Junoon (1979) User Reviews (17)

Great movie!

[bcr004 · 9/10 · 17 July 2006]

This movie is a beautiful love story and portrays the feudal life style of the landed aristocracy in North India, particularly in the Awadh region (around Lucknow), a major centre of the 1857 war of independence. Also, IMHO, Javed Khan (Shashi Kapoor)has already seen Ruth, even before the Church massacre (remember the first scene- Ruth notices someone standing outside the house).

Interesting trivia from the movie:

Ruth's grandma is played by Ismat Chughtai, one of the foremost progressive Urdu writers of the last century.

Ruth was played by Nafisa Ali, who had been crowned Miss India in 1977 or 1978 (?). This was her last movie till she appeared in the 2000 movie 'Major Saab' with Amitabh Bacchan (Amitabh's wife).

A Potpourri of Vestiges Review: Shyam Benegal's cinematic epic featuring a tour de force from Shashi Kapoor

[murtaza_mma · 9/10 · 20 April 2014]

Junoon is a 1978 Hindi feature film directed by Shyam Benegal and produced by Shashi Kapoor. Junoon is a lost gem that deserves more attention than it has received over the last three decades. Based on a novel by Ruskin Bond, Junoon presents the haunting tale of love, obsession, jingoism and death set around the Indian Mutiny of 1857. The movie underlines the atrocities of war while simultaneously trying to grapple with various social, moral and political issues. Junoon's ensemble star cast includes Jennifer Kendal, Shabana Azmi, Nafisa Ali, Naseeruddin Shah, and Shashi Kapoor.

Shyam Benegal and team need to be applauded for bringing Ruskin Bond's poignant tale to life. The movie's attention to period detail is immaculate. Benegal also succeeds in eliciting strong performances from all his actors. While the movie's real highlight is Shashi Kapoor's breathtaking performance, it would be unjust to overlook the other performances. The cinematography speaks for itself: the vivid and powerful images enrich the movie with an element of realism which woos the viewers into believing as if they are part of the history. The history unfolds with a subtle element of drama that keeps monotony at bay, also ensures that it doesn't become melodramatic.

Benegal, by the virtue of his groundbreaking cinematic works in the '70s and the '80s, rightfully established himself as the undisputed heir to the legacy of great Indian auteurs whose works paved the way for a new movement in Indian cinema during the late '40s to the '60s, popularly known as Indian New Wave/Parallel Cinema. Benegal's first four films created a strong buzz among the Indian film aficionados and that's what brought him in contact with Shashi Kapoor who went on to back his next two projects: Junoon and Kalyug.

Shashi Kapoor is breathtaking to watch in the lead role of a love-struck feudal chieftain, Javed Khan, who falls for a young British girl. This, in my opinion, also happens to be Kapoor's best performance ever. What makes the portrayal special is its deceptive simplicity. It may be a cinch to play a madman but it's exceedingly challenging to play a role that lies mid-way between sanity and madness. An actor is required to muster all his talent to bring such a complex caricature to life and that's exactly where Kapoor triumphs as he effortlessly goes through a gamut of emotions during the portrayal.

Junoon is a cinematic epic which serves as a powerful eye-opener for the contemporary Indian filmmakers who, blinded by the glitz and glamour of Bollywood, seem to lack both the ideas and the resolve needed to make great cinema. A major area where the movie scores heavily is in its balanced use of visuals and dialogues. Junoon is a great means to get acquainted with classic Indian cinema and a must watch for anyone who admires topnotch world cinema. 9/10

A more in-depth review can be read at:

http://www.apotpourriofvestiges.com/

Captures the mood of 1857 without jingoism

[darashukoh · 9/10 · 23 February 2005]

***Contains some SPOILERS***

Junoon is Shyam Benegal's adaptation of author Ruskin Bond's novel, Flight of the Pigeons, about the interaction between an English mother and daughter and an Indian nawab during the Indian revolt of 1857. Shashi Kapoor is the local feudal nawab married to Shabana Azmi, and his brother-in-law,played by Naseeruddin Shah, hates the British.

