OldisgolD

"People don't like warring with words" crowed a film magazine from 1985. This assertion gave me the impression that the movie would be replete with verbal wars between the contesting advocates in the court. However when I rented the movie to verify the claim, it had a little legal war, and that too was a bit stereotypical. The movie, however, had its other rewards to offer. A simple, no-nonsense plot about the woes of the family of a wrongly executed man, this film for the most part matches the reaction to the action with minimal overacting. The culminating scene wherein Anil Kapoor, apart from rescuing his mother, gives vent to his pent up feelings of righteous anguish and indignation against the vile acts of Amreesh Puri due to which he had to lead all his life in bitterness -- physical and mental -- is the highlight of the movie in my opinion. In this emotional tirade, we the viewers, have emotions exactly like a person would have, who has been victimised thus. This sympathy of emotions is the biggest achievement of this film. The music of the film is more than just good, specially the theme song, "Zindagi har qadam ik nai jang hai.." which is yet another spellbinding creation of Laxmikant- payarelal duo.

J Om Parkash, the director of this movie also has another favourite of mine "Apnapan" to his credit. Both the films do not involve any novel theme or even treatment. It is just his knack of getting the basic things right and treating the plot in a homely manner that makes these movies precious to me.

"Akhir Kyoon" boasts the presence of Sumita Patil, undoubtedly a performer par excellence in Indian cinema. She is in her mettle in this simple tale of a woman's woes. The plot and treatment do go somewhat stereotypical in the portion as to what happens to her after being driven out of home by her adulterous husband, and her resolve to face the world in the song "Shakti ka naam naari hae" yet otherwise the treatment is natural, simple, and truthful.

All in all a movie worth spending 3 hours with.

Plot Summary:

Jacky Shroff is an honest officer posted in a village that is ruled by vile Amreesh Puri. Shroff decides to put an end to the corrupt practices of the Thakur right from the start. The animosity between the two thus starts. In the mean time Shroff falls for the village girl, Poonam Dhillon. Thakur has lustful designs upon Poonam. One night Amreesh Puri tries to rape Poonam who commits suicide to avoid being dishonoured. When Shroff comes back to Village and gets the news he vents his anger and anguish upon his pet dog for not saving his beloved. Later he comes to know that the quadruped could not have done anything for it had been shut up in a room at that time. Here starts the highlight of the movie -- the song filled with grief and gratitude, Teri Meharbaniyan teri qadardaaniyan...

Thakur's villainy continues unabated. He habitually tortures his dumb servant and tries to rape the girl who tries to commiserate with him. Both of them flee the clutches of Amrish Puri and take refuge with Jacky Shroff. Thakur as a revenge tries to kill all of them but succeeds to murder Shroff only. The loyal dog takes it upon himself to take revenge by killing all the accomplices in the murder of his master, one by one.

Comments:

If it were not for the tragically enchanting music by Lakhmikant Pyarelaal, this film could not have left even a trace of remembrance. Worse than a pot-boiler plot and treatment, an extremely disinterested Jacky Shroff, a mundane Poonam Dhillon, a usual villainous Amreesh Puri, the saving grace in the movie were Asraani and the dog. Asraani does elicit some genuine smiles with his antics, whereas the quadruped surprises us with the kind of thorough training he has had. Still, omit the deeply and intensely tragical song "Teri meharbaaniyaan...." you have nothing left in the movie. I saw the movie only for this song and was not disappointed, at least to the extent of this unforgettable epitome of heart-rending tragedy.

A search for the director of this film reveals that he made only disco based flicks in the 80s. This one is better than other ones from him. What makes the film really interesting is Sumita Patil's presence. It is she who sets the tempo of the film with the very first scene. She plays a cameo in the movie. It is a usual "suhaag raat" scene. Even in this sensuous outing, Sumita Patil impresses us with her personality. She is a performer par excellence even in such movies and such roles. The plot is based on the usual reveng theme of the 80s. Amrish Puri is his typical villainous self. Still there is a finer tinge to his character in that he has a taste for poetry.

36 Ghante is a movie that will remain etched in my memory as one of the few convincing movies that I have seen. Convincing in the sense that almost each and every situation and dialogue is presented in the most natural way, the way a viewer expects it to be in a similar real life situation. Its greatness is not dependent upon the plot of the movie, rather on the treatment it receives. For example, when dead tired of the tyranny of the hostage-takers, the editor's son boasts childishly that he will shoot them with his toy pistol, the father warns, "the guns in the criminal's hands are real ones." Even the minute details are treated with dainty sumptuousness, such as the sequence related to the kidnapping of the Coca Cola delivery truck. It also shows a glimpse of the 70s' well-off families' everyday life. Rajkumar gives a most striking performance as the wise, cool-minded head of a family.