Very skewed and overrated, one feels, perhaps owing to the efflux of time. By contrast, the cinematographer Govind Nihalani's first feature, Aakrosh, is simply outstanding. The thinly veiled atheism rankles because it is simply denigrating the devout and their devotion, including scriptural tenet, for their personal failings or shortcomings perceived by a totally unconvincing vigilante protagonist. Propaganda.
7/10 Not quite as good the similarly-themed Ankur, this is still a must-watch from the maestro. A director brimming with ideas: about the synergistic merging of superstition and power structures, how the slave morality perpetuates itself, the effects of patriarchy on women and the role that jealousy plays, and more. This melodrama is shot in elegant long takes and is full of beauty, not least of which is Azmi's.
3.5. This film is well made, taut and emotionally impactful, with excellent performances (particularly from Shabana, Smita and Girish Karnard) but it's tiring how often arthouse Indian cinema resorts to the sexual exploitation of/violence against women to depict feudal power/rural suffering ...
Marvellous film! Great plot, story, acting and direction. Above all, a film which will compel you to think about complex socio-economic issues in society and the politics of tyrannical power, gender-violence. I particularly admire how the film does not actively take up a political stance but shows the pitfalls of angst-ridden vigilantism. Incredible ending and great message overall. A landmark film!
A seriously 5 star movie by Benegal - one of the main pillars of Hindi parallel cinema in the 70s and 80s. Class oppression being the theme, it brings out the angst as well as despair but with cinematic prowess. Karnad and Azmi were among the best of parallel cinema actors - as well as liberal social activists - so expect gravitas.