The movie captures the segregation of the English and Indian people, which was partially responsible for the mutiny and subsequent revolt against the English. The movie is a muted love story between the nawab and the English girl, played by Nafisa Ali. The nawab and his retainers kill members of the English cantonment but the girl and her mother survive at the nawab's mercy. He falls for the girl but her mother prevails upon him to wait for a clearer resolution of the ongoing war.

Superb acting, photography and costumes/sets mark this 1977 film. My favorite scenes are the charge by Indian cavalry against the British and the one where Naseeruddin Shah reveals that the rebels have lost Delhi. His "Ham Dilli haar gaye (we have lost Delhi)!!" is a heartfelt lament that underscores the significance of the event and his own acting prowess.

A must see for anyone who is interested in India.

Haunting, unforgettable

[sudheerapte · 10/10 · 25 January 2003]

I've seen this movie twice, and liked it even better the second time. Right from the title scene of the crazy-looking "pir", the atmosphere created is gripping and unforgettable.

The events of 1857 were shocking in their violence, and neither the British nor the rebels showed themselves to be very honorable. The word "junoon" (obsession) connotes a tinge of madness, and that kind of madness is a very appropriate way to view the period. The "love story" is also suffused with the same out-of-control emotion. (Also, only a crazy man would want to leave Shabana Azmi for another woman, even one as gorgeous as the young Nafisa Ali!) Shyam Benegal has made a masterpiece that captures that feeling visually.

Now, if only they would convert this film to DVD, I would buy it in a second.

"That Pathan, he's looking at me."

terrific very close to original story

[anshul2001anshul · 9/10 · 31 March 2007]

Terrific. The best part which i like about Shyam Benegal movies that they are not melodramatic & all emotions are shown in moderate doses mostly though scenes which appear like pictures.Everyone is free to interpret them.Another striking quality is even while making historical or period movie he shies from creating grand scenes but rather takes viewer through background to event & aftermaths of event.Sometimes viewer may find it disappointing but it has its own merits. Coming back to movie it sticks to original narration faithfully & develops some character like the aunt in a better way than story. Scene in the mango garden of swinging and women from both cultures expressing happiness in their own way is superb.Also nightmare of Ruth that shashi kapoor is going to rape her captures her mental trauma very well & in fact builds up viewer for the eventuality when she falls in love with him.

Junoon is a beautiful, sad and compelling film.

[ankit-bit-73 · 7/10 · 20 January 2012]

Adapted from Ruskin Bond's novel, Flight of the Pigeons, is a story about a Pathan,Javed Khan (played by Shashi Kapoor),who is an imposing, proud man rendered feeble by his obsession. The movie is set in the 1857 mutiny where amidst all the bloodshed and atrocities, the only thing Javed Khan can think of is Ruth Labadoor, played by Nafisa Ali(although he is married to Firdaus,played by Shabana Azmi). It shows the tussle between Javed's obsession and pride. On one hand he wants Ruth but on another his nobility doesn't allows him to use force. Ruth's mother Miriam is unrelenting, eventually; the two strike a peculiar, yet greatly symbolic bargain "Dilli apki toh Ruth bhi aapki". Director Shyam Benegal, assisted by ace co-writers (dialogue by Satyadev Dubey and Ismat Chugtai), created overwhelmingly powerful film.Junoon is a beautiful, sad and compelling film.

A Potpourri of Vestiges Review: Indian filmmaker Shyam Benegal's cinematic epic featuring a tour de force from Shashi Kapoor.

[murtaza_mma · 9/10 · 30 May 2015]

Summary: Set during the 1857 War of Independence, an obsessed Indian feudal chieftain desires to wed a young Anglo-Indian woman, but the girl's obstinate mother stands between them.

