Razia Sultan

Razia Sultan

The film is based on the life of Razia Sultan (1205–1240), the only female Sultan of Delhi (1236–1240) and her speculated love affair with the Abyssinian slave, Jamal-ud-Din Yakut. Razia Sultan is 1983 Urdu film, written and directed by Kamal Amrohi, and starring Hema Malini, Parveen Babi and Dharmendra in lead roles. The film's music was provided by Khayyam, with lyrics by Jan Nisar Akhtar and two songs by Nida Fazli who walked into the project when Akhtar died. Some songs were sung by Lata Mangeshkar, including classics like, "Aye Dil-e Nadaan".

Emperor Sultan Iltames is known for his fairness, compassion, and sense of justice. He takes swift action when he comes to know that his very son has violated the peace, and broken the law,... . You can read more in Google, Youtube, Wiki

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Razia Sultan torrent reviews

Amanda H (jp) wrote: I borrowed this film from my local library, having never heard anything about it, but figuring since it was a musical, it was worth a shot. I got a lot more than I expected. Despite the subtitles, I really enjoyed it and thought the cinematography was fantastic. It's a little far-fetched, but... hello? It's a musical. That's kind of the point. Overall I had a really good time watching this movie.

Donnie B (ca) wrote: It's cinematic perfection.

Brian H (ca) wrote: [size=3]?Ploy? should have been in competition at Cannes this year. Much like Wong Kar Wai?s ?My Blueberry Nights?, it focuses on the decay in relationships and the inability to cope with loneliness. Perhaps these Asian filmmakers need a little more Dr. Phil in their lives. Pen-ek Ratanaruang may not have the name recognition as Wong, but he has one upped the critical darling. Ratanaruang captures a marriage that looks more sterile than inviting. Moving at a dreamy, meticulous pace, ?Ploy? documents a relationship crossroads that never seems to end. Wit (Pornwut Sarasin) and his wife Dang (Lalita Panyopas) return to Thailand for a funeral after a decade living in the United States. Jet-lagged, Wit goes to the airport hotel bar while his wife sleeps. Also in the bar is carefree 19-year-old Ploy (Apinya Sakuljaroensuk). Wit invites the girl up to his room to nap, much to the dismay of Dang. The couple argues over the girl before each decides to sleep. Ratanaruang then toys with the audience by cutting to the dreams of each character without warning. Ploy dreams of an erotic encounter between the hotel maid and bartender. Wit and Dang come across dreams revealing their most extreme jealousies and fears. Dang imagines smothering Ploy with a pillow while her husband snoozes in the next room. Wit envisions his wife being raped in a warehouse that resembles some type of gothic fortress. Despite the repetitive and extreme nature of these dream sequences, I was surprised to learn each event was not real. Ratanaruang delivers the ultimate mind fuck to the audience in an ending musical sequence I will not reveal. ?Ploy? provides more questions than answers, but what may be unsatisfying for some, remains in my consciousness long after my initial viewing. The narrative technique in this film is minimal to say the least. The film begins with the flight to Thailand. The couple is holding hands, but for some reason, they seem aloof. There is no dialogue at least 15 minutes into the film. A lack of conversation calls immediate attention to their barren relationship. Each shot seems so spotlessly clean that if feels as is the movie is filmed inside a doctor?s office. There are very few cuts. Ratanaruang would make Gus Van Sant, another methodical director, look like Tony Scott. With characters moving in and out of our focal point, the cinematographer seems unconcerned with conventional framing. Instead, the camera often focuses on ordinary objects, such as a cigarette or cup of coffee. The characters are so trapped by their relationship that they are as monotonous as these every-day objects. This technique tested the patience of the audience. A handful of people left early into the screening. I, however, was in constant anticipation of what could happen next. By revealing so little in the beginning, Ratanaruang enhances the tension for the later stages of the movie. In the defining moment of the film, Ploy asks Wit if love has an expiration date. Wit is unable to answer the question. So are many directors with films screening at Cannes this year. From Wong?s ?My Blueberry Nights? to Bela Tarr?s ?The Man from London?, multiple films explore the demise of relationships and the subsequent detachment from reality. Maybe it?s a changing of the guard in the cinematic landscape, at least abroad. During ?Ploy?, my mind kept drifting to the works of Antonioni, who was well known for characters trapped by their thoughts. Why are we so infatuated with this cerebral chess game? I think it is because it is so difficult to explain. Perhaps filmmakers think it will start a dialogue on feelings rarely discussed. More so, is calls attention to the universality of our problems. Sometimes our feelings lie so dormant it requires a film to reach out and yank us out of our collective funk. Perhaps, I?m overestimating the power of cinema, but maybe those with relationships on life support can take something out of this movie and somehow better their own life. ?Ploy? demonstrates why it is sometimes better to show the audience rather than tell them. In fact, it revels in its most ambiguous moments. I am still unable to ascertain where reality begins and ends in this film. I would love to pick Ratanaruang?s brain, but the film might lose some of its staying power. As Roger Ebert once said, it?s not what a film says but how it says it. There have been films aplenty about lifeless marriages. Yet, ?Ploy? defies the melodramatic epiphany ever present in these films. In a cinematic era where every last detail must be explained, it was refreshing to see a film that trusted the intelligence of the audience. It?s okay to leave a screening with questions. The best films are often times those which require multiple viewings. I am already anticipating a reexamination of ?Ploy?. Sadly, I doubt this eccentric film will receive distribution in the States. I don?t see 18-year-old boys racing out to the theater to watch a poetic dissection of a fragile relationship. But then again, there are boobies. Maybe that should be the tagline for the film. Then it might have a shot at distribution. Cast & Credits Written and directed by Pen-ek Ratanaruang Dang: Lalita Panyopas Wit: Pornwut Sarasin Nut: Ananda Everingham Ploy: Apinya Sakuljaroensuk Tum: Phorntip Papanai Moo: Thakaskorn Pradabpongsa Presented by Fortissimo Films in association with Five Star and Film Factory No MPAA rating, 95 minutes.[/size]

