1978-Anjam (1977-Paradh)


Anjam (the result) seems to be quite a common movie name. I could see (only names, not the movie) a 1940 entry (Anil, MeherSultana,Yashwant), 1952 (Premnath, Vyjayanti), 1968 (Nisar Ahmed, Helen) and 1994 (SRK and Madhuri) in addition to this one.

Of this movie, let me make it clear this is not a good movie as far as direction is concerned. In fact it is bad. But still it has been converted into a good movie by the two protagonists DrLagoo and Nutan and a good story idea. While either is there the movie is excellent. Whenever they are not the movie is a third class masala. Even sometime in Nutan’s presence, when the main act is by the youngsters, (Nutan is the observer to their romance) the movie falls back to the pit, despite a strong plot.

Second, I have to say that, with irreparable regret, that with the minimal make up she had looked extremely gorgeous. She could have given any of the heroines of the time run for their money. This being a 1978 movie she would have been 42 then ! Without the whitened hair, I can’t see why she wouldn’t be able to romance the heroes, even the hero of this movie who had been cast as her son.

One mistake I have seen repeated with her in most of the color movies were the make-up. Her face doesn’t go well with ‘coloring’ whenever she was in mother/ widow role, which ensured minimal make-up she had been younger than when she was married (in the movie of course, not in real life). Didn’t make-up person realise it? If they didn’t, I can’t call them professional.

I must again repeat that the direction is sub-par. The director has either not seen good movies or if he has seen not learnt anything from those. The half of the movie is on flash back, of Nutan. The Director didn’t consider whether of an incident, she was, or even would be, aware or not. In fact almost 90% of the flashback she would have been utterly ignorant, with either no chance of her knowing, or no need of her being made aware of it. Obviously neither Sachin nor Sarika are going to tell the mother that they were singing love songs, would they?


A Haunted house, Ghosts, Sex, Violence, Murder (of course how else the ghost would form?), suspense mystery, all mixed together in one movie. A pure masala from the RGV or Ramsay productions? Not exactly, despite having all these ingredients, this movie had been above par, due to Dr Shriram Lagoo and Nutan. The other two main protagonists tried their best to spoil it in connivance with the Director, however they didn’t succeed in complete annihilation of it. In fact if someone edits off most of the part of those two from the movie, the movie would be a much better one (I fast forward those parts). And these two (whose roles I edit off mercilessly), were the lead heart-throbs of that generation, Sachin and Sarika.

The total blame doesn’t go to them. They had their own limited capability to essay roles. The real blame goes to the director, who had visualized the roles to be of quite absurd proportion. May be good enough in regional arena, where loud movies like that of Dada Kondke worked wonders, but when you go out of that and make it for national audience, some rewriting and rethinking is called for. Quite a few episodes that leads to the “prime murder” had been complete masala (i.e. again absurd), but my advice is to fast forward that and just assume that the “murder” happened. Also leave aside the lovey-dovey couples and the movie would become quite watchable. The only trouble is that in that case the movie may run into only an hour or so.

It makes me wonder, the director must be good in suspense and ghostly movies and can’t handle the other aspects. In that case he should have gone for referencing and short clips rather than elaborate. With the two superb actors that he had chosen, hasn’t he seen that being done again and again?

This movie is bilingual, in 1977 it was released as Paradh in Marathi and then with the same case it is again released by the name Anjaam in 1978. I am not sure it is dubbed or re-shot. However the lip sync seems to indicate a remaking. Also the Producer director of the first movie (Paradh) was Kishore Miskin, whereas Anjaam is directed by Kishore Khanna, the same with a pseudonym or different personalities I don’t know, though Khanna and Miskin are not supposed to be same, but that is really immaterial.


The movie from the start builds up the mood. In a deserted far from civilization place we see a Haveli, and the moment I look at it and the illuminations, I am sure that it is haunted by at least a couple of ghosts. But all are not faint hearted like me. The Haveli had been sold off, and the new owner arrives to take charge, and that too in the evening after sunset, when the ghosts rule.

