Rohit, Whiskey, and Kumar (Rajendra Kumar, Rajendra Nath, and Prem Chopra respectively) are childhood friends. While travelling to his estate in the company of Whiskey, Rohit meets with beautiful Neena (Sadhana), and falls in love with her. Subsequently, he meets with her father (Raj Mehra) where they are properly introduced, and she too falls in love with him. Unknowingly, Kumar also sends his proposal for marriage to Neena, but Neena rejects it. Kumar is offended and shortly before the marriage of Neena and Rohit, molests Neena. Rohit and Kumar become enemies, have a fight and Kumar loses sight in his left eye. Feeling that she is not worthly of Rohit anymore, Neena refuses to marry Rohit. Will Rohit and Neena ever get together again? Will they continue to be haunted by Kumar?
Writer:Mohan Kumar, Ved Rahi (dialogue), Ram Swarup (assistant dialogue)
Rohit, Whiskey, and Kumar (Rajendra Kumar, Rajendra Nath, and Prem Chopra respectively) are childhood friends. While travelling to his estate in the company of Whiskey, Rohit meets with ... . You can read more in Google, Youtube, Wiki
Pawel U (jp) wrote: Absolutely brilliant, with my favourite part 2, being so close to Asimov's ideas and storytelling style...
Don B (br) wrote: I thought it was a great movie. Takeshi screen presence is larger than life. This is a sequel that will not disappoint you.
Spencer K (ru) wrote: What made this movie so good was the acting and the chemistry between the two leads in the film. There was a scene in here when Vera Farmiga and Andy Garcia do like an improv scene and let me just tell you, it floored me. It was fantastic, that specific scene brought the movie up for me by a lot. The directing was good, the script was decent, but where the real talent here is, is in the actors. This is a very dialogue/character driven film and that's what makes this movie work.
Ana M (mx) wrote: lil borin at times but pretty damn good...wish i could get away wit stealin money :)
Vic C (gb) wrote: I enjoyed this film. Maybe it was because the two hot girls who fall in love. I don't know. haha.
Dillinger P (fr) wrote: Without a double, the most venomous, fragile and desperate love story that's ever been told, based on a well known British play (Which when it first took to the stage actually starred Clive Owen). Closer elegantly and charmingly wiggles into our hearts, before stabbing them a thousand times with a rusted knife. Set in London, Alice and Dan are bizarrely introduced to each other by a road accident. Falling for each other instantly the couple become madly in love, transforming each others lives. However when Dan turns out not to be the nice guy that he lets on and the lives of Anna, a photographer and Larry, a doctor, intrude on this perfect relationship, the human psyche is pushed to braking point as a 4 way love cluster fuck begins. The cast are without a doubt, perfect, all 4 actors give such a brilliant and diverse performance, really making the characters their own, it is close to impossible to imagine anyone else in the roles, Jude Law portrays an incredibly weak man, who's exterior becomes more and more smug while the insides stay fragile. Natalie Portman is phenominal as the American ghost, who goes where the wind takes her, he complete and utter passion and youthfulness in this film is admirable and adorable, yet equally disturbing. Julia Roberts is extremely strong, even if a lot of her screen time revolves around the shit hitting the fan, her blunt and devious traits are poisonous while being luring. However it is Clive Owen here that steals the show and the audience and the seats and the screen. His apish, cut throat and frightening portrayal of a London "Bloke" tears the screen in 2 every time he graces it. He clearly understands the source material to such perfection his convictions and fire are so believable at points you forget your watching a film. It is a difficult film, the characters are all, in their own way, horrible people, however the stories use of language and constant deceit make it impossible not to sympathise with all of these people. The language is brilliant, lifted straight from the theatre script. It works so well, because it feels so real and on screen it just emits so much raw emotion. There is the occasional line that seems forced or over dramatic but they are few and far between. The film also bolsters a shiny polish, the lighting is gorgeous, subtle and life like, camera angles get exactly what they need to and the sets and locations are utterly brilliant. The presentation of this film is pristine, almost, even Damien Rice's song book ending the film fits perfectly. Its almost a match made in heaven. There are a few niggles here and there that do annoy. The film hurtles at break neck speed however it only wants you to see pivotal moments in its timeline. This is fine but the fact that each scene here has a huge leap in time between each other, make it very difficult to really get a deeper feeling of character relations. It doesnt help that every scene has something close to diabolical happen in it also, meaning you cant quite shake the feeling your always missing something. There is an occasional crap maneuver with some shots as well, relishing somewhat with the zoom function, its a small gripe but its there. Finally there are moments of just cringe worthy film making, not much, but a couple that just lead to huge sighs. Like for example having every man in a busy street stop dead in their tracks to look at Natalie Portman as she struts down the street, its moments like this the film breaks the fourth wall and you cant help but be left with a bitter taste. Despite some minor niggles, Closer hasnt aged a bit and in all honesty it still is one of my most loved romantic, if you can call it that, film.
