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Marhi Da Deeva est un film de genre Drame avec Raj Babbar
Marhi Da Deeva (1989)
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Ajouter à une liste de filmsMarhi Da Deeva (Punjabi: ਮੜ੍ਹੀ ਦਾ ਦੀਵਾ) is a 1989 National Award winning Punjabi film directed by Surinder Singh, starring Raj Babbar, Deepti Naval and Parikshit Sahni in lead roles. It was a critically acclaimed and well-received movie based on a novel of the same name by Gurdial Singh.
Acteurs
Raj Babbar
(Jagseer Singh/ Jagsa)
Deepti Naval
(Bhan Kaur/ Bhani)
Parikshit Sahni
(Dharam Singh (voiced by Sardar Sohi))
Pankaj Kapur
(Raunki)
Kanwaljit Singh
Gopi Bhalla
(Nikka Singh)
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Suggestions de films similaires à Marhi Da Deeva
Il y a 234 films ayant les mêmes acteurs, 61703 ayant les mêmes genres cinématographiques, pour avoir au final 70 suggestions de films similaires.Si vous avez aimé Marhi Da Deeva, vous aimerez sûrement les films similaires suivants :
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The film is set in Colonial India in the early 1940s. The plot begins with an arrogant subedar (Naseeruddin Shah) (local tax collector in colonial India) and his henchmen rampaging through a village. The subedar has an eye for women and soon spots Sonbai (Smita Patil) on the riverbank. Sonbai is an intelligent, beautiful and strong woman. Her confidence intrigues the subedar.
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Genres Drame
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A young business magnate Aditya Singh (Adhyayan Suman) is in love with Ria (Ariana Ayam). Aditya requires a heart transplant but refuses due to guilt of killing his father during a boat ride in his childhood. Dr. Sameer Saxena aka Sam (Shekhar Suman) is Aditya's heart surgeon and friend. Aditya asks Dr. Sameer to arrange his elopement with Ria. They marry privately without his mother's knowledge, then Aditya goes to the hospital for the operation. While Aditya's new wife and his mother, Gayatri Singh (Deepti Naval), await completion of his surgery, Aditya encounters anaesthesia awareness.
Agneekaal (1990)
Réalisé par Abbas-Mustan
Genres Drame, Action, Policier
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Bharat Nagar is a city in modern secular India that is terrorized by a gangster named Bhika, who is protected by the local politician, Gulabchand Jhakotia, his son, Police Inspector Bhushan, and the D.S.P. Anand Saxena. When Inspector Gurdayal Singh accumulates enough evidence to arrest Bhika, he is killed. Bhushan then attempts to molest an activist, Asha, but is stopped by Vijay, her fiancé. But Bhushan kills Vijay and ends up getting killed by Asha. The Police arrest Asha and hold her in a cell without permitting her to meet with anyone including her brother, Aadesh. Then Bhushan's position is filled with Inspector S.P. Jagdishan, who does attempt to bring law and order to this troubled city, and even permits Aadesh to meet with Asha. When Bhika kills the owner of the local newspaper 'Bharat Nagar Times', Jagdishan arrests him after D' Souza's daughter, Mary, comes forward to testify - only to get instructions for his transfer to distant Malegaon, and the immediate release of Bhika - who, together with Gulabchand, are now set to rule over Bharat Nagar - with no one bold enough to stand in their way.
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Mane is a Kafkaesque tale about a young couple (Naseeruddin Shah and Deepti Naval) that moves to the city from a village with the hope of finding privacy and freedom, which are unavailable in the joint family system. For all its narrative excursions, in a sense, Mane is merely about the breakup of a marriage in which the Rossellinian couple, unable to confront each other directly amidst the loneliness of the city, externalizes their troubles – his powerlessness, her desire for freedom and their childlessness – and shifts blame on situations beyond their control in order to act victims. Kasaravalli works wonder with film and sound here, using them to denote the impending break down. (One stunning shot uses the neon lights of the neighbourhood to literally break apart the frame). A critique on urban spaces that suffocate more than they promise privacy, Mane unfolds like a sociological update on Rear Window (1954), in which personal anxieties and fears are displaced onto the surroundings and, specifically, onto a lower social class. In that sense, Mane connects all the way to the director’s latest work in the manner in which it raises questions about the visibility of the class structure and the seeming imperceptibility of the consequences of acts of one class on the other. Mane is full of such encroachments of freedom by other competing notions of freedom – between classes, between houses and between spouses.
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Note82%
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Note57%
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Un homme se lance dans un road trip pour retrouver son amour perdu.