Why most of the ghosts in Hindi movies are of feminine gender? Aren’t the men ghosted as well? May be, since there is nothing in male attire,thatis even remotely as threatening as a white sari clad woman with the sheer aanchal flowing in the breeze. White Kurta or even Dhoti can never be as threatening as a white Sari. The additional weapon of scare, the candle or the Deepak, might not be really applicable for male ghosts.

Not surprisingly he meet a caretaker Totaram (Dhumal) who himself looks like a Ghost. So our caretaker’s locking up the haveli for the day is interrupted by the new owner, who had come with bag and baggage (at least a suitcase) to shift in, in a glittering car, with the estate agent. The doors are reopened to allow the new owner Seth Dinanath (Dr Shriram lagoo). As his suitcase is carried in, the car speeds away (though it doesn’t exactly, it just goes away, but I will take poetic/prosaic license).


In dimly lit room, where the light obviously doesn’t illuminate the corners (where the ghosts reside I assume), our Sethji, arrives. Thankfully his dress and demeanor indicates that he doesn’t believe or care for Ghosts. He is a modern Seth, with three piece suit and a pipe to go with that.

On the wall is a photograph of the earlier owner, Thakur (Ramesh Deo), who is obviously demised, by the look of the photograph. This was his ancestral Haveli, and now his widow doesn’t want to keep it, and has put under hammer, from where our Dr Lagoo acquired it.

As Dr Lagoo sits in the sofa, and the servant goes to get some tea for him, the ghosts finding him alone starts their work. The light starts flickering, on the roof there are murals of dragons and other dangerous creatures. Alarmed our man looks around and finds all the signs of a (or more) ghosts in action. Obviously there has to be a woman with a candle. Our brave hero instead of avoiding, accosts her. May be since she wasn’t in white but coloured Sari? His bravery bears fruit, this is no ghost but our Totaram (Caretaker)’s wife Maina (obviously what else can be name of Tota’s wife?). I accept that she is Maina, not a ghost, but why she had to walk in that ghostly manner? Just to build up a story and a mood people shouldn’t act unnaturally.


This lone candle too flickers off, and now the real ghosts arrive. We hear a ghostly song and from window our Lagoo watches a white Sari clad woman walking around the sea shore (the haveli is located beside the beach). However the song and the ghost is not visible/ audible to anyone other than him, nor is the sound of a firearm shot. Tota or Maina didn’t hear or see anything.


The power has mean while come back and anyway our braveheart isn’t going to be scared so soon and goes for a semi-dark tour of his acquire. One room of the mansion is locked and Tota tells him that it was never opened. He doesn’t have the key, who has it is not answered. Lagoo watches puzzled for some time at the lock and the behavior, and then walk off downstairs where the tea is served. While he is taking tea the light again goes off and the ghosts start their activity, closing and opening doors, ghostly wind et al.

He walks to the stair case and sees the ghost at the top of the stair and also marks of wet feet through the stairs, and he had been in the room. Then there are the ghostly laughs, sounds of the payal and all other things signifying paranormal presence. And at the end she walks in through the door, for a final show down. That moment the light comes back, but our ghost refuses to disappear. She looks too young to have those strands of white hair near temple. But one thing I have to agree here. Had they not put those hairs, would she have looked the age that they wanted to? She looks pre-thirties without those white strands.


By then Totaram too has appeared and introduces that she is the (now-ex) owner of this mansion, the widow of Thakur. She had been away and just came back. She obviously didn’t know that the new owner had moved in. She would stay there for few days more and then go to her other residence. She thanks “You have solved a lot of my troubles by buying the Haveli”. Should we assume she was through financial strains?

But she is alone, without children, so I can’t assume that.

Dr Lagoo goes off to change and there seems to be a strange look she gives at his back while he walks off. Was it of regret at being forced to sell the family mansion? Somehow it looks more of amusement or derision as if telling “Now enjoy the ghosts?” Then she looks away obviously sad.