Junoon (aka "The Obsession") is a 1978 Hindi feature film directed by renowned Indian filmmaker Shyam Benegal. Junoon, produced by Shashi Kapoor, is a lost gem that deserves more attention than it has received over the last three decades. Based on a novella named A Flight of Pigeons by the one and only Ruskin Bond, Junoon presents the haunting tale of love, obsession, jingoism and death set around the Indian Mutiny of 1857. The movie underlines the atrocities of war while simultaneously trying to grapple with various social, moral and political issues that are as relevant today as they were in pre-independence India. This National Award-winning film has an ensemble star cast that includes Jennifer Kendal, Shabana Azmi, Nafisa Ali, Kulbhushan Kharbanda, Naseeruddin Shah, and Shashi Kapoor. The movie's prologue and epilogue is narrated by Amrish Puri in his trademark baritone voice.

Shyam Benegal and team need to be applauded for bringing Ruskin Bond's poignant tale to life. The movie's attention to period detail is immaculate. Benegal also succeeds in eliciting strong performances from all his actors. While the movie's real highlight is Shashi Kapoor's breathtaking performance, it would be unjust to overlook the other performances, especially those of Jennifer Kendal, Naseeruddin Shah, Shabana Azmi, Kulbhushan Kharbanda, and Nafisa Ali, who as the young Ruth Labadoor is a sight for the sore eyes. Vanraj Bhatia's music immensely adds value to the movie's poignant, sombre tone. Govind Nihalani's cinematography speaks for itself: the vivid and powerful images enrich the movie with an element of realism which woos the viewers into believing as if they are a part of the history. The history unfolds with a subtle element of drama that keeps monotony at bay but at the same time ensures that it doesn't become melodramatic.

Benegal, by the virtue of his groundbreaking cinematic works in the '70s and the '80s, rightfully established himself as the undisputed heir to the legacy of great Indian auteurs, like Satyajit Ray, Ritwik Ghatak, Guru Dutt, Bimal Roy, Tapan Sinha, Chetan Anand, Mrinal Sen, V. Shantaram, and Khwaja Ahmad Abbas, whose avant garde works paved the way for a new movement in Indian cinema during the late '40s to the '60s, popularly known as Indian New Wave or Parallel Cinema. Benegal's first four films viz. Ankur (1973), Nishant (1975), Manthan (1976) and Bhumika (1977) created a strong buzz among the Indian film aficionados and that's what brought him in contact with Shashi Kapoor who went on to back his next two projects (Junoon happened to be the first with the 1981 classic Kalyug being the second).

Shashi Kapoor is breathtaking to watch in the lead role of a love-struck feudal chieftain, Javed Khan, who falls for a young British girl. This, in the opinion of this critic, also happens to be Kapoor's best performance ever. What makes the portrayal special is its deceptive simplicity. It may be a cinch to play a madman but it's exceedingly challenging to play a role that lies mid-way between sanity and madness. An actor is required to muster all his talent to bring such a complex caricature to life and that's exactly where Kapoor triumphs. During the course of his portrayal, Kapoor effortlessly goes through a gamut of emotions, thereby making it quite convincing for the viewer.

Kapoor, having played pivotal roles in blockbusters like Deewaar, Trishul, Namak Halaal, and Shaan, is often hailed in as an acting icon as far as commercial cinema is concerned, but it's his lesser know art house endeavors, both as an actor and a producer, like Shakespeare-Wallah, Junoon, Kalyug, 36 Chowringhee Lane, Jinnah, etc. that make him stand out among his contemporaries. In fact, Kapoor, throughout his career, has been a part of an elite list of actors who can be said to have been actively associated with both the commercial and the parallel streams of Indian cinema (not to mention his indelible contribution to Indian theatre through his lifelong association with Prithvi Theatre, which he started in memory of his father Prithviraj Kapoor). Thus, it wouldn't be wrong to call him the John Cassavetes of India cinema.

Overall, Junoon is a cinematic epic which serves as a powerful eye-opener for the contemporary Indian filmmakers who, blinded by the glitz and glamour of Bollywood, seem to lack both the ideas and the resolve needed to make great cinema. A major area where the movie scores heavily is in its balanced use of visuals and dialogues. Junoon has several memorable scenes, but none matches the raw power of the opening sequence featuring a dervish, a Sufi Muslim ascetic, slowly drifting into a state of Wajd (a fit of ecstasy which produces a rhythmic motion of the body) upon getting enchanted by a Qawwali (a popular form of Sufi devotional music often sung in the praise of the Almighty) commemorating the glorious Sufi order. Junoon is a great means to get acquainted with classic Indian cinema. It's a must watch for anyone who understands and admires topnotch world cinema.

