guide:
Add content advisory for parents »
Edit
See full technical specs »
Details
Country:
IndiaLanguage:
HindiRelease Date:
27 February 1984 (India) See more »Also Known As:
Drunk See more »Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
MonoColor:
Color (Eastmancolor)
Edit
Music by Rahul Dev Burman as R.D. Burman
Sung by Kishore Kumar and Asha Bhosle
See more »
Did You Know?
Trivia
Producer Tahir Hussain's elder son Aamir Khan acted in the film as a child artist.20 years later his younger son Faisal Khan debuted as a lead in Madhosh 1994.Both the films with same title were produced by Tahir Hussain. See more »Soundtracks
Mera Chhota Sa Dil Tune ChhinaMusic by Rahul Dev Burman as R.D. Burman
Sung by Kishore Kumar and Asha Bhosle
See more »
Madhosh (1974) Watch Full Movie Free Online - HindiMovies.to
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chale to na jaoge tum babu kahi le ke mera pyar
haye kasam khata hai mera pyar mere yaar mere dildaar
aayega diwana le ke doli sanam kal hi tere dawar
kasam khao tum ek baar
pagal kaho mujhe ya diwani kaho
mai to teri huyi balam jo ho so ho
meri bala se koi rahe ya na rahe
magar meri najar me tu basi rahe
basa kar mera sansar mere yaar mere dildar
chale to na jaoge tum babu kahi le ke mera pyar
haye kasam khata hai mera pyar
rang se tere chhunari meri rangi rahe
mathe mere bindiya teri lagi rahe
chanda suraj jo nache jhume
magar meri baho me tu saji rahe
saja kar mera sansar mere yaar mere dildar
chale to na jaoge babu kahi tum le ke mera pyar
haye kasam khata hai mera pyar mere yaar mere dildaar
aayega diwana le ke doli sanam kal hi tere dawar
sharabi aankhe gulabi chehara kaisa lage mera dil ruba
dil mera dilruba dil mera dilruba
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
dil mera dilruba dil mera dilruba
gulabi chehra
ye julpe kya lage, jaise chav dhale
meri chale to is chaav me bita du sari jindagi
ha ye najar yaar ka ghar, are pagle
yaar ye alag duniya mere ghar ki hogi aur bhi
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
gulabi chehra
ye badan, kya saran, kya kehne
tumse milu to kuch yaad na aaye, chahat ke siwa
ha ye baahen, pyar chahe
ae diwane in baho ka aur bhi hoga kya chahat ke siva
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
gulabi chehra
ye kamar, ha magar, na meri jaan
yu hi to log bekar nahi bharte aahe subah sham
aa jalima, dilruba o nadan
jaan dilruba ke alava bhi to hoga mera koi naam
sharabi aankhe gulabi chehara kaisa lage mera dil ruba
dil mera dilruba dil mera dilruba
gulabi chehra sabhi ne dekha dekha nahi magar dil mera
dilruba dil mera, dilruba gulabi chehra, gulabi chehra
mera chota sa dil tune china ha tune tune o hasina
duhayi hai duhayi hai haye re haye jaau kaha
kaisi dilbar kahe ki hasina
are mujhme jo tha jalim tune china
duhayi hai duhayi hai haye re haye jau kaha
aankho me hai chaya hua jab se tera husne jawa
sujhe nahi duja koi tere siva o jane jana
aa jana jara sine se tujhe lipta lu tujhe najnina
kaisi dilbar kahe ki hasina are mujhme jo tha jalim tune china
duhayi hai duhayi hai haye re haye jau kaha kaha kaha
pyasi najar phir le ke tu paapi mujhe dekhe hai kya
hotho ka rang tu pee gaya chehre ka roop tu le gaya
mujhme kya raha hai baki kare mushkil kyu mera jina
mera chota sa dil tune china ha tune tune o hasina
duhayi hai duhayi hai haye re haye jaau kaha
kaisi dilbar kahe ki hasina are mujhme jo tha jalim tune china
duhayi hai duhayi hai haye re haye jau kaha
nathani meri dole re nathani meri dole re
o koi thame to bada maja hoye
nathani meri dole re o koi thame to bada maja hoye
thame to bada maja hoye o thame to bada maja hoye
sajna tu hi laga ye mera kaha nahi mane
ki mera jane jigar tu iske kayi hai diwane
yu to nahi tum
chadati umar meri rasiya patli kamar meri
dekhu to ajab nasha hoye
nathani meri dole re o koi thame to bada maja hoye
o thame to bada maja hoye
mujhe kya mili jawani aafat mere liye layi
chhunari masak masak jaye
jab jab lu mai angdayi mai to apne bas me nahi
balam jukti rasiya rukh ja
mere sanam ruk ja to bada maja aaye
nathani meri dole re o koi thame to bada maja hoye
thame to bada maja o thame to bada maja hoye
vided to YouTube by Saregama India Ltd Jaan Mare Balmu Humar · Asha Bhosle Madhosh ℗ 2020 Saregama India Ltd ...