There seems to be even something akin to hate in her look? She might not have liked the situation of being forced to sell and hates the buyer for that, than the circumstances? I marked it on first watch itself and was confused. It wasn’t a normal courtesy smile behind his back. On second round I knew and appreciated.


While they are sitting, there is a strong gust and the precariously hanging Thakur’s photo falls down. Why now I don’t know, the way it has been hanging, it should have been falling down every now and then). But I immediately shouldn’t blame it on director, since it might well have been pre-planned to fall down.

Anyway with the photo of her late husband in her hands, Nutan falls into a reverie. Why should she care for that type of husband I don’t understand. From the reverie it looks that in all these ten years Ramesh Deo hasn’t learnt a thing, He still in the same as he was in Saraswatichandra, only he has changed the other (unofficial) consort, now it is Meena T. Despite the end that he had ten years back, he didn’t learn a thing, nor did Nutan, who married again that man, of the same character (Wine, women) and background (Landlord). May be it is that “bond that stretches to seven rebirths” that she was being forced to endure.

The basic thing is same that we had seen in Saraswati-chandra or Sahib Bibi and Ghulam. The favourite courtesan (Meena T), neglected wife (Nutan) and profligate husband (Ramesh Deo). Only here the profligacy is so high that he had squandered away most of his properties. And since the courtesan’s are for the money, it leads to a fight between till then two very good friends over her.

She was the earlier sweetheart of the other friend Dharamdas (P.Jairaj the superstar of yester-years?). Now with money power, Ramesh Deo had changed her allegiance. Obviously he doesn’t like that, and Ramesh won’t let him share. It ends with a slap and threat “Your house is mortgaged to me.”, well not very surprising, considering his lifestyle. And unlike Saraswatichandra, elders are not there to see the balance in bank is maintained.


Nutan is at hospital for delivery while all this is happening. While she gives birth to a boy, driving to reach her, distraught Thakur loses control over his jeep and by going down a cliff ensures that the population clock doesn’t move, at least on account of his family. So once again she is left a widow, may be really for better, and this time at least she had a child to keep herself occupied.

Thankfully no histrionics and the reverie is broken as the jeep falls down, by Dr Shriram Lagoo, who has changed from his travelling clothes and joins her. While talking he tells her his plan. Though he has purchased this Haveli, but it’s not for living. He wants to make a cancer hospital in memory of his wife, demolishing it.

She doesn’t join him in dinner, it is some Vrata for her. And we have the ghost again singing, clearly not Nutan, since the ghost seems to be fond of the beach whereas Nutan is in her bedroom, Now it is clearly ghost, that too of someone dear to her, since like Lagoo, she too is in search of the voice for exactly opposite reason. She steps in a room full of cobweb. Is it symbolic? Maybe. While she is lost in the song and its pain, may be memories, Lagoo steps in.

He tells that the place seems to be strangely known to him, as if he is some one of the family, born and brought up there, and now reborn again, elsewhere. Meanwhile he looks at a photo and is introduced as Nutan’s son. So the ghost isn’t at least her only child, assuming it is daughter? But how there can be ? The husband died even as the son was born, unless it was a twin.


However the photo, we can see is Sachin’s, and for quite some time we are going to go through entirely predictable filmy events. (If you skip from here to almost last 15 minutes, you haven’t missed anything, rather might have gained some peace, and sanity).

The boy is in school, and its annual function. Obviously all the prizes, whether it is study or sports, would be monopolized by him. In the audience we have his girlfriend, Sarika cheering him up, almost jumping up and down, as one trophy after other, are gathered by him. However everything isn’t so hunky dory. The chief guest is Maharaja (the royal one) and with him is the princess, who seemed to be enamored by the genius and of course that is something which our girlfriend has observed and is angry.