(This review was first published at A Potpourri of Vestiges)

Better than the average Bollywood tripe.

[ali-mostaque · 6/10 · 19 January 2009]

I watched it twice in the 1980's. Once on Jeremy Isaac's channel 4, in the late evenings when he was running Indian art-house movies, and again on the same channel with some Indian friends. I can handle Indian art-house movies, without feeling frustrated, confused, embarrassed,irritated, annoyed, and bored; some of the emotions that come over me when watching Bollywood movies....the list of emotions is not exhaustive. So it seems Hindi movies must dumb down to the perceived level of the simple peasant, in order to sell their wares; sounds logical to me. It was a relief that in this movie there were no songs with the leads prancing about artlessly, engrossed in melodramatic poses in the Himalayas foothills yet again. That the song in the beginning had some connection to the movie (In India holy men, Sufis and Pirs really do dance around in chants and do perform with music...so OK)

The movie itself seemed like a made for TV production, but at least the subject was original, historical, topical and interesting, devoid of the traditional Bollywood copied tedious fare. The camera work seemed pedestrian, and the plot even more pedestrian, focusing on the welfare of our damsels in distress hiding from the savage natives, and the Learing prying eyes of the "Pathan" . Shashi Kapoor being married to Jennifer Kendal, would mean that his perceptions of the "Mutiny" or shall we say the "Liberation War" COULD have a significant British Raj bias, especially with his wife acting in it. .............and I thought that was conveyed in various subtle ways in the movie. But that is a matter of personal taste and preferences. It is after all a story based on a book written by a English gentlemen, and mainly from their perspectives which "our" Shashi Kapoor decided to choose as producer of the project, as his very first project.

So what was good about the movie to get a 6 from me? I enjoyed the dialog, which seemed natural and intelligent...though the conversations were way to sparse and short. People in such intense times of rebellion and war tend to speak a lot more, and usually in more intense ways about relevant topics. Our characters in the movie by contrast seemed to be constantly lost for words, and lacking the ability to communicate at extensive length with their counterparts. Through dialog we get a better understanding of our characters, and their "situation" in the drama unfolding.

The acting was wooden, though mercifully we were spared the loud speaker melodramatic treatment of Bollywood, an acting style presumably imported during Queen Victoria's rule of India by a semi deaf Theater producer from Bombay, and instead we had natural tones and vibrations. But Shashi Kapoor as a Rohilla Pathan...nay!!!He always seemed too effeminate for me for such a role, like his other brother Shami. Nafisa Ali, yes very beautiful, though no great acting skills, and Naseeruddin Shah looked a bit Bin Laden to me, but as always a good animated actor.

So a bit of historical context which the movie did not give us, but merely the colonial narrative of savage ungrateful natives doing the usual. We are informed in the movie by a native soldier that the natives are restless because of the greased cartridges that the British had introduced contained pig and cow fat (offensive to both Muslims and Hindus respectively) SUBTEXT: "These natives are primitive and superstitious, and it doesn't take a lot to get them in a rebellious mood, killing left right and center". It trivializes the real issues and the brave Indians who fought for their country and beliefs. If only it was that simple, and the standard repeated lie of Raj history. The greased cartridge case wouldn't explain why the entire Bengal Presidency army rebelled en mass.

The British had conquered Bengal in 1757, and 1857 was the hundredth year of their rule of the great Indian state of Greater Bengal. British misrule of Bengal was notorious; just think of a bank robber in a bank vault....in 1769, 10 million Bengalis died because the British restricted the growing of rice in favor of cash crops for exports to Europe, such as Jute and Indigo........and so on...and so on......Turning the richest state in India, "The Pearl of India" into one of the poorest in a few decades. Then there was the taxation of ordinary civilians of the type never seen before in India....and into the 19th century where the British were feeling more confident in themselves and their "benevolent rule", the desire to "civilize" the Indians through evangelical Christianity. Finally, symbolically in 1856 the British removed the ruler of Oudh, who were the traditional Wazirs of the Mughal Empire, and then that was it.........rebellion.

