This movie depicts the personal life of Samrat Chandragupt, his trials, tribulations, and frustrations, as well as the challenges he faces to reclaim his kingdom; face-off the threat from Sikander; enlist the assistance of the Yunani Greeks; his love for Helena; and be forced to make a decision of beheading his own mother as per the laws of the land.
- Stars:Nirupa Roy, Bharat Bhushan, B.M. Vyas, Lalita Pawar, Muzaffar Adeeb, Krishna Kumari, Ulhas, Anwar Hussain, Habib, Samar Roy, Dalpat, Uma Dutt, Cuckoo, Kammo, Korega,
- Director:Babubhai Mistri,
- Writer:Indivar (lyrics), C.K. Mast (dialogues), Vishwanath Pande (screenplay), Pandit R. Priyadarshi (story), Nirupa Roy (lyrics), Bharat Vyas (lyrics)
This movie depicts the personal life of Samrat Chandragupt, his trials, tribulations, and frustrations, as well as the challenges he faces to reclaim his kingdom; face-off the threat from ... . You can read more in Google, Youtube, Wiki
Samrat Chandragupt torrent reviews
(de) wrote: Though they've made only two films together, Zal Batmanglij and Brit Marling are a filmmaking pair that compliment each other like Yin and Yang - Batmanglij and Marling write the script together, but she stars, and he directs. Batmanglij can make even the barest of sets come alive, while Marling can draw you in with her ethereal beauty and earthy tone-of-voice. They're a match made in heaven, and it's becoming quite clear that in just a few years, they won't just be indie darlings anymore. "Sound of My Voice", their debut, isn't quite as strong as last year's intense "The East", but it's accomplished filmmaking that boasts confidence that is rarely seen by rookie filmmakers. The film focuses on Peter (Christopher Denham) and Lorna (Nicole Vicius), a young couple that aspires to make a documentary about a mysterious cult that is lead by the shadowy but magnetic Maggie (Marling). When they join, in hopes to get footage and eventually infiltrate the group, they begin to let themselves go into Maggie's twisted logistics. In Maggie's introductory scene, we are drawn to her in the same way her followers are. Draped in a white sheet, hooked up to an oxygen tank, and claiming she is from the future (2054, to be exact), she easily could be too eccentric to take seriously - but she demands our complete attention, and it's nearly impossible to look the other way. She makes strange demands (in one scene, she tells the members to eat an apple. Seconds later, she tells them to purge its remnants, as it is full of "logic, bitterness."), but with every odd move she takes, we can't help but want to trail in her footsteps. Maggie is so entrancing that there were plenty of moments where I wondered if this could be one of those movies where - surprise! - she actually is from the future! It's easy to be tricked, because Marling is thoroughly convincing in her role. There are many scenes where she is forced to hypnotize an entire room simply with her aura, and she is so successful in this that there are times in which we can't help but wonder if her performance makes the film better than it actually is. The budget is obviously low, but the story is strong enough to draw our focus elsewhere. Their is a constant uneasiness at every turn - Peter reminds us repeatedly that it's impossible to truly know what this cult is truly capable of - and when Maggie demands that her followers kidnap a young girl who she tells them is "her mother", the possibilities in our mind are endless. Will they kill her? Will they use her as a pawn for something deeper? What if she actually is her mother? "Sound of My Voice" is like a game of cat-and-mouse that only exists in our mind. The ending is left somewhat ambiguous, and it's left up to the viewer to process the final scene. Maggie's reasoning behind her shenanigans are never out of the fog, but what the film represents on an even bigger spectrum, however, is that Batmanglij and Marling are going places. And I mean going places.
(es) wrote: very cheap , i can't believe it was in Sundance , it's a soap opera
(ru) wrote: Fantastic film. Don't watch it of you're down in the dumps though, cos it ain't gonna cheer you up!! Highly recommended though!!
(us) wrote: Effectively a 90 minute long episode of 'The Thick of It' - none of the magic of the sitcom has been lost at all. I cannot recommend this highly enough, although be warned the language is horrendous...
(it) wrote: Could that guy be anymore annoying.
(es) wrote: Entertaining and honest vignettes. But director Krasinki's final one falls short.
(au) wrote: A unique view on an historical tragedy. Of particular note is Sean Penn's short - very brilliant.
(fr) wrote: I could never see why it won an award in Venice. Probably because I could never be qualified as a judge at the Golden Lion Award.
(nl) wrote: When I look back, it seems cheesy, esp. with the way Manisha delivers her character. But I will never, ever forget this movie. Sad it didn't do well at the Box Office.
(kr) wrote: kiefer sutherlands first movie... i want to see it
(au) wrote: A pre-Dracula Christopher Lee has a small role in this.