We know what would happen and it does, he finds her in a deserted area (it looks things were safe back then for girls) and then they sing song running around bushes and rivers, she running away and he chasing. Finally after she had cooled down, our Sachin hops a train and comes back to his home and mother. There are still some inane scenes (putting the shields at mother’s feet… that is my heaven dialogue) and then bringing the girlfriend and introducing to mother. This is the Holi, and of course there has to be another wasted predictable sequence, and that all wild romance goes on in front of mother. I can’t really visualize that even at today’s state. The fellow is taking bath, as usual without towel, and the girlfriend stops the mother and offers to give do that job herself. Obviously he would pull the shrieking girl in, in presence of his mother and into the bathtub! Or in kitchen when she is being trained by the mother, she is called out by the boy for a park singing visit, in presence of all, including the servants watching. Did the director assume that the mother would be blind to this? Or the son and would be daughter in law won’t be maintaining basic decorum in presence of mother (and also servants).


Now is the second part of masala, romance/ glamour over, now violence. The loan isn’t yet over and obviously when the last piece of jewelry is being sold (for the installment), the son sees it and then he has to work to earn. First he goes to the lender (father’s enemy), and he is predictably insulted there.

As he goes out there is someone being robbed of his bag, and that too by a car trying to run him over. He saves him for which the man gives him sufficient money to clear not only the installments but the whole debt in a single go.In addition to the reward, the person saved by him gives him a lucrative job in his firm. In few hour not only his, but his whole families life has changed. The hero joins service and since his girlfriend not happy he isn’t able to give her time), he has to sing songs obviously for her. How else can our director pack up songs in a movie? Create forced situations so that a song can be placed. It creates enough diversion so that people don’t wonder at the absurdity of the movie.


The new manager is given one additional work now, that of free courier service. It is the firm’s prime client’s birthday, and Sachin is requested to deliver one bouquet to him, at his home, with some excuse of important meeting etc. The fate always plays a part in the movies, that’s the day his ambassador breaks down on the road. I didn’t know he was a mechanic too, but at least he tries tinkering, opening the bonnet (I wonder how many car owners really do that with any success, I would call the mechanic). However while he is tinkering, of all our princess passes by and obviously finding him stranded picks him up, in her car.

When we find the DSP (Jagdish Raj) personally present in a police check post, and telling his staff that Diamonds worth millions are going to be smuggled through that route, and thoroughly check ever one passing by, there is nothing left to imagination. Why the bouquet was being couriered and not presented by the partners themselves, the reason why director wanted the car to get a snag, and asked the princess to go through that route, are all answered, when the princess’ car is stopped at the check-post. The DSP, a family friend does check the car “The duty is first”. But not so much thoroughly, no body frisking etc, who would dare that for a princess and her friend? The bouquet of course no one would bother of checking and they are let off.


The bouquet reaches delivery point and when we see Dharamdas as recipient, we are not really too surprised. Nor we are when the bouquet falls down and diamonds that our DSP (Jagdish raj) was searching spills over from it. We knew obviously that he was the courier. Here Dharamdas was with another pseudonym. That Sachin didn’t know he was taking it to his enemy is explained at least “Poor people have only one name, rich people like us have different names for different people

Of course like so many other things something interesting comes up, the house was mortgaged only for Rs 50K. Even at those time, the jewelries Nutan was selling one at a time, had she sold a few of them at one go, she would have cleared this small debt.

But we won’t really wonder at that. How much should be the amount was a bit complicated for the director to decide. If it was say a few million, I would raise my eyebrows at that free gift, just for saving the life. So the reward was kept moderately small, and that should be sufficient for a emotional monologue of Nutan to her husband (photograph of course) for the gem of a son they have begotten.


Escape from the den, of course is ever so easy. While he Is being threatened “Now you know everything so you can’t be kept alive” the right hand man rushes in “Boss Police” and immediately his total groups melt off, leaving the boss and Sachin at the mercy of police.

Sachin is merciful so he puts an uppercut on the untrained Boss and runs off. The police led by our DSP, Jagidrdar, instead of arresting the boss (with diamond in possession), rushes behind Sachin, who by chance reaches the same place where Sarika was waiting for him.

