Now she follows Sampat Pal Devi, the leader of the ‘Pink Gang’ who brings her own brand of justice to the streets of Uttar Pradesh, India, combating violence against women.

Pink Saris (2010, Kim Longinotto).mkv

General
Container:	Matroska
Runtime:	1h 35mn
Size:	356 MiB
Video
Codec:	h264
Resolution:	480x270
Aspect ratio:	16:9
Frame rate:	29.970 fps
Bit rate:	
Audio
Hindi 1.0ch AAC LC

https://nitro.download/view/8D55793612C0620/Pink_Saris_(2010,_Kim_Longinotto).mkv

Language(s):Hindi
Subtitles:English

The post Kim Longinotto – Pink Saris (2010) first appeared on Cinema of the World.

A pair of young siblings live in an imaginary world of their creation, hidden from the eyes of their mother. When she finally catches a glimpse of their universe, it faces the threat of collapsing. The two of them must decide to either surrender or resist.

CatDog.2020.1080p.WEB-DL.H264.AAC2.0-YOki.mkv

General
Container:  	Matroska
Runtime: 	20 min 24 s
Size: 	742 MiB
Video
Codec: 	x264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	23.844 fps
Bit rate: 	4 830 kb/s
BPP: 	0.098
Audio
#1:  	Hindi 2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/0E14B7C1A1D5E52/CatDog.2020.1080p.WEB-DL.H264.AAC2.0-YOki.mkv

Language(s):Hindi
Subtitles:English (hardcoded)

The post Ashmita Guha Neogi – CatDog (2020) first appeared on Cinema of the World.

Quote:
Phirojshah (Naseeruddin Shah) and Pestonjee (Anupam Kher) are two close friends. They attempt to do everything together, and they hope that they will marry the same day as well. Unfortunately, both go to see the same young lady, Jeroo (Shabana Azmi), and Pestonjee ends up getting married to Jeroo. Phirojshah has been stricken by Jeroo’s beauty and decides not to marry, and takes a transfer away from the couple. During the years, he keeps in touch with the couple by mail. While on a visit to the couple, he finds out that Pestonjee has a mistress, and Jeroo does not know of this. How will this effect Phirojshah’s friendship with Pestonjee? Does Phirojshah stand a chance with Jeroo?

Pestonjee.1988.1080p.MUBI.WEB-DL.AAC2.0.x264-TEPES.mkv

General
Container:  	Matroska
Runtime: 	1 h 59 min
Size: 	5.02 GiB
Video
Codec: 	x264
Resolution: 	1440x1080 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	5 872 kb/s
BPP: 	0.151
Audio
#1:  	Hindi 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/2CBB3F071E29295/Pestonjee.1988.1080p.MUBI.WEB-DL.AAC2.0.x264-TEPES.mkv

Language(s):Hindi
Subtitles:English

The post Vijaya Mehta – Pestonjee (1988) first appeared on Cinema of the World.

imdb:
The delicate relationship between a 15-year-old girl and her grandfather is used to describe how the growing political tensions between Muslems and Hindus in 1992 led to the destruction of a medieval Muslim mosque and subsequently, violent rioting in the streets of Bombay. Naseem (urdu: sahar) means Morning breeze, and charts the story of a young school going girl Naseem in the months leading up to the demolition of Babri Masjid in 1992. She shares deep and loving bond with his ill grandfather who represents the era of communal harmony between Hindus and Muslims in India, as he fondly recalls the times he spent in pre-Independent Agra. As communal tension erupts in the city of Bombay, Naseem get increasingly bewildered by changing dynamics at her school and in the neighborhood, while her grandfather watches helplessly at a city getting deeply divided over the Babri Masjid issue.

Naseem.1995.720p.AMZN.WEB-DL.DDP2.0.H.264-TEPES.mkv

General
Container:	Matroska
Runtime:	1h 25mn
Size:	3.54 GiB
Video
Codec:	h264
Resolution:	1280x720
Aspect ratio:	16:9
Frame rate:	25.000 fps
Bit rate:	6 000 kb/s
Audio
Hindi 2.0ch E-AC-3 @ 224 kb/s

https://nitro.download/view/AB3A936F129BD5A/Naseem.1995.720p.AMZN.WEB-DL.DDP2.0.H.264-TEPES.mkv

Language(s):Hindi
Subtitles:English

The post Saeed Akhtar Mirza – Naseem AKA The Morning Breeze (1995) first appeared on Cinema of the World.