resham ki pagdi rumal phuldar
haye haye lali chudriya
lali chudariya kinaar phuldar vai vai vai vai
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
aaj vo aaye mero angana mai jo li angdayi
ho kahe kahu mai daiya re kaisi jalim najar lalchayi
jaan na pahchaan mohe maar rahi ankhiya
dekho re raam duhayi
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
gaav gali me dhum padi hai
aisa mor sajan hai baka
beech bajariya jiya churaye
lakho ke beech mare daka
haar gayo mar gayo aisi najariya
ghunghat se kaahe use jhanka mai to mar gayi
jaan mare jaan mare balmu hamaro
resham ki pagdi rumal phuldar
haye haye lali chadriya
lali chadariya kinaar phuldar vai vai vai vai
jaan mare jaane mare balmu hamaro
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Watch Madhosh (1974) Full Movie Watch Free Online
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IMDb Rating: 6.4/10 (116 Votes)
Directors: Desh Gautam
Year: 1974
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Madhosh (1974)
The only reasons that I don’t completely despise this film are that it finally enabled me to identify the location of The Room (details are in that post), and pretty much every moment in it is a Screencap Waiting To Happen. It is a scarf-fest of unbelievable proportions. I guess I can also finally say that I have seen a Mahendra Sandhu movie, although I detested it so much that I may never be able to forgive him (I’ve not been able to watch a Tom Hanks film since he inflicted Forrest Gump on me).
Madhosh seems to have grand pretensions of being a modern look at valuing women, but its subtext (and not really very “sub” at that) is so relentlessly sexist that it is mostly just a rehash of that dehumanizing goddess-whore form of female oppression which masquerades as respect. I gather that the word madhosh means drunk or intoxicated, which perfectly describes the people who made this if they really thought this film had anything worthwhile or different to say.
Mahendra Sandhu plays Raj, a man we are supposed to believe is attractive and charming, if a little misguided. In reality, he is a narcissistic sociopathic rapist who should be rotting in jail. I loathe him at first sight.
He is utterly and completely repellent, and convinced that he is God’s irresistible gift to the ladies. As the credits roll, he seduces a series of adoring females in hotel rooms, by swimming pools, and on palm-fringed beaches, but none of it is convincing to me because he also:
- licks his lips when he looks at girls (NONONONO)
- wears shiny shirts unbuttoned to his chest
- smokes incessantly and blows the smoke directly into people’s faces
- won’t take no for an answer
- is grabby
He is egged on and abetted by a creepy little gaudily-dressed chamcha named Pyarelal (Raja Duggal?).
His best friend is a singer named Goldie (Rakesh Roshan) who performs at a nightclub (The Room!) in the evenings. Poor Rakesh is burdened by his usual dreadful wig (Fine! You think you need a wig! Pay some good money for one! and don’t make it a combover, for Christ’s sake!) and also by a wispy little caterpillar of a fake mustache. Sigh.
Raj’s wealthy mother (Veena in a bad wig) ignores her beloved beta’s awful behavior like a good cineMaa should. (Do I even need to put adjectives like “bad” in front of “wig” any more? I think not.) She has asked for Goldie’s help in finding Raj a bride, because, you know, he’s such a catch *eye roll*.
Goldie doesn’t approve of Raj’s lechery, and tells him that the new dancer he works with, Mona (Helen), won’t fall for Raj’s charms. When Raj grabs Mona’s dress in the club that night, Goldie comes to her rescue (because poor helpless Mona can’t deal with it herself I suppose, even though she’s clearly as disgusted by Raj as I am).
Afterwards, Raj insults her by insisting that if she’s a cabaret dancer then she must be a prostitute, and asking her how much money will convince her to sleep with him. Goldie chastises him for this attitude, and it’s obvious that he cares for Mona, although Raj learns nothing from their exchange.
Thwarted for the time being, Raj distracts himself by visiting a courtesan named Munni (Jayshree T) who works for brothel madam Pannabai (Shyama). Up for sale: her ostensible virginity, the euphemism for which is “nose ring”.