Don’t ask me whether he was a Pheidippides reincarnate. I assume that Sarika was somewhere in the town where they studied, since this is the river where they had been romancing. From there he had taken a car to go to our Jairaj, which broke down, then the princess gave lift, in between there was a highway picket. Before he was dropped at the villain’s home. So it would be quite a few miles which he ran back. Anyway with the two together, singing songs, police were going to leave them alone and they do, with a warning the area is dangerous.

The girl moves to her marital home before wedding, and the mother in law doesn’t mind live-in. Nutan in fact reproaches her would be DIL since even for that her boy should have come with her, she shouldn’t have come alone. “Don’t worry mom, now I am here, he would be here soon

However, unfortunately soon isn’t going to be soon enough. First the standard dialogue by Jairaj “Sunil knows more than what is comfortable for us, so shut his moth permanently”. And then Sachin, like a fool, goes and confronts his ex-boss. Even more fool that he is, when offered a pack of currency, he refuses that and threatens going to police.

What could those poor people do? Since they didn’t kill him in office, they follow his motor bike. In fact not they, it would have been complicated, but only one, the person whose life Sachin had saved (I assume actor Shrikant Moghe), wants to repay that by taking his life. Well there is one to one fight, first bare hand and then of course a revolver is taken out. Since hero can’t die, nor kill, it is only accidentally that the villain is killed, while his fiancée is getting ready in a bridal attire. It isn’t exactly marriage though. It is his birthday actually and in that Nutan promised a great gift to him. Which I suppose will be betrothal. One can’t simply gift a girl, can she, that too to her son ? But the way the girl was dressed, made up with all those Mehndi et al, it looked the gift could have been planned. 


He is now a murderer and on the run. Though the incident had happened away from locality, in the woods and hills, no one was seen to be in vicinity to stand witness, and he could easily have gone underground. All this while his would be bride is in the Haveli singing sad songs and walking around, at all the places where the ghost was seen in the beginning of the movie. It makes one wonder whether the ghost was she? The only difference is that she was now in a Pink sari not transparent white. The aanchal was however flowing in breeze in the same manner, and I must remind myself that the ghosts, once ghosted, don’t wear colored, at least I haven’t seen in any movie. She is singing the same song that the ghost had been singing!

Meanwhile somehow the revolver with fingerprints has come into the possession of his other boss (Chandrasekhar), the murdered man’s partner, and Sachin had been caught by his people, police is never so efficient, even with Jagdish Raj.

The price for keeping mum is that Sachin has to steal a multi-million dollar antique Nataraj statue. It should be easy for him, it is in possession of Maharaja, the father of the princess who was enamored with him. So predictable, otherwise why would director show the obsession of the Princess with the Pauper. To help him, Chandrasekhar gives him an exact replica to be put as replacement, to but time while they make escape.

Things work exactly to the plan, The King and the princess are extremely happy to welcome, what they think the latest addition to their family. There is a posse of police including our DGP (Jagdish raj) around, to shift the statue to museum that very date. But police don’t know how easy it is to steal an antique.

If a person comes with an attaché where, they don’t open and check at least for fire arms. Had they, they would have seen the duplicate. In the room of the antique, with his (supposed to be future fiancée, as she thinks) he suddenly has a black-out, and she goes to bring water. I wonder why a princess doesn’t just clap to get that. She does call for the servant, but doesn’t wait and goes, leaving him alone to do the heist. After an uncomfortable dinner, with DGP too in the dinner table, he goes back to the Don, and gives him the statue.

This is the second time the DGP had illegal item in his hand that he himself had given back to the criminal (the same one). First it was the bouquet, that he had forgotten on his table, and now the attaché. If police gives stolen property to someone, would that someone be the criminal or the police?

Now something unnecessary, while the princess is seeing off our thief (in fact they have just walked out of the room and are on the spiral staircase), our police chief observes some gems lying on the carpet. He immediately rushes to the statue and obviously the expert that he is, he identifies it to be fake, the original stolen. But of course he won’t seal the compound immediately, and allow the thief to get away. Whether he finally sealed it later, or not, we don’t know, since the area of action had moved elsewhere.