So based on the above facts, contrary to the portrayal of the movie, the British weren't just having polite conversations over dinner, or going to church; they were inflicting great harm in Greater Bengal especially, and weren't exactly charitable to the rest of India in various degrees. A visual portrayal of what they were actually doing in India in terms of gross misrule would have added context to the rebellion of the company soldiers. BUT instead the overall visual imagery of the movie simply doesn't connect or justify the actions of the Indians against their British masters...it is thus in that sense, in terms of the visual, unbalanced. And the movie directs the audiences sympathy towards the English ladies, in their sad plight trying to hide from the savages. The "Hero" of the movie, if there is one is a imperfect bounder craving for a young memshahib, even though he is already married......and that is all he does a little tediously throughout the entire film.

Excellent

[Pratik112 · 10/10 · 16 February 2008]

"Junoon" means obsession and this is exactly what was portrayed in this movie. Based on the book, "The Flight of The Pigeons," which is based during the "Great Indian Mutiny" of 1857 and the aftermath, this shows of what really had happened in terms of the setting of the background - the mutiny and the aftermath. The mutiny now has been considered to be the first Indian war of independence, Javed Khan, a Pathan, comes into the town that he lives and sees a man making a prophecy of what is to come but en route to his house he sees an English girl, Ruth and becomes obsessed with her to such an extend that he keeps on staring at her whenever he sees her. This naturally frightens her and she informs her father about this. He tells her to ignore. But in the meantime, Ruth's grandmother, who is an Indian, is informed by their servant that he thinks that no one should go to church the next day as he has heard there will be a raid by the mutineers. But this is ignored and Ruth and her father go to church the next day and get involved in a blood bath that follows.

Adopted and Directed by Shyam Benegal, written and based on the book by Ruskin Bond and produced by Shashi Kapoor, this is a well researched based story, which shows the brutality of the soldiers of the British East India Company and of those who fought against them. The movie consists of a superb cast: Shashi Kapoor, Jennifer Kendal, Shabana Azmi, Tom Alter, Benjamin Gilani, Kunal Kapoor, Karan Kapoor, Pearl Padamsee, Geoffrey Kendal, Sanjana Kapoor, Khulbhushan Kharbanda and Naseerudin Shah. The movie is in Urdu, which is similar to Hindi, and in English.

"Junoon" brings out the real meaning of the word "obsession" which is mixed in with violence and historical background. This is a movie that is worthwhile watching. The song that is most enchanting is the one at the beginning.

Shyam Benegel's epic and one of Shashi Kapoor's best work

[cseabhi · 8/10 · 7 July 2021]

Shashi Kapoor is my favourite actors and he is absolute treat to watch as Javed Khan in this epic.

Directed by Shyam Benegal, Junoon is the story of obsession and love, set around the Indian Mutiny of 1857. The movie tries to outline the war of independence, social and political issues of that time and is able to make that connection.

Junoon is based on Ruskin Bond's book and Shyam Benegal has done an outstanding job in transforming the book in an unforgettable cinema.

For me Junoon is completely Shashi Kapoor's show. He is outstanding in every scene. It's among his best works. Nafisa Ali looks so fresh in Junoon and is able to carry that innocence and portray that emotions on his face. Shabana Azmi is wonderful as Javed Khan's wife.

Junoon

[IPyaarCinema · 8/10 · 12 September 2021]

Review By Kamal K

Junoon, produced by Shashi Kapoor and directed by Shyam Benegal, is based on Ruskin Bond's "A Flight of Pigeons"

The story is set during the first War of Independence - 1857. During the tumultous and bloody rebellion the British are attacked everywhere. An English mother and daughter, who are on the run, are secretly sheltered by an Indian Nawab whose relatives are fighting against the British. The much married Nawab is besotted by the young girl, but the untrusting mother is against the relationship.