(us) wrote: A sequel to "Every Which Way But Loose" comes "Any Which Way You Can" with Clint Eastwood reprising his role as Philo Beddoe, who is still doing his thing from the previous film, which is bare knuckle fighting. The film revolves more around the characters underground bare knuckle boxing and how he contemplates on retiring but then decides to take his fighting farther and take on more challenges with it. Meanwhile, the "Black Widows" from the previous film return, with more emphasis on them being the focal point of comedy and setting them up for more comedic jokes. A good sequel, following a new plot that still stays true and mixes up the formula slightly. It works, and thus, is a good movie.
(kr) wrote: Kind of overrated but its a cool film
(gb) wrote: DiCaprio and DeNiro are both great, but DeNiro steals the show with his perfect portrayal of the douche bag stepdad.
(ru) wrote: No, Really, I Think I Can Justify This I've been holding this movie on my instant queue for some time now, waiting until I was in exactly the right mood. Frankly, I was expecting that mood to require at least ten degrees higher temperature; when it's hot, I have a hard time thinking. It's been pleasantly warm the last few days, but not hot. However, I expected this to be a movie I watched while consuming enormous quantities of ice water and trying not to let any part of my skin touch any other part. That sort of thing. As it is, I was just feeling mildly spacy, which is different. I had started and stopped two different movies already this evening, and I was running out of time. And all other considerations aside, this movie is short. So I started it, assuming that I'd have the entertainment of watching a truly scathing review of it and all its ilk. However, I am instead just going to have to figure out how to justify a marginally positive rating and the fact that I'll watch the sequel. Craig Gamble (Frankie Avalon) is a really crappy secret agent for It Doesn't Matter What Agency. Crappy enough, in fact, that he declares his status as an agent to pretty much anyone who will listen. Notably Diane (Susan Hart), who turns out to be a robot built by the mysterious Dr. Goldfoot (Vincent Price). Only it turns out the mad doctor has built her, along with a whole slew of other gold-bikinied girls, as part of a plan in which they will marry rich men and get them to sign over all their assets to their new and secretly robot wives. Diane is intended for Todd Armstrong (Dwayne Hickman), a wealthy young man of not much higher intelligence than Craig. Through a ridiculous series of events, Craig works out Diane's secret. First, he tries to tell his uncle and superior at work, Donald J. Pevney (Fred Clark). Then, he enlists Todd and they go after Dr. Goldfoot and his assistant, Igor (Jack Mullaney), themselves. Don't get me wrong. This is not a good movie. On the other hand, it isn't actually a bad one. At least not quite. Yes, it climaxes with the world's dumbest, longest chase scene--no chase which involves cable cars as anything other than obstacles makes even a little sense. Then again, it isn't supposed to make sense. It's just supposed to be amusing. It kind of even is. Now, of course, this movie was made to be shown at drive-ins to teenagers who were only paying the smallest bit of attention to the movie. I'm not its target audience and really never was. However, I am still more amused by this than I am by a lot of comedies made for people who are actually paying more attention. Okay, that's in part because none of the humour has anything to do with bodily functions, and less of it than you'd think has anything to do with sex. There's even a sly Annette Funicello cameo at one point, and there are many references to Vincent Price's previous cheesy movies. Yeah, okay, it's completely ludicrous. I can dress it up how I like, but it's still an extremely dumb movie. I have a hard time explaining my preference for one ridiculous comedy over another sometimes, but I really do think I can justify this one. While it's padded, one of the things it's padded with is clips from movies Vincent Price was in that were more intended to be taken seriously. The paintings of his "ancestors" are characters from those same movies, in fact. There were places in the movie where I just wanted to roll my eyes, such as the running gag that Craig keeps knocking his uncle over whenever he opens the door in his uncle's tiny office. It is also casually sexist; yes, it's sexist in both directions, but still. There is the implicit assumption that men will marry a sexy woman the second she threatens to withhold sex, but there's also the fact that the only woman in the whole picture who isn't a sexy, bikini-clad robot is imprisoned Annette. No, I probably won't ever watch this again. Certainly it's not like certain movies which have become summer staples in my life. However, I'm still rather glad to have gotten around to it, and I do plan to watch the sequel for all that. Though I probably won't bother to review it. After all, I barely have anything to say about the first one, much less a second. Though I am given to understand that the second had Tommy Kirk, and I like him quite a lot. Largely because he's in the kind of movies which do make my summer staple list. And it's interesting to contemplate the career of Vincent Price. In 1939, he was in [i]The Private Lives of Elizabeth and Essex[/i], his second film. He was in the noir classic [i]Laura[/i]. His last film was [i]Edward Scissorhands[/i]. And he was in this, and all those ridiculous Poe pictures. And somewhere around here, I have a cookbook he wrote; it turns out he was such a gourmet that everything in it is too high-class to appeal to my palate. A man of contradictions--and if thinking about that gets your mind off the movie, that's no bad thing.