Meanwhile our King is strangely happy at the theft. Not too strangely though. He wanted to have the statue to himself, and sell it, for personal gain. But since it had been found in excavation, the law of the land made it government property. He had already exchanged the original with a duplicate and this duplicate was stolen, while the police thought it was original that was stolen.


Obviously that’s not the only thing he wanted “Now that you know, you don’t deserve to live

However not only he lives but also leaves with the statue, without much ado. The trouble is as usual too much talk. Had he shot without that all would have been OK. But the director had given a dialogue for him to mouth and that, as always, is the villain’s undoing. Just an accurate stone (or vase) throw dislodging the revolver. Then keeping the line of fire aimed at the boss, he picks up the statue and goes out.

Why they didn’t shoot him down the moment he went out of door I don’t know. At least in other movies they take the hostage up to the car and then throws him on ground before making escape. These are most incompetent gang of criminals I have ever seen.

They call the boss, Jairaj with the information. Meanwhile our hero is in his palace, hotly pursued by the villains, so hotly pursued that even shots are fired at him. But he reaches home with the loot, with quite some lead, and goes straight to his mom.

Mom had better sense and asks why didn’t he go to police and that would have been common sense, we too agree. But the director and Sachin don’t. He tells that had he gone to police, the villains would have come here and done something to the women. As if he would be able to stop that! He asks mom to keep the loot hidden, since till they put their hands on it, the villains won’t harm him. Nutan agrees to hide that but also tells him to immediately call police. But the lead he has gained wasn’t enough. While Nutan is away hiding it, the villains arrive. After all they know his address exactly, Jairaj was a part of the gang.

While Nutan is away she hears a shot and finds her son in the arms of Sarika, shot through heart, though still alive. Sarika rushes off to call doctor, but when she comes back, it is already all over. Interestingly Sarika was in white sari throughout this episode. And I am thankful at least of one aspect. There are no long laments and chest beating/ hair tearing.


Now the flashback is over we are back to the watchable portions, crying Nutan and sympathetic Shriram Lagoo.

What happened to Seema (Sarika)Nutan informs that she had become a living corpse by the loss, and then one day she jumped down the roof of the Haveli (and turned into a real corpse).

Dr Lagoo can’t do anything but sympathise with her at this sad tale “So much things you had to endure due to the greed of that devil


SPOILER(Not really)

Obviously rest is predictable, but not so much. Suddenly the director has woken up and given us a twist. 


And here something new (I have seen it first time) is brought. Our Nutan had put the Haveli on auction at a reserve price of 20 lakhs whereas the market price was less than half of it. That means even a fool is not going to bid for it. And the one who bids, would know that the value of it is much more than the land or building and then he is going to demolish the building so that makes the value even less. So even though she didn’t know who the kingpin was, she had put the fishing line expertly and the fish had been hooked.


Nutan hadn’t given any statement about the statue to the police, so the villain must have assumed that before Sachin could tell anything to her, they have got rid of him. That was just to keep them off the smell.

She was aware of their existence. They would sneak in the Haveli in search of the statue, she had felt. She had even felt them following her. But she could never see the face, she had now.

However now he himself agrees his act. He was the chief don and he was the one who had shot Sachin to death. In fact he didn’t want to, he was only interested in kidnapping his girlfriend and getting the statue in exchange. But Sachin tried the trick (Revolver exchange) again, and this time he failed. One can’t keep on trying the same trick again and again and pray for success every time, can they?


With threat of violence he forces our Nutan to take him to the statue, and clearly under check-mate she had to comply. She should have employed some support staff for this, may be even Totaram. But clearly she had too much confidence on herself, in fact it looks that morning Tota and Maina had been given day off. She is forced to lead him to the statue through a hidden trapdoor. Interestingly though he threatens violence but he, at least doesn’t show any firearm. Only physical pain seems to have subdued our heroine into submission and quenched all her fire of revenge.