Shashi Kapoor as the obsessive Nawab, Naseeruddin Shah as the fanatic and emotional brother-in-law, Shabhana Azmi as the silently suffering wife, Jeniffer Kendall as the wary mother and Nafisa Ali as the young girl leave a lasting impact.

There is an underlying tension that is maintained throughout this movie which keeps you on the edge. There needs to be a special mention of Govind Nihalani's captivating cinematography which adds to the entire atmosphere.

Very subtle realism blended with drama and emotions

[user-169-219219 · 9/10 · 20 February 2013]

Ruskin Bond's works have a different sense of romance, the one people might consider sinful but the protagonist doesn't see it any differently. Shyam Benegal works have very subtle realism blended with drama and emotions without going overboard. Junoon is a perfect blend of both artists' brilliance. Made by Benegal and based on Bond's novella A Flight Of Pigeons, Junoon which literally means Obsession is very true to its translation.

Set in 1857, when India struggles for independence, Javed falls in love with a teenage British girl Ruth. Against Ruth's and Mariam's (Ruth's mother) wishes they are brought into the Muslim household. Javed's wife Firdaus objects to his wish of marrying Ruth. His brother Sarfaraz is a fighter against British and even he opposes Javed's action. In turbulent times, world has turned upside down for the British family. Man of house is dead and they are living a life of destitute. A brilliant script, impressive narrative and outstanding performances complements direction of perhaps the best filmmaker of alternate cinema.

Shashi Kapoor as Javed, Naseeruddin Shah as Sarfaraz, Shabana as Firdaus and Jennifer as Mariam simply excelled in their individual roles and were complemented well by actors like Kulbhushan Kharbanda, Nafisa Ali and Sushma Seth. Jennifer deserves a special note. She is one of the most underrated actresses of this country. Technically Shyam Benegal's movies have been excellent. Junoon is no exception. One scene deserves a special note where warriors return home, that one scene was at par with a similar scene from Gone With The Wind. I hope that summarizes well.

Historical romance as it should be done!

[ajji-2 · 9/10 · 20 June 2000]

The other reviewer left out the most important aspect of this film: the love story. Javed Khan leads an attack by Indian patriots/rebels on British community gathered in a church. Ruth and her mother survive the attack while the rest of their family are killed. Javed tracks them down with the intent to kill, but when he sees Ruth, he is smitten (even though he is married. but Muslims are allowed up to 4 wives at a time). he keeps them in protective custody, but pressurizes Ruth's mother to marry her daughter to him. both women balk at this, but later on in the film, Ruth also develops feelings for him.

however, since the backdrop is the struggle between British invaders and Indian freedom fighters, the film ends tragically. DO NOT MISS those last lines explaining what happened afterwards, if u want the full impact. now, this is the way to do a love story. if only other Indian directors were as subtle.

Revolutionaries vs Imperialists

[anant_films · 9/10 · 17 February 2004]

One of the best Indian films i have seen, this film was adapted by Ruskin Bond's novella "A Flight of Pigeons". Shashi Kapoor's first film as a producer, he chose the best director to direct Junoon - Shyam Benegal. Brilliant performances by Shashi Kapoor, Naseeruddin Shah, Jennifer Kapoor and Shabana Azmi, the film won several Filmfare Awards (Indian Oscars) including the Best Film and the Best Director awards. The film based on the 1957 mutiny by Indian soldiers, the film tells about the haunting story of an English girl kidnapped by a Pathan revolutionary.

Powerful!

[kapil_l · 10/10 · 31 December 2010]

Coming from Shyam Benegal and his crew, not a surprise about the powerful impact of 'Junoon' (Obsession) adapted from the novel 'A Flight Pegions' by Ruskin Bond (HTML is not supported but look-up wikipedia). Through thorough research of the conditions prevailing during the rebellion of 1857, the geography, the characters (from Javed Khan to Lalaji), supported by equally-matching cinematography (Govind Nihalani), Sound (Hitendra Ghosh), Shyam Benegal, in the backdrop of the tumultuous times, does justice to the novel as only he can. In the process, Nafisa Ali (Ruth) and Deepti Naval (Rashid's wife) make remarkable debuts. As Firdous, Shabana portrays a torn and troubled wife of Javed Khan, obsessed by 'other woman' brilliantly. Par-excellence was the last and silent shot of Shabana when exudes joy at seeing her husband Javed Khan, only to turn into pain quickly turning to grief, when Javed Khan, instead goes in search of the 'other woman'. This single, silent performance by Shabana speaks for her talent. Of course, there are others (too many to list here), which audiences can enjoy.