Ludwig S (ca) wrote: Einfach frchterlich
bob t (kr) wrote: A documentary that takes a look at a hairstyle that somehow is still found all over the globe in spite of its ghastly appearance. Interesting interpretations of the meaning of the mullet are given in great length. 1 1/2 thumbs up.
Drew S (ru) wrote: One From the Heart is really only recognized as a box office torpedo anymore, which is sort of a shame. It has a bevy of flaws, and its status as an obvious vanity project will turn off most viewers (especially those coming into the movie off of the high of Coppola's previous movie, Apocalypse Now). I found most of it unconventional and sweet, and the soundtrack is just fantastic - it has turned me into a Tom Waits fan. The plainness of the two leads is sort of difficult to get behind, but they have to be ordinary in contrast with the extraordinary people they meet up with later, and thus to convince us that they belong together. The bombing of this film confuses me in a sense, as Frannie and Hank make for successful audience avatars. You could blame it on the lack of market value of Frederic Forrest and Teri Garr, both of whom give strong performances here. They aren't completely depthless or without personality, but their struggles and lives are immediately relatable; they feel more like friends or acquaintances than surrogates or metaphors.One From the Heart falters in its excess, such as a scary propensity toward slapstick comedy that is every bit as bad as it sounds. Forrest + Bugs Bunny = the stuff of my nightmares. The film also has a tendency to let its characters shriek unbearably about whatever's troubling them, which grows obnoxious after a while. The first half an hour of the movie is sort of an endurance test, when their relationship is at its rockiest. If you can't stomach these people in this passage of the film, you should really just stop watching. Furthermore, the visual approach is distracting and, though unique, doesn't seem to serve much of a purpose in the film's goals at large. Bathing the shot in overcontrasted red or blue or yellow looks cool the first couple of times, but then you start to wonder what it's all for.Despite all that excess, One From the Heart sort of registers as a trifle, which is the last think Coppola wanted it to be I think. With its comparatively high budget, histrionic composition and the overall challenge that appreciating the film seems to bring, something about it doesn't really feel consistent. Perhaps musical romantic comedy is just a genre in which I'm not versed, but I didn't find it to be an exceptional movie, even though I appreciated and sympathized with it. This will assuredly be remembered as the point of Francis Ford Coppola's burnout, an unfair role for it to assume in history. I do recommend it, but only as a strange pit stop into some of the murkier depths of his filmography.
Donna S (ag) wrote: I was really disappointed with this Farrelly brothers film. Ben Stiller was good (as always) and it was crude and funny in places that had me laughing but i was expecting it 2 be so much funnier and felt like i had been let down. Definately not as good as 'Theres something about Mary'
david t (ru) wrote: i would like to see this one..
Christopher B (au) wrote: Always fun to watch C Aubrey Smith - also watch for Shemp Howard. Several great lines, with Nora doing as much leg work as Nick in this one. As a bonus, they end up in the same bed together!
Josh F (au) wrote: Classic 80's movie that is a reminder of my childhood. They don't make em' like they used to.(I must be getting old???)
Jesse F (gb) wrote: A great horror-comedy made all the better by a great performance by Warwick Davis as the evil and hilarious leprechaun.
Andrew S (jp) wrote: The Incredible Hulk does a fine job of bringing the rage and energy of the hulk to the big screen, even if the performances are weak and the villain disappointing.