Of course we can’t underestimate the revengeful woman. He should have guessed how easily he could force her to get to his goal. May be some more violence at least a revolver should have been used by director. But I will let that go with so many other things.

As our Lagoo is almost manic with happiness at getting his coveted prize, a trap door closes imprisoning him.


It was a game of chess we were playing, yes you checked me first, but in the end, in that over enthusiasm and over confidence, you lost the game”.

Obviously not fully, no one expected him to be unarmed.


I think my copy has a small missing episode. The Maharaja had replaced the statue, it looks that the statue was re-replaced by our Dr Lagoo. He mentions that for this purpose he had to not only kill Shekhar but later Maharaja too.

So he had put a plant in the palace, who did the adjustments there. This statue was real. Otherwise it would have been known that it is a fake. After all he is a big-time smuggler, he would have known that the actual is already in the market and won’t have bothered about it. Of course everything is OK in movies, but in this aspect he didn’t make a blunder.

Viewing Guide: (for people of my mind) 

Timing are approximate:

0:00 to 00:30 –

Extremely watchable. Nothing to wonder about, the whole screen is dominated by Shriram Lagoo and magnificent Nutan. I find her much more beautiful than say even Saraswatichandra. They did try to make her old (grey hair at temple), but it failed in hiding her youth. For full appreciation of both actors the whole story must be known and not to be treated as suspense mystery.

Ends the moment Sachin steps out of Photo in the school.


This is a suspense movie, there are things (we viewers don’t know) but the actors know. And since they both are excellent actors, some of their actions, especially expressions, are modified by their knowledge of script. This is not an acting error, it is opposite. They know why they are doing something, but we won’t till the climax where the pieces fall together.

Unfortunately it being a suspense movie, people don’t revisit, more so in view of the quality of the movie. If one knows the basic plot and then watches this portion the acting or the dialogues of both Lagoo and Nutan might be more appreciated. In fact certain expressions of Nutan one can’t guess if we don’t know the whole story in the beginning. In most of these suspense movies, the actors behave to keep the audience in dark of their (or Director’s) sinister intentions. Here both have acted the way any natural person with a motive would.

0030: to 1:00

Don’t watch, just read here- The genius college boy romances orphan (at least motherless) classmate, with consent of mother (of course his, she doesn’t have one). Extremely puerile masala part.

Ends at the emotional confrontation – when the boy comes to know that mother was selling off everything without his knowledge. “For my luxury, you have sold all your jewelry…” type.

Special remark-

In some parts one is forced to wonder whether it is the mother or a girlfriend (not by the acting or dialogue, but by the looks). There are several portions here say around at 00:35 or so, even in kitchen (around 00:50) one might wonder shouldn’t she have been better as the same age step-mother (like Leena and Amit Kumar).

She doesn’t look much older than Sarika, or it is opposite (!). And that is despite the fact that then Nutan was exactly double Sachin’s age (42 and 21, Sarika was 18, at least officially)

1:00 to 1:40:

I can’t say don’t watch, this is the adrenaline portion but again senseless. In brief the boy is ensnared into a smuggling gang, whose head is the very enemy who had tried his best to destroy his family. He had cleared all the debt off, but at the cost of (unknowingly) selling his soul to Pan. He does unknowingly smuggling and then an accidental death of smuggler boss. Good riddance one would say, but not all. So he has to steal a statue, and be killed, in the arms of the one who brought him in the world, he leaves it (both the statue and the world).

1:40 – end

again back to our main protagonists. So a definite watch.

3 thoughts on “1978-Anjam (1977-Paradh)”

    1. I have loaded the songs on You tube – one of the songs have already disappeared – due to copyright violation, at least the youtube thinks so. The songs are not too remarkable, probably that’s why no one bothered to upload. The three Lata songs are uploaded here too. Others by Asha (Mujra – Arey O Dilwar Jani), Asha, Rafi (Gori Yunhi Sharam)and Mahendra Kapoor (Ik natkhat naino wali) are not remarkable. A few were available already in Hindigeetmala dot net.

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