But alas. Raj and Pyarelal (whose personality is even worse than his clothes!) pass Mona one day trying to hitch a ride at the side of the road. He pulls over and apologizes to her for his bad behavior earlier, then offers her a lift. Pyare drugs a Coke and gives it to her, then takes his leave. She loses consciousness and Raj drives off into a lonely area and rapes her (after blowing smoke into her face).
When Goldie hears about it, he is livid. He goes to see Raj and I bash my head on the arm of my chair.
Fortunately for Mona (although I understand I’m not supposed to think that way) Raj refuses, even when Goldie says that she will probably kill herself. Goldie swears that when Raj himself gets married, he will seduce Raj’s wife in revenge. I sigh again.
Women are not pieces of property or pawns to use in your pissing contests. They are NOT.
Maa now asks Raj to go check on one of their timber estates, and he takes Pyare with him. Almost immediately, his eye is caught by a feisty village belle named Meenal (Reena Roy, one of the only bright spots in this and it’s not her fault it’s such a horror show).
There’s a gratuitous catfight as well—I can enjoy a catfight as much as the next guy, but not when there isn’t any reason for it other than to titillate. It’s just another nail in this film’s coffin, not that it needs any more.
Then Raj naturally tries to rape Meenal too, but since he’s forgotten to drug her she is able to fight back.
Raj wastes no time on self-reflection or why it is that women want to kill themselves after making his acquaintance. He falls in love with Meenal thanks to her dedication to her izzat. Better dead than unchaste, even if you’ve been raped! When your only choices are “irredeemable whore” or “above-reproach goddess”, what’s a girl to do?
It gets worse. We are led to understand that Raj is the way he is because of an awful predatory governess who tucked him in as a boy (little Master Aamir Khan!) and then when he was grownup and could have easily said no, seduced him. The arm of my chair meets my head again.
He sets out now to change Meenal’s mind about him, swearing that he’s a changed man and even getting rid of sidekick Pyarelal when he continues to tempt Raj. Possibly convinced by his new predilection for cowboy outfits (replacing sleazy leisurewear) or because he saves her from a
Maa raises no objections, being simply happy to finally have a bahu and they tie the knot (literally! Hey, is that where the expression comes from?). Raj takes her home with him and for a brief while they are happy as she learns some English, how to wrap a saree, and the magic of modern inventions.
But Goldie has learned of Raj’s marriage, and gets a look at Meenal one day as they drive past each other. Plus it’s not long before Raj is lured back into old habits and the courtesan Munnibai, who pretends to attempt suicide because of her love for him. He sets her up with an income and visits her once a week on Tuesdays—not just as “a friend” either. He even blows his bride off on Karva Chauth! Maa frets along with poor Meenal.
Maybe you should have set some limits on your son, Maa, before he became a spoiled self-absorbed prince.
Goldie learns of Raj’s arrangements with Munnibai and sets up a meeting with the disaffected Pyarelal.
When a disillusioned and heartbroken Meenal confronts her husband about his infidelity, he first tries to placate her and then tells her to go to hell.
Goldie saves Meenal when she tries to kill herself by jumping into the ocean; she confides in him and he tells her briefly about Mona and befriends her. They begin spending a lot of time together, which enrages that jackass hypocrite Raj.
I should say that the one thing the filmmakers did right here was to let Meenal remain a feisty girl with a mind of her own even after marriage (well except for the suicide moment, but she gets over that quickly). She takes gleefully to the plan of making Raj jealous (although he doesn’t seem jealous so much as worried about his reputation) and she is not intimidated by his threats. She continues her friendship with Goldie even when told not to and I love her for it.
But Raj is not the sort to take something like this lightly, and it’s pretty clear that he hasn’t changed much at all from the man who raped poor Mona. Will Goldie and Meenal really fall in love? Will Raj ever get an effing clue? And what has happened to poor Mona?
If you want to know, you are welcome to ask me because I really don’t think anyone should see this film (the ending is the worst part of all). It’s awful, unless you enjoy sexism and slimeballs (and if that’s the case you probably don’t come here anyway). I didn’t even really much like RD Burman’s music, although it’s always fun to watch Helen dance. The cinematography is excellent, and I don’t think I need to say much about the eye-watering fashion: the screencaps pretty much speak loudly for themselves, na?
Oh all right, I do have SOME things to say.
It’s not surprising given the story that the men out-peacock the women in this by a huge margin. But of course the most stylish and peacocky thing of all—even when Rakesh Roshan is wearing a party hat on his shoulder—is The Room. Hotel Horizon zindabad!