Synopsis
The film tells in flashback the story of Suresh Sinha (Guru Dutt) a famous film director. His marriage to Bina (Veena) is on the rocks because her wealthy family sees filmmaking as a job lacking in social status. He is also denied access to his daughter Pammi (Naaz) who is sent to a private boarding school. On a rainy night Sinha meets a woman Shanti (Waheeda Rehman) and gives her his coat. She comes to the film studio to return the coat and disrupts the shooting walking in front of the camera. Seeing the rushes Sinha is sure that she is a star in the making and she is cast as Paro in Devdas. Shanti becomes a star and she and Suresh, two lonely people, come together. They are spoken about in gossip columns and even Pammi’s friends make life miserable for her. She pleads with Shanti to leave Sinha’s life and Shanti withdraws becoming a school teacher in a small village. Her withdrawal leads to a decline in Sinha’s fortunes and he finds himself down and out. Shanti is forced to return to films since she has a contract with the studio but cannot help him, as he is too far-gone. Finally Sinha remembering his glorious past dies in the empty film studio in the director’s chair, a lonely and forgotten man.

Kaagaz.Ke.Phool.1959.DVDRip.x264-HANDJOB.mkv

General
Container:	Matroska
Runtime:	2h 19mn
Size:	1.69 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	720x320 ~> 720x358
Aspect ratio:	2.009
Frame rate:	29.970 fps
Bit rate:	1 483 kb/s
Audio
Hindi 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/1F69B89501C3F90/Kaagaz.Ke.Phool.1959.DVDRip.x264-HANDJOB.mkv

Language(s):Hindi
Subtitles:English

The post Guru Dutt – Kaagaz Ke Phool AKA Paper Flowers (1959) first appeared on Cinema of the World.

