Do Badan

Do Badan

Vikas comes from a poor family, and is attending college so that he can complete his studies, get a job, and financially look after himself and his dad. He meets with wealthy Asha at this college, and after a few misunderstandings, both fall in love. Vikas' dad passes during the exams, and Vikas leaves to attend the funeral, and is unable to complete his studies. Asha feels sorry for him, and arranges to get him employed with her dad, which he does so, not knowing that his employer is Asha's dad. Asha's dad wants her to get married to Ashwini, and he soon announces their engagement. Ashwini finds out that Asha is in love with Vikas, and arranges an accident for Vikas.

Vikas comes from a poor family, and is attending college so that he can complete his studies, get a job, and financially look after himself and his dad. He meets with wealthy Asha at this ... . You can read more in Google, Youtube, Wiki

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Do Badan torrent reviews

Kevin M W (it) wrote: A worthy attempt at romantic comedy with fledgling filmmaking as the springboard for "madcap" antics that unfortunately displays - all too well - the fledgling that's meant merely as a premise as a glaring fault. Pass.

Donovan F (kr) wrote: t was the best as revenge is always good to see

Ayax M (ru) wrote: great movie. best documentary I've seen in a while. I felt like they told the truth about Ali. not that you could really lie I guess.

Stephanie J (gb) wrote: Very interesting concept: watching the work of art come to life, just not an interesting movie. Very slow, felt the film could have been directed better.

Daniel K (nl) wrote: This is a strange film and story. Some of the English dialogue isn??t quite right and a couple of the characters don??t quite work either. It lacks a focused tone and is way over the top at times. The fight scenes are well done, but unless you love action sequences like this they get a bit old. It??s far from the most exciting action/fight scenes put on film. The only way I would love it is if it was offering something new. The Abercrombie shirt doesn??t do it for me, but she is hot. Still, the film could be a lot worse.

Levi C (au) wrote: This movie was really good, simple, and beautiful... Better than Brokeback

Tim M (mx) wrote: Nicholson's directorial debut attempts to cover every political and cultural issue of it's time, becoming a rather scattered piece in the process. That being said, the performances are fabulous.

Tomass P (us) wrote: You may not understand it, but Pasolini's "Teorema" is a unique and spellbound film, laced with underlining themes about god, spirituality and artistic expression. It is beautifully filmed and the bleek atmosphere sets the tone for the entire film. This is a film that will stay with you for a few days and will definitely leave you asking questions.

Li S (de) wrote: Eh. I usually enjoy the horror genre from this time period, but this movie was rather trite.