Don't miss the brilliant photography (Govind Nihalani) and music (Vanraj Bhatia), who much later produced a gem 'Droh Kaal' 1994 (search title in IMDb), while Sound Recordist Hitendra Ghosh became a part of Govind Nihalani's team in the production of another gem 'Aakrosh' 1980 (search title in IMDb but disregard Aakrosh of 2010). Needless to add, Naseerudin Shah, as Sarfraz presents another of his countless brilliant performances.

Finally, 'Junoon' is available on DVD (with sub-titles). Check 'Shemaroo' web-site.

Haunting, subtle, tense

[blueskycheerful · 9/10 · 17 December 2021]

I'm not Indian nor I used to watch Hindi movies. Recently I've started to discover this cinema, and Junoon is maybe the best I've watched so far. Nothing like the mainstream Bollywood stuff (which can be delightful at times), rather the more realistic historic European movies of 70s.

A certain tension is felt throughout the movie which matches very well with the title and the context. The first, long sequence showing the Sufis & the crazy man foreshadows the next brutal, unfortunate events.

Among other things- mostly mentioned in reviews here- I see the movie is subtly divided into two parts: in the first half, we mostly see the cruelties the British go through, in particular Ruth whose angst is impressively depicted by obscure, menacing nightmares. The distress climaxes after the Nawab reveals that he is determined to "own" Ruth at "any cost", before going aggressively to the room she resides in with her mother & grandmother and asking her hand in second marriage. That night Ruth has a dream about being raped by the Nawab: her worst nightmare.

Soon after, the British women go to live with the Nawab's kindhearted aunt. Here the game changes in my view. One of the best scenes is that of the mango garden where the women of two warring countries sing songs in their own language (both very beautifully) and emotionally bound through it without understanding the words (except for Miriam who speaks both English & Hindi). A relief, a sense of calm & freedom for the first time. Afterwards the British women reach a state of relative safety and take back control. The nature of Ruth's nightmares changes: while in her previous dreams Ruth is threatened by a man (virtually the Nawab) whose face is unclear in darkness, now she is in the position of third person, seeing the brutalities of the British against the Indians in the daylight. Could her inner transformation be pictured better?

It explains Ruth's later fondness for the Nawab, who turns from the "faceless" man of her nightmares- a scary, exotic creature only able to harm- to a human being, as we see from now on: he can't have a child with his wife, a cause of rift between them. His inner torment, rising from both the unrequited love & his conflict with the social surroundings (notice that he loves "pigeons" and isn't initially eager to go to war as opposed to most people around him), is shown in his fight with the man who mocks a lover, as well as his shouts while flying pigeons and of course, after sleeping with his wife for whom he doesn't express any affection. In the funeral of Ruth's grandmother, he acts as a real son-in-law.

Unlike many movies that lose rhythm or don't add much precious information in the second half, "Junoon" matures with the time; its horizon extends.

Shashi Kapoor's performance is excellent. Along with few others, this movie made me wonder some Bollywood actors who are mostly seen as mere entertainers have been very talented without any proper outlet to use their abilities.

The songs are unique and beautiful, specially that of Muhammad Rafi (I guess it's a ghazal?) and the verse heard on the last scene with its powerful, shaking effect.

As a final note, Junoon is really haunting. It didn't leave my mind for days.

Great movie, reminds us of those........times..

[psmadan · 10/10 · 30 April 1999]

It is a good movie. It deals with British rule in india and its impact on the masses which was not good at all. Shashi Kapoor did a great bit of acting, the mutiny scene was ok. On the whole it was a very good movie.