Review
In 1942, the breakaway group from Bombay talkies formed itsown Film Studio – Filmistan. As Filmistan grew from strength to strength, Bombay Talkies began to decline and was making huge losses. Ashok Kumar, who used to be Bombay Talkies biggest star and who was part of the breakaway group to Filmistan, returned to his alma mater so to speak in the late 1940s to try and turn the company around. In the wake of this effort came Mahal, perhaps India’s first suspense and ghost story!
Mahal was Kamaal Amrohi’s first film as director and immediately sets him apart as a filmmaker. It was a film that was startlingly different in its times, a tragic psychodrama – thriller with overtones of a ghost story. At that time Amrohi was a scenarist at Bombay Talkies and writer of some repute. He took the story to Ashok Kumar who immediately agreed to produce the film. Mahal was among the earlier efforts to improve not only the content but also the form of Hindi Films. The film is till date known for its richly textured visuals, the imaginative use of sound, its tantalizing ambiguity and of course its haunting music.
Mahal is held solidly together by its two central performances – Ashok Kumar and Madhubala. Along with Motilal it was Ashok Kumar who brought a more natural style of performing to Indian Cinema. Dadamoni was one of the earliest actors who understood the cinematic medium and realized that acting was reacting as well. Before Dadamoni, most artistes would just say their lines and that was it but Dadamoni knew that silences and reactions in fact constituted more of acting rather then just dialoguebaazi. In Mahal Ashok Kumar plays the obsessed lover to perfection. Just see the look in his eyes as he follows the ‘ghost’ leading him on.
Mahal finally made Madhubala a star. Though she had already been a heroine for a couple of years starting with Kidar Sharma’s Neel Kamal (1947), it was Mahal that made her a star. For the first time her famous looks came into focus as well as she began to blossom into the most beautiful Hindi Film heroine ever. Madhubala is spot on as the spirit that haunts Ashok Kumar bringing a haunting quality to her performance as well. What is ironic was that Madhubala was never the first choice at all. Many actresses including Suraiya were considered for the role before Madhubala was finally chosen. Today it is impossible to think of anyone but Madhubala in Mahal. Incidentally it was a sort of coming home for Madhubala too as she had been a child star in one of Bombay Talkies biggest hits – Basant made in 1942 and here she was playing the heroine and that opposite the studio’s top actor.
But even more than Ashok Kumar and Madhubala, perhaps the biggest reason for Mahal’s success was its superhit music. Khemchand Prakash scored the music of Mahal. The soundtrack of Mahal was light-years ahead of its time in terms of its music, use of sounds and orchestration. A pioneer in the field of classical music and rajasthani folk music, Khamchand Prakash had a complete grasp of Marwar folk songs, thumris and ghazals. He was among the major Music Directors of the 40s along with Ghulam Haider, C. Ramchandra, Anil Biswas and Naushad and is considered to be his Guru by Naushad. The key song Aaegaa Aanewaalaa sung by Lata Mangeshkar is brilliantly used as a leitmotif for the ghost and set the trend for a suspense and ghost film to always have a song that works as a leitmotif throughout the film be it Madhumati (1958), Woh Kaun Thi (1964) or Mera Saaya (1966). It is said the recording began with the mike placed in the center of a large hall with Lata in the corner of the room. As the prelude began she inched her way to the mike singing Khamosh Hai Zamana… (an early use of prelude before the actual song – here lyrics were written by Amrohi himself). Mahal without a doubt represents the finest work of Khemchand Prakash at his peak. Interestingly, during the production of Mahal, someone carelessly remarked to the studio authorities that if the film did not prove to be a hit it would be because of the music. When the film was released, of course it proved to be extremely popular. He received innumerable letters from all over India. In spite of being ill, Khemchand Prakash took a cab to the man’s house and forced him to read all those letters.
While Aaegaa Aanewaalaa proved to be a turning point in her career, 1949 was also the year that the Lata Mangeshkar phenomenon took off as apart from Mahal, her songs in other films released the same year such as Andaaz, Barsaat and Dulari reached hithertho unknown levels of popularity. Such was Lata Mangeshkar’s impact that within a year she had changed the face of the playback singer as her highly trained high-pitched singing rendered the nasal, basy voices of the day totally obsolete. At least music directors had found the voice that could stretch their creative experiments to the fullest. The only two singers to survive the Lata onslaught were Geeta Roy and to a certain extent Shamshad Begum as Lata went on to conquer all and sundry with her magical voice and become the greatest singer that India has ever seen. Incidentally Mahal sees two other wonderful Lata solos as well – Dil ne Phir Yaad Kiya and Mushkil Hai Bahut Mushkil both on Madhubala.
Besides turning around Lata Mangeshkar’s career, It was Khemchand Prakash who gave Kishore Kumar his initial break with Marne ki Duayen Kyon Mangoon in Ziddi in 1948 and gave him one of his earlier assignments in Rhim Jhim coming the same year as Mahal. Unfortunately Khemchand Prakash couldn’t live for long to enjoy Mahal’s stupendous success as he passed away the following year when still in his early 40s. But not before giving another scintillating musical score in the Raj Kapoor – Nargis starrer Jan Pehchan (1950).
The other singer that Mahal is a triumph for is Rajkumari. Rajkumari began her career in the late 1930s as a singer actress with Prakash Pictures. But the love of food and a resulting weight problem forced her to concentrate on playback singing only. Rajkumari sang in an era when the rupee had value, petrol cost 6 annas a gallon and she was paid the princely sum of Rs 50 a song! Such was her success that even before partnerships like Mukesh – Raj Kapoor or Talat Mehmood – Dilip Kumar or Mohd. Rafi – Dilip Kumar were formed, heroines like Shobana Samarth had stipulations in their contracts that Rajkumari would sing for them! Mahal sees some of Rajkumari’s greatest work as a singer with splendid use of her sweet voice that was strong yet not sharply high pitched. The song Ghabrakejo Hum Sar ko Takraaye to Achcha Ho on Vijayalakshmi is perhaps the greatest song sung by Rajkumari in her entire career.
Old Bombay Talkies cameraman Josef Wirsching shot the film and he does a splendid job of playing with light and shadow to maintain the mood of the story. Interestingly the lighting inspired by the German Expressionist Films of the late 1910s and early 1920s was initially far darker and moody with a much more somber use of shadows but the studio executives felt in India the audiences must see everything and so the look of the film was made a little brighter. The film is further enhanced by its deep focus photography creating haunting images of Madhubala walking down long corridors of the Mahal.
Released in 1949, Mahal was a tremendous success at the box office. Even as it made the careers of Kamaal Amrohi, Madhubala and Lata Mangeshkar, sadly however the film offered but a temporary relief to Bombay Talkies’ declining fortunes and by 1954 this great institution of filmmaking finally folded up. One cannot help but notice the influence of Mahal on Bimal Roy’s Madhumati made a good 9 years later as Dilip Kumar too comes to a strange mansion at night and in the dark, eerie atmosphere of large shadows, swinging chandeliers he sees his own portrait there…Madhumati also makes use of the ‘ghost’ song as a leitmotif this time with Aaja re Pardesi sung again by who else but Lata Mangeshkar. And coincidentally Lata considers both Aaegaa Aanewaalaa and Aaja re Pardesi among her ten best songs ever!

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Language(s):Hindi
Subtitles:English

The post Kamal Amrohi – Mahal AKA The Mansion (1949) first appeared on Cinema of the World.

The film is based on the life of Bengali, Hindu monk Narendra Nath Datta aka Vivekananda from his birth (1863) to his returned to India from the west (1887). It is spiritual take on Vivekananda life. Movie’s focus is on Vivekananda’s internal struggles and questions about the meaning and truth of life.

Swami.Vivekananda.1998.AVC.KG.mkv

General
Container:	Matroska
Runtime:	2h 47mn
Size:	319 MiB
Video
Codec:	x264
Resolution:	640x326
Aspect ratio:	1.963
Frame rate:	25.000 fps
Bit rate:	144 kb/s
Audio
Hindi 2.0ch Opus @ 120 kb/s

https://nitro.download/view/1F1C3F1FA547D03/Swami.Vivekananda.1998.AVC.KG.mkv

https://tezfiles.com/file/1e82d463c3826/Swami.Vivekananda.1998.AVC.KG.mp4

Language(s):Hindi
Subtitles:English

The post G.V. Iyer – Vivekananda (1994) first appeared on Cinema of the World.