Omar K (us) wrote: Expressionism refers to a number of creative movements within the arts, such as cinema, painting, dance and architecture, beginning in the early 1800??s and reaching a peak in the 1920??s with German cinema, producing great works of art. Inflation in Germany at the time meant people would go to the cinema unreservedly because they knew their money was fading in value, therefore German Expressionism was consumed by the whole nation giving it greater significance. Expressionistic films would look like paintings, the architecture within each scene would be distortive, and the stories would twist the very fabric of reality, making the movement highly unnatural in its outlook on things, but vehemently powerful in its stylistics. Of all foreign cinematic movements, from Italian Neo-Realism to the French New Wave, the British or Japanese New Waves, German Expressionist cinema has perhaps had the most long-lasting impact on how film has transpired and cemented itself as a pioneering movement still studied today for its undying influence. Robert Wiene??s The Cabinet of Dr Caligari remains a leading German Expressionistic film for it adheres strictly to Expressionism. It revolves around a man named Francis in a shadowy village of spiralling roads and warped edifices called Holstenwall. As he recounts his story in flashback, Francis and his friend Alan attempt to compete for the love of a woman named Jane, whilst a mysterious man named Dr Caligari presents his somnambulist, Cesare, at a fair. As Francis and Alan enter Dr Caligari??s spectacle, Cesare perfectly predicts Alan??s death, and mysteriously the deaths keep on coming, leading to Francis suspecting Dr Caligari and Cesare of these deaths. But, all is not what it seems, and the fate of Francis is revealed in the end to be a twisted affair of deceit and lies. From the jagged sets, to the slanting houses, razor-sharp greenery and haunting lighting angles, Caligari comes to life with a deliberate force that cripples our awareness of reality and transports us to a world so deranged it perturbs us. This visual style is the equivalent of spectacular visual effects today, but the visuals of expressionism told a story on its own, rendering every stylistic decision immensely important to the outcome of the film. The setting amounts to a distortion of reality, leaving the viewer unhinged by the world they are inhabiting, unable to escape such a chaotic atmosphere. That is the seduction of this visual style, that it manages, simply through the richness if its imagery, to torment the viewer with an (un)palpable reality. Nothing is natural about Caligari, and that is the essence of its creepiness, because with the use of the fantastically twisted expressionism to guide the story, this unnatural reality comes to life and the impact of Caligari is multiplied. The serrated and empty sets, dark lighting and distortive visuals of The Cabinet of Dr Caligari will very much leave you feeling confined within the film and in your head, and that very same feeling was replicated, albeit on a lesser scale, by Noir filmmakers 15 years later who realised the technical mastery of it. The overly agitated acting style of the actors may border on ridiculous but it again serves the Expressionist style. Werner Krauss??s Dr. Caligari is your typical confused elderly figure that cannot be trusted for anything. The fact that we know so many facets of his personality by the end, and the fact that he was in his later life a shameful Nazi supporter means he cannot be trusted. Conrad Veidt??s Cesare will leave you disturbed simply by the slimy motions of his movements that make you wonder whether those nightmares were true or not. His pale face, alarming eyes, and toothpick silhouette of a figure perfectly heightens the terror of the story. And Friedrich Feher??s Francis can be considered such a fatally problematic character where our understanding of him is confused. He brings the story to life, and most importantly encapsulates such a horrifying ending that leaves us purring with pure disbelief. The Cabinet of Dr Caligari reflected a post-war Germany that was in moral breakdown, let alone physical destruction, but in hindsight comes to foreshadow the second wave of social upheaval only 20 years later. Caligari is psychiatrically important, for there was never a war so damaging than the First World War, and the trauma of what soldiers and families experienced during this time incomprehensibly became the fabric of humanity, shaping life from this moment onwards. Screenwriters Hans Janowitz and Carl Mayer both came out of the war terribly, with Janowitz left cynical, and Mayer interestingly feigning madness in order to reject the army, which succumbed him to psychiatric tests. These life stories are embedded within Caligari, and we feel the psychological nature attacking our senses. At the forefront of things, Caligari is a simple horror story, but it is also a metaphor of Germany in anarchy, and the horror of what happened only years before, and what was to happen under Adolf Hitler. The Cabinet of Dr Caligari is the first acknowledged ending with a twist ever seen in a film. It may be an utterly simple twist, but 95 years ago, this was the shit! It was the biggest shock of classical cinema. The theme of duality is significant for the revelation of another narrative at the end, the rightful one even though we only consume it for an extremely small period, leaves us in a mental frenzy because we find ourselves suddenly betrayed by our protagonist who is actually a patient in a mental asylum. It is superbly shocking stuff because we have been fed such a terrible story that has turned out be a lie in the end. Imagine audiences of the past who read everything as if they were truths now unexpectedly thrust with a uniquely disturbing tale that visually confounded their understanding of reality and produced duplicity that literally fucks with your mind? There definitely were thousands of shrieks and a handful of collapses! Nearly at its centenary, The Cabinet of Dr Caligari is by far a timeless classic, but with time has lost its eerie and hypnotic quality, like pretty much most other films of its time, and therefore the blurry visuals, over exaggerated acting styles, baffling sets, lack of talking, and underwhelming storytelling will put many a viewer back, but this cannot take away from the fact that it is as a product older than nearly every single person on this planet, and like everything with age, should be respected for what it has to offer, not compared to the stuff of today. Having already tasted the light of day for 95 years and counting, The Cabinet of Dr Caligari??s horrifying impact and wartime context of release has reduced its impact to nothing, for we are out of touch with a film this old, and in turn can never understand the true bearing of what this film entailed. It nevertheless remains the quintessential depiction of German Expressionist cinema, indispensible to everyone not only for its expressionist nature, or its visual and storytelling ideas, or to pay notice to German cinema, or its historical significance, but to simply understand the roots of cinema and how it grew from the very first cinematic classics into the mega-monolithic industry it is today. German cinema was ahead of Hollywood in the 1920??s, but with the social plight of Germany to come, Hollywood borrowed their technical expertise, and has done the same with every other foreign movement since, remaining the homeland of the film industry and the mountaintop for all aspiring filmmakers. The Verdict: Remaining a classic of German Expressionism, The Cabinet of Dr Caligari is at 95 years of age a classic of cinema, thanks to its chilling distortion of reality and the very first twist ending ever seen on film. ???????????????????? 8/10