Zamaane Ko Dikhana Hai

Zamaane Ko Dikhana Hai

Romance - Shreeram Lagoo plays Nanda, a wealthy business tycoon who throws his eldest son out of the house after he marries a poor girl named Seema. When his younger brother Ravi gets home, he sets off in search of his brother--and uncovers a shocking truth. *Subtitles not available for this feature* - Rishi Kapoor, Padmini Kolhapure, Amjad Khan

Wealthy industrialist, Nanda, is enraged when he finds out that his eldest son, Ramesh, has fallen in love with a poor woman, Seema, and wants to marry her. He asks his son that if he ... . You can read more in Google, Youtube, Wiki

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Download   Zamaane Ko Dikhana Hai (1981)[Hindi] Dvdrip x264 AAC BadababaDVDRip4441600.83 MB
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Zamaane Ko Dikhana Hai torrent reviews

Scott H (jp) wrote: OMG I'm never left scratching my head like when I read critics on a movie, you can bet if the Critics do not like the movie it will be good and it was an awesome movie. A little chic flixy and wrestling for the guys but they just might get smoke in their eyes while watching ;~)

Stevie J (kr) wrote: Unmissable documentary

Selva K (nl) wrote: How often do we come across such entangling dramas in world cinema! And most importantly, how much do we appreciate seeing such parallel cinema amidst all the jarring commercial craps? The best thing, I felt while seeing this movie, is that it has taken up a 'big' responsibility - picking on a blind and deaf girl, chained in the unforgiving prison (here they named it 'Black' - How subtle!) being guided by a teacher who leads her to 'Light'. But it doesn't stop there. The movie goes forth to portray each and every aspect of the girl's troubled life sincerely - her Godforsaken childhood - her father's tough pride - her tough and twisted adolescence - her sister's envy - her immense faith in the teacher - her ultimate goal - finally her struggle in bringing back her teacher from the fiery clutches of Alzheimer, to the light he threw. And when the screen fades to 'Black', you stare at it with a pain-filled heart and tear-ridden eyes and you wonder - 'What a movie!'Rani as Michelle McNally has donned her career-best performance that exudes absolute rawness. Subtle expressions, bold behavior, striking body language - cant help but agree that she deserved far better accolades for her role, that no glitterati-girl would dare to choose. Amitabh Bachchan as Debraj Sahai - a man has given up his stardom for a role as naive as a teacher who trains blind and deaf children. Alcoholic, Melancholic, filled with hopes, cocky, rusty round the edges - Big B could've been the only option for the role as one might believe. A critical role that was brilliantly underplayed, as even a slightly marginal hyper-action would've sought destructive criticism or worst case - even spoiled the movie's sanctity! Hats off Big B - that was one gem of a show!Razor sharp Dialogues.. struck my chords, pretty strongly! Few instances, *Debraj Sahai: For 30 years I've been in this school, Ms.Nair - as an unseen, unheard entity. Last time when I saw the school, my children are waving to me in the wrong direction Ms.Nair! It hurts, Ms.Nair!*Sarah McNally: Once Michelle and I were playing outside, running through the grass, holding each others hands and we fell. Both of us started crying. Mama and Papa came running outside and picked up Michelle and... left me outside. I was there waiting and crying with my arms stretched out.. I'm still waiting!Exceptional art direction, crystal clear cinematography, synchronous background scores, spell-binding screenplay - a very rare combination of exotic flavors - and 'Black' has it in the right proportion. Bottomline: A drama that needs to be seen and felt - not just for the Big-B and Rani.. or simply for the splendid Ravi K. Chandran's cinematography.. or for the vintage Sanjay Leela Bhansali's touch..But simply for realizing, "How gifted and blessed we are..!!"

Paul Z (us) wrote: Nick Broomfield, a reflexive filmmaker, using a minimum crew, grabs the title's famed personality and important political context in this film, which was to be the peak of his observations on the filmmaker as accomplice and his original documentary on Aileen Wuornos is introduced as evidence during a new trial depicted in this one, he himself called as a witness. Aileen: Life and Death of a Serial Killer comes to stand, very alarmingly, as the final wailings from a woman struggling to battle her own commodification. Not even Charlize Theron's striking portrayal of the accused can rival the entrancing real thing, whose premeditated admissions of regret hardly mask her cancerous rage at a life span of abuse, oppression, exploitation and neglect.A poignant examination of a destroyed and atrophied life and an inarguable denunciation of the death penalty and its supporters, this film is a major paradigm shift. After over a decade on death row, Wuornos, who persistently claimed self-defense from rape by her seven victims, upturned her initial testimony, saying that she committed the murders and wanted to atone with God. Broomfield's camera, at one point, keeps rolling unbeknownst to Wuornos, and she comes clean to the documentarian that she could not carry on her death row vigil and just wants it all to be over. Jeb Bush signed the execution order to grant her wish, claiming it the moral and correct thing to do.Broomfield and his collaborator Joan Churchill, using Wuornos' past as a background, cement a dissertation that negates the pro-death penalty case made by its advocates, most significantly Jeb Bush who wants Florida to be more like Texas when it comes to killing convicts. The documentarians grill this negligence for human life and cite the 100 or more cases where a death row inmate was released as innocent. This should be enough to abolish the barbarity. Link this affirmation with the barefaced, obvious and palpable proof of Aileen's unstable state of mind.Again, the power of the film comes from its merging of the angry political framework with its unspeakable personal strife. Broomfield resolutely uses his camera to show the aggrieved, bewildered mental state of his subject. He pins down her history, supplying abundant verification for her present state. The media spectacle that envelops death row as Aileen's execution approaches exposes the freak show that cultivated this unfortunate woman. After Aileen's death is broadcast, the statement made to the press details her last words, incoherence about Jesus and spaceships.To most people, the proof of the senses is generally reliable. We say seeing's believing. If someone asks, "How do you know someone's in the bathroom?" it's sufficient to say, "Because I saw and heard them." Consistent with the conventions of day-to-day life, an assertion's verified if we can refer to some sense encounter as proof of it. But the senses are vulnerable, exposed. Even a more internally unfailing practice may not match with any truth. Historical fact and deduction may all be coherent, but maybe things didn't occur that way. You could even say science and mathematics, while making purely logical sense, may not illustrate truth at all. How many detective stories involve evidence clearly pointing to a character who turns out to be innocent after all? Vice versa? Perhaps the most telling moment of the film is when Broomfield has to pretend the camera is off for Aileen to say something, something very distressing that may or may not be the truth, but to her, it's gospel.

Jillian T (fr) wrote: This movie was incredibly funny! I loved every minute of it. I <3 Italians! & gay guys. ;P

Sue S (gb) wrote: OY. He wasn't alienated, he was just an asshole.

Nicholas N (ru) wrote: An interesting story, well filmed action with great peformances but the building up to the twist needs to be told better

Sage H (ru) wrote: Another Clint mystery thrillers, but it definitely was not his best. It could have offered more but it tried its best to work with what it had. Great for fans but others may not find it up to par with some of his other notable films.