Tyler M (es) wrote: I couldn't finish the film because of how over-the-top the stupidity and thought process was for each character. We followed several, separate storylines of characters whose actions and thought processes were painful to watch. Eventually, and I mean eventually, their stories entwine into a cluster %@$! of stupidity and nonsense. I had to turn it off.

Pedro J (us) wrote: Behind captivating visuals and a surprising performance by Ohgo, lies what's arguably Geisha's (biggest) weakness - the story. The vibrant colors that surround the film are never capable of hiding the undeveloped romance between Sayuri and the Chairman, which culminates in a pleasing, yet predictable climax.

Gianni V (gb) wrote: I have mixed feelings about this film. The 2nd time, it was better than the 1st time, but I'm still not enthusiastic about it, what with the exaggerated bleakness.

Aslhan E (ag) wrote: it can count as a good movie, srk's acting was good, story has a good view. I liked it

Steve D (fr) wrote: Lacking of anything clever this never became interesting or funny

Tyler R (gb) wrote: One my favorite movies. Great message and good voice overs. Has aged very well.

Panta O (jp) wrote: What a waste of time! I watched this movie manly because it was made in Montenegro and I am familiar with most of the places there... but I can tell you that it's not worth spending more than five minutes watching it - at the beginning... if you like naked girls scenes (actually even those girls were not very classy). Having cravings for a movie with gaping holes in a plot, soft porn, stupidity, old Eastern European cars, worst of the European, American and Balkan actors, lots of violence and blood - this is your film!

Kelly S (es) wrote: Let's face it most actors do the same rolls and aren't diverse. You get what vin diesel does but it doesn't take a monkey to follow this story line. It's a fun scary trip. To any who do any roll play games, as I do, you should be entertained